Since Saturday’s upload, I’ve put 2 more videos on Vimeo for your delectation and delight, which contrast the different ways that the Looperlative can be used to either simply provide a loop for a piece of music, or be integral to the way it’s created, and the sound that emerges.
I’m fascinated by the relationship between technology and end result, and by the methods that we as musicians can use to keep our own technical thoughts and experiments subservient to the greater artistic and communicative aims… [Read more →]
Having had the aforementioned week away from playing, I sat down yesterday to do some bass-things. I started out on my fretted 6 string bass, and couldn’t really find anything that was particularly interesting to me (though that may feel very different when I go back to watch the video!), but once I switched to the fretless, things got a lot more fun. This first video is actually the second one I recorded yesterday, and starts out pretty spacey and mellow. There a big healthy dose of fretless melody stuff in the middle – just exploring the emotional landscape of the underlying loops (which are three overlapping loops of different lengths, so the texture keeps shifting, along with the subtle changes in the harmony as the different parts of the three loops coincide to form new chords). [Read more →]
Here’s the two latest bits of ‘public beta test music’ that I’ve put up online.
They contrast a couple of different possible uses of the functions I’ve been exploring on the Looperlative of late – the first being using the replace functions as an ancillary bleepy effect in an otherwise mellow ballad, and the second being a full-on rhythmic bleep-fest, that veers much closer to glitch-core (though the fact that my rhythmic reference point is just a fairly slow ‘four on the floor’ kick-drum style pattern is a little less interesting than you’d expect from something more obviously IDM…) [Read more →]
It’s been another very creative day – after the video that I put up this morning, I got working again on some more musical experiments using the looperlative with the new buttons that I’ve programmed.
Each day that I experiment with these glitchy replace functions, it feels like I’m getting closer them being ‘musically transparent’ – where the music is bigger than the technique… I’m trying to get so comfortable with the tech that I can employ it while focussing on the music.
Here’s another new ‘public beta’ video – this time, I’m experimenting with some new functions that’ve just been added to the Looperlative LP1. (that’s the looping device I use…)
The new tricks are around the idea of ‘replacing‘ bits of a loop, with other audio, giving it a chopped up, glitchy feel. The main effect I’m using is a ‘quantise replace‘ function, that replaces bits, but switches on on and off on the beat, so when I hit the button it waits for the next exact subdivision of the loop (in this case, 1/96th of the whole loop time) before doing anything, and again to switch off again. [Read more →]
I’m finally making some headway on ideas for a new solo album (or whatever a collection of music that used to be called an album is now called). I’m still not sure whether it’s going to be all completely solo, have a few special guests, be all collaborative, or what, but at least some musical ideas are happening.
I had another go at the new tune I posted on Youtube a couple of weeks ago, at the gig in Edinburgh last weekend. This new version is a lot faster (not sure that’s a good thing) and has a nice little loop/delay thing going with the melody about half way through, and then an improv section at the end where the main loop disappears, a bit of the tune continues and a few other interesting things happen around it – so here’s the 0.2b public beta version, on youtube: [Read more →]
After the new tune I posted on Audioboo a few days ago, I’ve got the bug for uploading new tunes. Hopefully it’ll finally kick me into action to make some decisions about the kind of record (or whatever passes for a ‘record’ these days ) I want to make. [Read more →]
OK, so it’s christmas day, and I’m blogging, what of it? Happy Christmas, y’all. Hope you’re having a fun day. We certainly are here in Ohio.
Anyway, thought I’d do a quick post about my touring looping rig. Here’s the picture:
from the top we have:
Samson S-Mix (mixer) ART TubeMP Preamp
(next to it is the…) Lexicon LXP1 reverb. Looperlative LP1 looper
Lexicon MPX-G2 processor
and on top of the LXP1 we have my Ebow, G7 Capo, Slide, Sennheiser Mic and currently-missing rubbish cell phone (if you see it around, let me know, I can’t find it anywhere). The JBL speakers were provided for the house concert in Milwaukee. We don’t generally travel with speakers in the US, just find people locally to lend us things.
