The fabulous looping cellist Zoë Keating explains it all.
Well, not in as much detail as those of us who also do cello looping might like, but it’s a great WNYC Radiolab podcast, with lots of music. Zoë does looped cello compositions; my own looping is mostly improvised or quasi-improvised. (Of course she also improvises, and the podcast ends with an imprvisation.)
I love her stuff.
And she makes some insightful comments in the podcast on how much more comfortable she feels playing her own music than the compositions of others. That resonates with me. I’m hopelessly addicted to playing classical music, though, and since much of my job is teaching it, I have to keep doing things like playing the Arpeggione Sonata and driving myself nuts. There are times, though, when I’d like to leave the classical stress behind. Yet the joy of performing classical music, when it goes well, is–what’s the word?–oh, right, addictive.
Back to Zoë. Here are the tech details from the bio page on her site:
The cello is amplified with an AKG C411 contact condenser mic. I run it through a few looping/sampling devices: two Electrix Repeaters, Ableton Live and a plugin called SooperLooper. I control the sampling and various other audio parameters with my feet, using a midi foot controller.
I bought ProTools SE this summer, with some faculty devlopment money that had to be spent before July 1. The package, which I have yet to open (due to being obsessed with all those shifts in the Arpeggione sonata, which I’m performing again Monday), is supposed to include a stripped-down, “lite” version of Ableton, about which I hear only great things. I’m going to need a foot controller, I know, to start really exploring it. But I’ll start thinking about such post-classical things Tuesday, post-Arpeggione.
(photo by Jeffrey Rusch, from Keating’s site.)