With high speed internet access prices falling, and the strength of independent music distribution on a (slow but steady) rise, it should be no surprise to discover that it’s really easy and affordable to broadcast yourself LIVE over the web.

In one simple webpage, Krispen Hartung explains how to use SHOUTcast hosting to setup a live webcast feed that anyone can listen to. You can easily set this up and be broadcasting from your bedroom, home studio, or rehearsal space for the price of a 12-pack each month. Find a live venue with high speed internet, bring your laptop, and you can even simulcast a live performance!

We’re not quite to a time when a band can build a large, career-sustaining fanbase through the web alone. But that day is coming. Even now, why wouldn’t a band or solo musician be able to build a small, dedicated fanbase through webcasted performances and releases? I love the excitement and fun of a live show as much as anyone else - but if I have to choose between no show at all, and a webcast of a good band - I choose webcast.

Thanks to Kris Hartung for putting this information together!

So, as part of my re-commitment to this whole blog thang, I’ve finally gone back and extracted the results of the 2005 Looper Survey that I setup online last year. Interestingly, respondents have submitted data even as late as 2 weeks ago, so maybe we can consider my complete neglect of this survey as an attempt to capture as much data as possible…

As opposed to trying to run every statistic possible on this data, I’ll only provide a summary of a few things I find interesting. Those of you with inquiring and scientific minds may want to download this spreadsheet, which contains all of the raw data, and a PivotTable that makes exploring the data easy (once you know how to use a PivotTable, that is!).

Demographics:

182 people responded to the survey, representing 24 countries. Only 5 of the respondents were female (c’mon ladies!). The average respondent had almost 7 years of looping experience, and all totalled the respondents represented 1,199 cumulative years of experience! Imagine tapping into all of that knowledge…

Here’s a chart of the distribution of respondents by country and sex:

And here is a chart of the age range of respondents, by sex:

And finally, a chart showing the average years of looping experience, by primary instrument of the respondent, and by sex:

Looping Devices:

Here are the Top 10 Looping Devices reported by the respondents, and the total number of devices reported:

2. Echoplex Digital Pro - 98
3. Line 6 DL-4 - 56
4. Digitech RDS 7.6 (or similar, incl PDS series) - 45
5. Ableton Live (software) - 44
6. Electrix Repeater - 43
7. Boss RC-20 (or RC-20XL) - 41
8. Lexicon Vortex - 37
9. Boss DD-3, 5 or 6 - 36
10. Boss DD-20 - 33
11. Electro Harmonix 16 Second Delay (new or reissue) - 26

And just to give you an example of the kind of things you can do with the PivotTable, here’s a chart of the Top 10 Looping Devices, totalled by age group:

Comparison to 2003 Survey Results:

The comparison of 2005 results with a similar survey taken in 2003 is very interesting. The complete 2003 Looper Survey results can be downloaded here, in PDF format.

Although the methods were different, the online communities polled were the same (Looper’s Delight mailing list, the HCFX forum at Harmony Central), and the resulting increase in respondents is striking - it basically doubled (94 in 2003, 182 in 2005).

Here’s a summary comparsion of 2003 vs. 2005. Note a couple of clear trends:

• The number of respondents doubled
• The number of devices per person went up, from 3.3 in 2003 to 5.1 in 2005
• The Echoplex Digital Pro stayed at the top of the list
• The Electrix Repeater dropped significantly, overtaken by the Line 6 DL-4, Ableton Live, and some sort of strange nostalgia for the Digitech RDS or PDS units
• The Lexicon Vortex rose in popularity, while the Lexicon Jamman fell completely off of the Top 10
• The Boss DD units (DD-20, DD3, 5 and 6) all moved into the Top 10, pushing the Boss RC-20 off of the list
• The Electro-Harmonix 16 Second reissue made a big enough splash to enter the Top 10 in 2005

2003 Looper Survey results:

 

94 people responded
310 total devices were reported
(3.3 devices per person)

2. Echoplex Digital Pro = 68 devices
3. Electrix Repeater = 36 devices
4. Line6 DL-4 Delay Modeler = 33 devices
5. Lexicon Jamman = 19 devices
6. Kaoss Pad I or II = 11 devices
7. Ableton Live = 11 devices
8. Boomerang/Boomerang + = 10 devices
9. Akai Headrush - 6 devices
10. Boss RC-20 - 6 devices
11. Lexicon Vortex - 6 devices

In 2005’s survey, these were the results:

 

182 people responded
922 total devices were reported
(5.1 devices per person)