The signal flow is really simple – bass goes into Lexicon MPX-G2, which goes into the S-Mix, and has the ART preamp in the FX loop. Lobelia’s loop mic goes into the LXP1, and that also goes into the S-Mix, which then goes into the Looperlative. The Looperlative then goes out to the desk/PA/Speakers/whatever.
And here’s what’s happening on the floor -
The big pedal, rocked back, is the Visual Volume Pedal.
then an M-Audio expression pedal, which controls the loop volume.
Then a Rolls Midi Wizard that controls the looperlative.
then Another M-Audio expression pedal, for the MPX-G2 (sometimes wah, sometimes volume, sometimes pitch etc.)
then a Roland EV-5, for Loop feedback.
Then a Lexicon footswitch for different stuff on the G2
and finally another EV-5 for track speed on the looperlative.
Meanwhile, Lobelia is using a Roland RC-20 for much of her looping, unless I’m looping her or she’s doing improv stuff through my rig, in which case she just plugs a mic into the volume pedal and uses my bass set-up exactly as-is.
So there you go, a Christmas present in the form of some gear geekness. Post a comment with any specific questions you may have about how it all works
As you’ll know if you’ve read anything about the gear I use for music-making, I’m a HUGE fan of the Looperlative. It’s something I’m very proud of that it was after a gig of mine that Bob Amstadt who invented it decided to build it, and that he asked me to be the first tester and co-developer of the software (I didn’t write any of the code, I was just sent an ‘empty’ box and asked him for the features I wanted. He’d code them, I’d test them, and thus it was born, a looping device that did pretty much everything I could ever imagine wanting from a looping device!
It really is the most fully-featured hardware looper around. I’m not a fan of doing these things on a laptop (I know some amazing musicians who do, it just doesn’t work for me on a practical level, or a latency level).
Quite a few of my musical friends have bought them since, and others have expressed an interest in getting on, so I thought I’d point you to this post on the Looperlative forum, where Bob offers a pretty hefty (but undisclosed due to commercial sensitivity, I guess) discount…
If you’ve been considering getting one, now’s a good time. If you don’t know what the looperlative is, watch any of the videos I’ve posted in the last 3 years on Youtube – that’s the Looperlative that lets me do all the layering. All the stuff on Behind Every Word is done with the looperlative. All the layers of bass on the Lawson/Dodds/Wood album are done with the looperlative. It’s proper amazing.
Trying to pin down just what it is that Steve Lawson does can be tricky – he’s a solo bassist who spends a lot of his time making very unbasslike noises. He’s an ambient experimenter who likes pop tunes too much to go strictly soundscape, but is way too atmospheric to sit comfortably in the ‘instrumental rock’ category. His electronica leanings produce some amazing hi-tech sounds, but he resolutely avoids programmed beats, making the eventual hybrid of jazz, electronica, ambient, new age and ‘new acoustic’ influences infuriatingly hard to pigeonhole.
Having released six CDs on his own Pillow Mountain Records label, Steve has carved out a niche for himself as a composer and improvisor making music for the sake of itself. Whether playing completely solo, in his acclaimed duo with American singer Lobelia or in one of the many duo and trio line-ups to be spawned by The Recycle Collective, Lawson’s remit is to soundtrack the moment, to somehow put across in music the thoughts and emotions that can’t be put into words.
He’s managed to find a substantial audience, which has lead to headline shows across Europe and The US, major theatre tours in the UK opening for Level 42 and the 21st Century Schizoid Band, releasing six acclaimed albums, sold out shows at the Edinburgh Festival and reams of international press, radio play, and praise from critics, fans and fellow musicians alike.
