Tag Archives: livelooping

Florence Live Looping jam # 1+2+3

This is the first improvised session, from the “Anteprima” of the “First International Live Looping Festival – in Rome”, that took place on the 6th june 2009 www.livelooping.it
This recording was taken in Florence on the 3th june 2009, at the “Anfiteatro dell’Anconella”.

Rick Walker (USA)
Per Boysen (SE)
Fabio Anile (IT)
Sjaak Overgaauw (BE)
Koan Loop Ensemble (IT) (Massimo Liverani, Massimo Fantoni, Claudio Canaccini, Fabio Capanni, Fabrizio Orrigo)

Video clip from my Rome concert

I just got this video from Milco who was filming my gig at Dimmidisi Club on june 6. It was a lovely evening with quite a big audience and many exciting performers. Isn’t it wonderful that today’s music gear in a laptop lets you create this massive music with just one flute! No pre recording – just you and your instrument, instantly composing as you go and arranging on-the-fly with livelooping techniques. I-just-love-it! :-)

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Sounds and pictures from Blekinge Jazz & World Music 2009

Workshop: live looping

Live Looping workshops all week long

Fifty people got together for a week during the Swedish summer to improve in music. I was one of seven teachers and my focus at the camp was live looping. On the first day students were organized into six ensembles as to provide a varied instrumentation within each group. I did one mandatory live looping workshop with each ensemble plus a couple of opt-in open classes. Click the player below and listen to this five minute medley what exciting music the students came up with!
[audio:http://www.perboysen.com/audio/BJWM2009_looping_medley.mp3|titles=Live Looping Workshops Medley|artists=Deltagare vid Blekinge Jazz World Music 2009]

Workshop details:
After a short demonstration – where I explained a few basic commands like record, overdub, multiply and reverse – the ensemble sat down with instruments around a microphone and control MIDI pedal. One person created the first loop and then the next person in turn was to add something. I gave no musical directives – what you are hearing in this recording is just the music that was spontaneously improvised during the collective looping process.

Technical details:
We were using the freeware live looping software Mobius as an AU plug-in hosted by Apple’s Mainstage on a laptop. The MIDI control pedal board was a Behringer FCB1010. When a looping piece felt finished and no one wished to add more playing, I saved all loops by the Save Project command in Mobius. After the camp week I imported all those loops into Logic to mix and create this medley.

The Student's Concert

Listen to the final concert!

At the end of the week the students performed a public concert in front of an audience. Since I had a laptop I decided to record the concert with two stereo crossed microphones. Click the media player below to start the one hour concert stream:

[audio:http://www.perboysen.com/audio/01_stenristarna.mp3,http://www.perboysen.com/audio/02_emigrantvisa.mp3,http://www.perboysen.com/audio/04_woman.mp3,http://www.perboysen.com/audio/05_there_wont.mp3,http://www.perboysen.com/audio/06_spelmannen.mp3,http://www.perboysen.com/audio/07_allofme.mp3,http://www.perboysen.com/audio/08_malaika.mp3,http://www.perboysen.com/audio/09_lisbet.mp3,http://www.perboysen.com/audio/10_tango.mp3,http://www.perboysen.com/audio/11_katarinas.mp3,http://www.perboysen.com/audio/12_theherd.mp3,http://www.perboysen.com/audio/13_varldensfralsare.mp3,http://www.perboysen.com/audio/14_arabisk.mp3,http://www.perboysen.com/audio/15_hurduvander.mp3|titles=Stenristarna,Emigrantvisa,Woman On Vidda,There Won’t Be Another You,Spelmannen,All of Me,Malaika,Lisbet and The Hobyz Medley,Tango,Katarinas Humpa,The Herd, Världens Frälsare,Arabisk sjuåtta,Hur du än vänder|artists=BJWM2k9 Students and Anders Hagberg,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students,BJWM2k9 Students]

While you are listening to the concert you may like to check out my pictures from the camp week!

If you have additional picture or video links to share, please post them here in the comment section!

During the week I had one hour off and decided to use the free time to attend Kristofer’s workshop Percussion As Second Instrument:

And here’s the slow version, for all of us thick-heads… Please follow the master:

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“First Meeting” trio concert downloads

One night in Mars 2009 I met up with these two guys to play a completely improvised concert together. They had been playing together before, but not with me, so I was excited not to know whatever to expect on stage. It turned out great fun though and someone was even recording it.