2. Echoplex Digital Pro - 98 devices
3. Line 6 DL-4 - 56 devices
4. Digitech RDS 7.6 (or similar, incl PDS series) - 45 devices
5. Ableton Live (software) - 44 devices
6. Electrix Repeater - 43 devices
7. Boss RC-20 (or RC-20XL) - 41 devices
8. Lexicon Vortex - 37 devices
9. Boss DD-3, 5 or 6 - 36 devices
10. Boss DD-20 - 33 devices
11. Electro Harmonix 16 Second Delay (new or reissue) - 26 devices

For some of us, there should be a standard cut-n-paste post apologizing for blog-neglect. To those very few people who bother to come by my humble little blog: I have no excuses, but a few explanations. Spam was hell (hooray for WordPress 2.0!). Work was busier than ever. Priorities, and all that.

But here I am again, re-committing myself to exploring blogging and some of the great technologies that allow us to share ideas.

So, I’ve upgraded to WordPress 2.0, made a few changes, and installed some tools that should help make things easier. And as always, learned a few things in the process.

Podcast. Hmmmm… yes. Podcast. Whatever happened to that idea…

Another camera phone test - this time, my beautiful wife!

]

Sunset On The Tollway

It’s Fall In Texas

There’s some really exciting news on the high-end looper front. Bob Amstad is ready to debut a working version of his potentially market-busting looping device - the Looperlative LP1 - at this year’s Winter NAMM show (January 19-22, 2006). Although the unit is still in development and testing, Bob has shared some information with the public, and I’ll summarize what we’ve learned in this post.

Please stay tuned right here for a possible podcast interview with Bob Amstad regarding the LP1! I hope to be able to corner Bob for about 30-45 minutes to discuss it in detail.

Now, on to what I can tell you today. This is all based on publicly available information gathered at Bob’s site and a few other mailing lists:

In the spring of 2004, Bob announced that the Looperlative would make it’s debut. I’m not sure exactly how that slipped, but I suspect that development issues were deeper than expected. Bob has apparently overcome those issues, and now there is a confirmed debut at Winter NAMM (Jan 2006). Looperlative Audio Products will be located in Hall E Booth 1857. This is on the right side of the hall between the two sets of stairs that take you upstairs.

Two excellent musicians and experienced loopers will be performing to demonstrate the unit:

• Steve Lawson
• Rick Walker

Here is the only currently available photo of the front of the unit:

Here’s the blurb at the front of the Looperlative website:

Equipped with a fast DSP and 128MB of memory, the Looperlative LP1 offers up to 20 minutes of mono audio recording or up to 10 minutes of stereo audio recording. With 8 individually controllable stereo tracks per loop, you have the flexibility to add and remove layers as you wish. Additional auxiliary stereo outputs allow you send only the tracks you choose to your effects units.

To go beyond traditional boundaries, the Looperlative LP1 is network enabled. Imagine saving and restoring your favorite compositions to your computer or network hard drive. As features are added to the LP1 software, easy upgrades can be installed through the network port. This is an effects box for now and for the future. The network port offers many possibilities including streaming digital audio and multi-unit synchronization.

Basic info:
The Looperlative LP1 is a single rack space unit. A fascinating innovation: the unit includes an Ethernet port that will allow the software to be updated, and also allow the user to send/receive audio from the unit. It’s not clear to me if the audio/send receive is “realtime” - and I suspect that is isn’t. The real power behind this feature is the fact that it enables simple, ongoing software upgrades. As LP1 users decide that a new feature is desired, Bob can update the software and users can upgrade their units with a simple Ethernet connection!

Here’s a quote from a recent post from Bob Amstad, updated with additional information that I’ve gathered since this first post:

• 1 stereo input (unbalanced, 1/4″ L/R inputs)
• 3 stereo outputs (1 main output, and 2 sub-mix outputs) (also unbalanced 1/4″)
• Note that although the unit will initially go live with unbalanced connections, Bob has mentioned that there may be the possibility of a factory upgrade to balanced connections
• MIDI interface primarily for connecting a footpedal remote controller (LP1 has a “MIDI Learn” feature that allows you to put the unit in learn-mode, press a controller footpedal, and then tell the LP1 what action you want that pedal to control. This makes footpedal programming EASY!)
• Ethernet interface for upgrades and computer interfacing
• Power comes from a “wall cube” power supply, sometimes called a “wall wart”
• Front panel in the picture does not show the vacuum flourescent display turned on because my digital camera is incapable of capturing it because it is scanned. However, it is there for configuration and displaying current loop and track.
• 8 stereo tracks per loop. Track 1 is the master track and the other tracks can be synchronous or asynchronous with it. Tracks can be individually turned on and off. This gives you both the ability to undo and redo.
• Audio is sampled at 48kHz with 24-bit resolution.
• Audio connectors are 1/4″ unbalanced stereo connectors.
• The DSP is fast enough to handle much more than just looping audio. I have plans to incorporate software-based effects into the unit after the looping features are mature.