“The richness of this music makes for a
rewarding listening experience on all levels
and I think Steve’s approach represents a
real step forward for the art of solo bass.” – Michael Manring
Latest Solo Album:
With the June 06 release of Behind Every Word on Pillow Mountain Records – his fourth solo album, and sixth album overall – Lawson consolidated his position as the UK’s leading solo bass guitarist, and brought his unique and beautiful music to an ever-growing audience.
Once again Steve chose to record the entire album live in the studio, using live looping technology to sample and layer his huge palette of bass sounds into 11 exquisitely beautiful slices of aural heaven.
“Lawson’s writing and his phenomenal command
of the possibilities of looping creates a compelling
and surprising variety of sounds one would never
imagine the bass capable of producing.” – JazzWise
There’s a freshness to the music on the new album, partly inspired by his creative involvement in the development of a brand new looping device – the Looperlative. Says Steve,
“Grace And Gratitude, my last album, felt like a pretty complete statement of what I was about as a solo musician up to that time. I was in no hurry to follow it up, hence the two year gap. It wasn’t until I was invited to contribute to the design of the Looperlative, and had access to all the new arrangement possibilities that it offers that I felt it was time to record again. When the record light went on, the ideas started arriving.“
Indeed, the album’s opening cut, Blue Planet, was the first thing recorded in the sessions, and floats along like a low-frequency companion to Ry Cooder’s Paris Texas soundtrack.
The wide open Americana influence is there again on the tribute to the late M. Scott Peck, simply titled Scott Peck, which features a cameo appearance by pedal steel guitar legend, BJ Cole. Steve’s collaboration with BJ started three or four years ago, as the pair began getting together for regular recording sessions, experimenting with the possibilities that looping the two instruments together presented.
The collaboration with Cole was one of the prime inspirations for Lawson’s main focus between the last two albums, The Recycle Collective. A monthly gig featuring a revolving cast of regulars and guests, The Recycle Collective is gaining a reputation as one of London’s most consistently inspiring and beautiful music nights. Alongside Lawson and Cole, the night has featured Cleveland Watkiss, Orphy Robinson, Theo Travis, Leo Abrahams and an eclectic host of other musicians eager to soak up some improv inspiration.
Lawson/Dodds/Wood trio CD, Dec 2008:
The Recycle Collective was the catalyst for the brand new Lawson/Dodds/Wood album, Numbers, with Drummer Roy Dodds and Keyboardist/Guitarist Patrick Wood. The three first assembled for a Recycle Collective show in October 2007, and soon realised that chemistry like that doesn’t come along to often, so booked studio time to do That Recycle Thing in the studio – two days of improvising. No start points, no rules, just playing great music. The album came out to great acclaim in Dec 2008, and is available on CD and download now.
2009 looks to be a busy year for Steve Lawson, with other releases schedule for the year including another solo album, as well as the much anticipated duo album with Lobelia. Watch this space!
Since Saturday’s upload, I’ve put 2 more videos on Vimeo for your delectation and delight, which contrast the different ways that the Looperlative can be used to either simply provide a loop for a piece of music, or be integral to the way it’s created, and the sound that emerges.
Here’s the two latest bits of ‘public beta test music’ that I’ve put up online.
I’m finally making some headway on ideas for a new solo album (or whatever a collection of music that used to be called an album is now called). I’m still not sure whether it’s going to be all completely solo, have a few special guests, be all collaborative, or what, but at least some musical ideas are happening.
After the new tune I posted on 
) I want to make.
Trying to pin down just what it is that Steve Lawson does can be tricky – he’s a solo bassist who spends a lot of his time making very unbasslike noises. He’s an ambient experimenter who likes pop tunes too much to go strictly soundscape, but is way too atmospheric to sit comfortably in the ‘instrumental rock’ category. His electronica leanings produce some amazing hi-tech sounds, but he resolutely avoids programmed beats, making the eventual hybrid of jazz, electronica, ambient, new age and ‘new acoustic’ influences infuriatingly hard to pigeonhole.