We’d like to share these seven pieces that were born on stage that night:
[audio:unitrack4a.mp3,unitrack3a.mp3,unitrack3b.mp3,unitrack3c.mp3,unitrack3d.mp3,unitrack3e.mp3,unitrack3f.mp3|titles=Improvisation 1,Improvisation 2,Improvisation 3,Improvisation 4,Improvisation 5,Improvisation 6,Improvisation 7|artists=Kristofer Johansson / Niclas Höglind / Per Boysen,Kristofer Johansson / Niclas Höglind / Per Boysen,Kristofer Johansson / Niclas Höglind / Per Boysen,Kristofer Johansson / Niclas Höglind / Per Boysen,Kristofer Johansson / Niclas Höglind / Per Boysen,Kristofer Johansson / Niclas Höglind / Per Boysen,Kristofer Johansson / Niclas Höglind / Per Boysen,Kristofer Johansson / Niclas Höglind / Per Boysen]

Kristofer Johansson: cajon, snare drum and other percussive objects.
Niclas Höglind: 8-stringed guitar, Apple Mainstage laptop.
Per Boysen: fretless guitar, alto flute, EWI, Apple Mainstage laptop.

An interesting aspect of this group improvisation is that we were instantly recording ourselves and arranging this live looping to go with the bands playing. This was done with MIDI foot pedals and the live looping software Mobius.

Niclas and Kristofer are also active with Unit.

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Rome International Live Looping Festival

On June 6 Rome will experience an extraordinary music festival. The first of its kind in Italy to feature some of the worlds most creative live looping musicians.

Rick Walker (CA-USA) Headliner
Michael Peters (DE) Featured performer
Per Boysen (SE) Featured performer
Bernhard Wagner (CH)
Leander Reininghaus (DE)
Sjaak Overgaauw (BE)
Massimo Liverani (IT)
Paolo Cimmino (IT)
Fabio Anile (IT)

Already on June 3 there will be a mini festival in Florence!
“Best of Show”
presenting Rick Walker, Per Boysen, Sjaak Overgauuw, Massimo Fantoni, Koan Loop Ensamble and Fabio Anile.

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Concert in Gothenburg, April 8th

Springtime in Sweden always starts at the west coast. It’s an honor for me to share an evening at BrÖtz in Gothenburg with Lloyd and Harald Svensson! The club is located in Konstepideming at Linnéplatsen, tram line 1 or 6. Street address “Karl Eric Hammaréns backe”. The beautiful poster below, fearlessly  mutilated by me, was designed by Karin Linderoth.

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Steppophonic Looperformer – please steal this!

I’m sharing this awesome idea for an awesome electronic instrument! I’ve been longing for a Steppophonic Looperformer for almost a decade and now I’m giving away the idea for free in the hope that someone will develop it as a software plug-in, a Max For Live mockup for Ableton Live 8 or maybe integrated in Numerology 2.0 Pro. Or whatever… it’s free – grab it!. Creative Commons license applies as stated below.

What is it?
The Steppophonic Looperformer is a step pattern sequencer driven real-time sampler (to be implemented by software). If the sample button is pressed down it samples audio from the system audio input and instantly plays it back according to the looping pattern (patterns can form chords, bass lines… whatever, and you may modify/swap patterns as you go). The idea is that a vocalist, trumpet/clarinet/sax etc player shall play the Steppo to orchestrate multi-timbrally on-the-fly while also playing the lead.

What makes this new and unique is not “looping” or “sampling” but that it’s a real-time system, optimally playable in a musical sense. You can run through chord progression that are composed or improvised on the spot as in Keith Jarret’s legendary piano example, and do it in a techno style sequencing context that still fetches its sounding source component from the acoustic instrument you are playing. So you are totally in control, expressing yourself.

The length of the sample depends on how long the sample button is pressed down. Duration of the note playback is controlled by its own parameter though. When sampled the audio snippet is kept in RAM, looped and split into as many monophonic voices/instances as there are DOTs set up in the grid (or an absolute number, spanning four octaves, if that is easier to program, not having to deal with voice allocation). The vertical grid axis represents pitch (12 half note pitches) and the placement of each dot on this vertical axis controls the playback Rate/Speed of the sample (“pitch”). The horizontal axis represents the loop of the pattern. In the example pattern above we are running a 12 beats long pattern, but the number of steps should be controllable by MIDI (so you can “sweep” the looped pattern’s length continuously while playing, as you can also “sweep” the Steppo’s relation to the global tempo). Normally the grid beats correspond to musical beats, i.e. an eighth note – but that can be changed by a “tempo divisor/multiplier” parameter. A dot may be set to play back at another octave than the grid displayed octave and is then displayed with a special color (in order to keep the graphics minimal). Each note can also be given a Release value to make it fade out slowly (release value “playable by MIDI”). Every voice/pitch is monotimbral – meaning that if using really long samples each new note will overtake a note that is already sounding at the same pitch.