Pricing:

Ah yes, the all-important question of price. I was pleasantly surprised to see Bob say this about pricing:

Final pricing has not been set, yet. You can expect it somewhere in the neighborhood of the EDP when you still were able to buy a new one. Pricing will be finalized before January NAMM

EDP’s run in the $750-$950 range, which is a great price to pay for this unit, considering it may be able to perform like a rack of 16 EDPs. Please note that this is not a confirmation of price!! I’m simply providing the traditional price range for a new EDP, which Bob referenced. Official pricing will be announced at the NAMM show.

More details:

A couple of key points to focus on, and some additional information:

Can the tracks be of different lengths? (ie.not just multiples of the master track)
Yes, it is the intent that each track can be either synchronous or asynchronous with the other recorded tracks. For example, you may have 5 tracks that are all 4 measures long. Then you may have another track that is not an even number of measures that shifts in time in relation to the others.

You can record different parts to different tracks and turn the parts on and off as you wish. In fact, each track has an independent volume control which allows you to change the volume of a recorded part after it has already been recorded. So, you could fade out a part and then fade it back in later as your composition progresses.

By default the first track you record is the track that sync tracks will be based on. However, at any given time you can choose a different track for new tracks to be synchronized to.

Will it be possible to “feed” a track already recorded into another track?
Copying from one track to another and merging multiple tracks are already on the list of features. Concatenating tracks (appending one to the end of another) is possible, but I didn’t have plans to put this in. However, the software features added will be driven by customer requests.

Does the 10 min stereo mean total track time? If so will that be upgradable?
10 minutes stereo is the total recording time at present. I have some thoughts on how to the lengthen this, but I don’t want to make any promises that have not actually been tested. Though the unit does not currently allow memory upgrades, there are other possibilities including adding a network storage device. The software to do this hasn’t been written, yet.

Whats that knob for? It looks like the mod wheel on Eventides.
The knob is a generic knob to adjust the many parameters that you can set in the unit. The display which was not lit in the picture (forgive me, I don’t have a film camera any more), will show what menu option you are currently adjusting.

Is there a footpedal in the works or will it be all MIDI?
Their are currently no plans to sell a dedicated foot pedal. The unit will work with MIDI foot controllers.

The design allows for the use of any MIDI controller that supplies program change messages. The LP1 is fully configurable. You can assign any LP1 function to any MIDI button and the programming system is fairly easy. From the front panel you select the menu item to program a button. Then you press the button that you want to program on your connected MIDI controller. Last you turn the knob to select the function that you want assigned to the MIDI controller. The procedure is very easy and allows a person to use any MIDI foot switch that they choose.

In addition, the unit has support for MIDI pedals. Currently pedals can be assigned to control track volume and track feedback. Additional functions will be added over time.

The LP1 is designed to eliminate the need for a special pedal that may or may not suit your personal taste. I’m certain that every person feels differently about what pedal works best for them. I’m very fond of my MIDI pedal board, but I know that many people use a different one than I use. The good news is that with the LP1, I get to use what I like and you get to use what you like.

Can you talk about how the LP1 implements momentary-style functions, if it uses program change commands as its method of control?
At the current early ages of the software, there aren’t any momentary functions, yet. However, when the time comes to implement them they can be brought in through continuous controller messages. A simple switch attached to an expression pedal input on a midi board will generate a CC message with different values for each of the two states of the switch.

How many layers of undo/redo are you building into each track?
There are no immediate plans for undo at this time. You can gain similar functionality by recording the different parts to different tracks. The advantage is that unlike undo, recording to seperate tracks allows you to start and stop parts in any order. Instead I would like to expand on the track idea and allow you to save and restore banks of tracks which would allow you to extend beyond the current 8 track limit.

Any plans for time-stretching or pitch-shift manipulations (ala the Electrix Repeater)?
We will investigate these after the more commonly used features are all completed. Again these two items only require software changes. So, the current electronics are capable of supporting these features.