How to use it?
Run it on a laptop while singing, or playing, into the audio input. Kick a foot button to snag a note now and then to feed the pattern. Snagging a different note will result in a parallel pitch transformation of the pattern. Another way to move the music is to change pattern while keeping the same sample. It is a creative way for singers and monophonic instrumentalists to improvise chord patterns and melodies simultaneously.

An interesting aspect is that note pitches are generated as in old-school samplers, by Rate/Speed shifting. This means that if you record a longer snippet where you play a rhythm this rhythm will sound faster at higher pitched notes. But you can also record a short snippet but keep the duration set to longer notes and this will result in the sound of a sequenced old-school sampler (looped short samples playing long notes).

One Bank holds twelve Patterns. These twelve patterns correspond to the twelve notes of the octave. Users should be able to set up the patterns to support any major, minor or personally weird key/scale. That way “chords”, “keys” or “song parts” can be assigned to separate foot pedals. What I think is cool with this is that it opens up for very free multi harmony imrovisation. However, the actual sounding tonal center depends on what sounding pitch is fed into the Steppophonic Looperformer.

Bottom line: While playing a lead instrument or/and singing you can use a simple MIDI foot pedal board to direct the Steppophoner into any sort of chord progression – even on-the-spot improvised. And it really is an instrument because you can change the sound of the whole shebang in a blink by simply exchanging the sample for a note with a different tonal character. And of course you snag the sample seamlessly from your lead singing/playing, making it an instant performance process.

Here are a couple of loose ideas that would be cool to have:

  • Duration value (long/short note with abrupt ending)
  • Release value (fade out ending)
  • Release Pitch Fall (with parameters “amount” and  “speed” of fall, assignable to DOTs or Grid Positions)
  • Release Pitch Rise (with prameters “amount” and “speed” of rise, assignable to DOTs or Grid Positions)
  • Scrolling “Tempo Divide/Multiply” in musical values (i.e. half note, dotted, triad)
  • “Tempo Divide/Multiply” value optional to follow Hard Sync (see below)
  • Hard Sync parameter (how many steps until the downbeat will be forced to happen on the global tempo bar cusp. Great for landing on your feet when returning from “granular rhythm chaos bursts”)
  • The DOTs can be put in with the mose but should also be programmable by live MIDI (as you work with an MPC). If you play a MIDI Note into the Steppo while in “Adapt Mode” a DOT will be placed at the grid cusp closest to where you played that MIDI Note. If you keep the Steppo in “Adapt Mode” and play the same note at the same point in the pattern the DOT will be deleted from the grid pattern. This way a performer can both catch new audio of different pitch into the same pattern, swap to another pattern or PLAY a new pattern as you record drums with MIDI pads.

I’m not a programmer, just a musician that would love to have this instrument (I’d rather spend a day playing music than programming code). So I’m giving away this idea for free to whomever wants to give it a shot. To tell the truth I have been longing for the Steppophonic  Looperformer for almost a decade and even suggested some software companies to pick it up, without any luck so far. But I hope the odds are optimal now, because great programming tools are in the hands of talented individuals and product developers while the commercial players start to support grass root community collaborations (much thanks to the compute gaming industry I would guess).

Existing products, that I know of, that sort of lives in the same building as this idea are GURU by FXpansion, Numerology and the Granulaterre plug-in of Logelloop. But they all miss out on some points (…so far) that I think is important.

Here’s a listening example. The Steppo is what here makes it possible for me to play both the chords and bubbling bass line within the same flute performance.

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How to use chord progression in live looping

When you loop live it can be quite a challenge to make use of such a basic musical component as a simple chord progression. This may have to do with the sad fact that some looping devices can only play one loop and this loop can not be re-pitched either. Not much to do about that, I’m afraid. The two techniques I’m about to describe relies on using many loops and on modulating the pitch of one loop. As an example I have uploaded this video where I play a song with a melody theme that stretches over a progression of five chords. I create these five chords in the beginning of the piece, as separate loops, and then I simply swap loop as the melody passes through the chord progression. At the middle section, the breakdown, I change key from minor to major by pitching up the dominant chord of the minor key five half steps. This makes this major chord land at the tonica pitch – and so we’ve moved from minor to major in the same key! Notice how the rhythm of the loop changes as its pitch is being modulated. This happens because I’m using Rate/Speed Shift rather than Pitch Shift combined with Time Stretch. Since I’m overdubbing two layers of eight note arpeggio playing, to build “a chord”, this Speed Shift break-down section also goes into some odd grooves. I think those kinds of “poly rhythm accidents” are great fun and a reason I  love varispeed and don’t miss the time calculated pitch shifting function I had with that old Repeater (looper) back in the days.