Finally, here’s a quote from Steve Lawson, an experienced professional musician and long-time looper, who will be demonstrating the LP1 at the NAMM show in January 2006:

The pedal programming is as simple as it could be - turn the dial to the midi pedal setup area, press the pedal and then tell the unit what you want that pedal to do. So far, no matching of button numbers to parameter numbers or anything like that.

And the sync/unsync thing works beautifully - just depends on whether you press play before record on the subsequent loop. Really intuitive.

With the regular software upgrade options available via the ethernet cable, the looperlative is set to be a real revelation on the hardware looper market. It’ll take time for Bob to get all the software written that he wants to put in there, but even with the first beta software set, there were options available that I’d couldn’t have done on the EDP without hooking up all four of mine…

And it’s Stereo :o)

see y’all at NAMM/Campbell,
Steve

Exciting news on the looper front. More to come!

I suppose that many many blogs will reflect on John today. Maybe we can be reminded to reflect on all of the positive things that John gave the world more than once a year. He was just a man… with all of the flaws that come with that lofty title. Yet, he cast a light on us and helped us see what was possible.

Thank you, John.

Rest In Peace.

(Just Give Me Some Truth - John Lennon - (from: Imagine)
[audio:Lennon,John - Give Me Some Truth.mp3]

I’m sick and tired of hearing things
From uptight, short-sighted, narrow-minded hypocritics
All I want is the truth
Just gimme some truth

I’ve had enough of reading things
By neurotic, psychotic, pig-headed politicians
All I want is the truth
Just gimme some truth

No short-haired, yellow-bellied, son of Tricky Dicky
Is gonna mother hubbard soft soap me
With just a pocketful of hope
Money for dope
Money for rope

No short-haired, yellow-bellied, son of Tricky Dicky
Is gonna mother hubbard soft soap me
With just a pocketful of soap
Money for dope
Money for rope

I’m sick to death of seeing things
From tight-lipped, condescending, mama’s little chauvinists
All I want is the truth
Just gimme some truth now

I’ve had enough of watching scenes
Of schizophrenic, ego-centric, paranoiac, prima-donnas
All I want is the truth now
Just gimme some truth

No short-haired, yellow-bellied, son of Tricky Dicky
Is gonna mother hubbard soft soap me
With just a pocketful of soap
It’s money for dope
Money for rope

Ah, I’m sick to death of hearing things
from uptight, short-sighted, narrow-minded hypocrites
All I want is the truth now
Just gimme some truth now

I’ve had enough of reading things
by neurotic, psychotic, pig-headed politicians
All I want is the truth now
Just gimme some truth now

All I want is the truth now
Just gimme some truth now
All I want is the truth
Just gimme some truth
All I want is the truth
Just gimme some truth

Carol Willis from Hit & Run, the management group that represents Genesis (and Phil Collins, and Mike & the Mechanics, and…), said on December 1st:

“There are no decisions by Genesis to perform anywhere whatsoever at this time. This situation will not alter in the next twelve months.”

So, that’s pretty much… that.

I’d love to see them do it, but they certainly have no obligation to anyone.

There’s always hope. One negative statement from Hit & Run is no more convincing than the positive statements that Gabriel, Hackett and Collins have recently made in the press. Still, I guess we’re going to have to call the chances: slim & none.

And just my luck - The Musical Box’s presentation of The Lamb Lies Down On Broadway is about to leave the US. Only 4 dates left in PA, MA and NY. I’ve gotta try to keep up.
Genesis

In a previous post I mentioned my prior web hosting service - edatarack.com. They are evil, incompetent thieves and liars. Well, if I had done my homework, I would have known this before signing up. Beyond the horrible reviews they’ve received at the web hosting review sites, I also would have found THIS little tidbit, if I had been smart enough to look:

Better Business Bureau at Fort Worth
101 Summit Ave., Suite 707
Fort Worth, TX 76102

BBB Reliability Report

EDATARACK.COM
4621 S COOPER
ARLINGTON, TX 76017
(877) 218-2916
Type of Entity: INCORPORATED ,
Phone Number: (877) 218-2916
Membership Status: This company is not a member.
Type-of-Business Classification(s): WEB HOSTING
File Open Date: September 25, 2003

The information in this report has either been provided by the company, or has been compiled by the Bureau from other sources.

Customer Experience

Based on BBB files, this company has an unsatisfactory record with the Bureau due to unanswered complaints concerning service issues.

The moral of this story? DO YOUR HOMEWORK before you sign up with any online services, especially a webhost, who you will depend on to keep your website and email running reliably and secure. The other moral? edatarack.com is evil incarnate.