Gammal fäbodspsalm (Old Cottage Psalm) from Per Boysen on Vimeo.

The Bare Bones Course
For those of you who want to know exactly what is going on in this live looping performance, here’s a step by step walk-through (using Mobius software looper):

  1. Kicking “Record” EXACTLY on the first downbeat as I play the arpeggio of the first chord, B minor.
  2. Kicking “Overdub” EXACTLY as I play the fifth note in the arpeggio. This causes four things to happen: (1) the arpeggio loop starts playing back the first four notes I just played in a loop, (2) my recent playing will overdub a second layer to the loop and (3) the technical tempo is set by my looper (Mobius standalone software looper) and a MIDI Clock signal is sent out through the OS X IAC Bus (internal MIDI pipe system on Mac). (4) My pre amp and effect rig software, Apple MainStage, is receiving the MIDI Clock tempo signal and corrects its tempo setting to follow what I’m playing and looping. If you listen carefully you may hear a filtered delay slap-back gated to short 16th note slices behind the 8th notes I’m playing. This is a typically useful application of musically synced effects in MainStage. I hope this explains why I don’t like to play live looping with a click track; it’s more fun to start playing as you feel the music coming out through you rather than adapting to a machine. I don’t mind a lot of machines adapting to my own playing though. That’s sort of the point in using instruments – you express yourself through them and not the other way around :-)
  3. Kicking “NextLoop” somewhere before the loop reaches its turnaround point. My looper is set to “SwitchQuantize=Cycle”, which means the first loop I record sets the resolution for when all kind of “switching” commands will be applied. I like it that way because you can relax and focus on the music; just kick the pedal at any point during the last cycle before you want the switch to happen.
  4. The looper switches from Loop 1 to Loop 2. Now the old loop I just recorded stops playing back and nothing else plays back instead, since this is a new and yet empty loop. I have set up my looper to behave like this when selecting an empty loop slot: creating a new loop of one cycle’s length and putting it into Overdub Mode. So, you see the point; that I can seamlessly start to overdub my live playing into a new loop (Loop 2) that has the same length and tempo as the first one I created. In this piece of music one loop cycle equals one musical bar and that makes it easy to play a different arpeggio for the second chord (F# major) without loosing the tempo. This time I don’t have to worry about kicking pedals with a precise timing. I play the F# major arpeggio for two bars and make sure I kick the “NextLoop” pedal again during the second bar/cycle.
  5. The looper switches from Loop 2 to Loop 3. I perform the same routines but with the difference that I now play other notes: an eight note based arpeggio matching the chord A major.
  6. The looper switches from Loop 3 to Loop 4. I perform the same routines but with the difference that I now play other notes: an eight note based arpeggio matching the chord G major.
  7. The looper switches from Loop 4 to Loop 5. I perform the same routines but with the difference that I now play other notes: an eight note based arpeggio matching the chord D major.
  8. Kicking “Direct Call Loop 2”. Loop 2 is the F# major chord arpeggio and I want to start the melody line with an upbeat from that chord.
  9. Stepping through the loops while playing the melody. Now, the song doesn’t utilize the chords in the same order I created the chord arpeggio loops. On the MIDI pedal I now kick this sequence while playing: “Loop 1, Loop 2, Loop 1, Loop 3, Loop 4, Loop 5, Loop 2”. The melody stays for two bars in each loop except for Loop 4 which goes on for 4 bars.

The mid section, where I change the Loop Speed/Rate, uses only Loop 2, the F# major arpeggio. This is a different technique to induce chord change in live looping and I like it better because it is all open for improvisation. I have a pedal bank set up to speed shift a loop into any of nine optional intervals. If you know the intervals and the key of the source loop, then you have all the information needed for improvising melodies as you also improvise chord progressions. I use to compare this to two hand improvisation on the piano; not very complicated at all, you just have to get used to dividing your consciousness into following and coordinating two simultaneous processes. This is a powerful technique for doing what I call Instant Composition, improvisation that also includes musical structures. I’ll post a video on that later, because I’d love to see more live looping musicians follow into this exciting new field!

You can learn more about and download Mobius at circularlabs.com

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