Obviously, with the way I play solo, technology has a big influence on the direction my music heads in. I feel rather pleased that I got the concept right on my first album (at least, right in the sense that I found a way of performing that let me say what I wanted to say), but the limitations at the time were the technology that I had available to me. even that was part-way along a journey that began when I got my first effects unit (a Korg A4) in 1993. Looping entered the picture in about 95 when I got an ART Nightbass, which has a 2 second sample and hold function, which piqued my interest, and which great hugely when I was sent a Lexicon JamMan to review for Bassist Magazine in 1997 (truth be told, the JamMan was already out of production by then, but having read an interview with Michael Manring in ’95, I’d been wanting one ever since, so managed to get the last one that Lexicon had in the UK, wrote a review of it, and created a demand for a product that was no longer available..!)
Anyway, the JamMan had 8 seconds of loop time when I got it – a huge jump up from the 2 seconds in my Nightbass and that provided me with ample experimentation room (if anyone remembers the very first version of my website, when it was on ‘zetnet’, before I got the steve-lawson.co.uk domain, each page had a soundtrack loop, created with the jamman, a CD player for getting drum loops, and my basses, and none of the loops were more than 8 seconds long, cos that’s all I had.
I saved up my pennies and upped the memory in the JamMan to 32 seconds in 98/99, and by the end of 99, played my first solo gig and wrote the tunes that became And Nothing But The Bass, with one looper and my Lexicon MPX-G2 processor. I managed to do some clever things with manual fadeouts (the middle of Drifting on that album has me fading out the JamMan underneath some ambient stuff, then running the ambient loop down to silence for a split second so that I could start looping again to go into the second half of the tune!)
The possibilities with a second looper soon became apparent and a DL4 was procured for another Bassist magazine article. That gave me a whole load more possibilities with backwards and double speed loops, and was used to great effect on Conversations.
The along came the Echoplex – I’d seen Andre LaFosse using one in California, and while not wanting to sound like him, saw what the possibilities were for all those fantastic multiply/undo/substitute and feedback functions. So I got one, and recorded Not Dancing For Chicken with an Echoplex and a DL4 (I think the JamMan was still in the rack at this point, but I didn’t use it). Then I got a second Echoplex, just in time cos my DL4 died… and eventually ended up with four, though I rarely had more than two hooked up at a time. Open Spaces was done with two Echoplexes and the Lexicon (and Theo using a DL4).
The next development stage was an important one – post-processing. With the way I’d been looping all along, the signal chain went fingers-bass-processor-looper-amp. the problem with that was that once it was in the looper, I couldn’t re-process it. I could do some fairly major restructuring of it with the Echoplex, but couldn’t put more reverb on, or delay, or whatever. So I got a second Lexicon unit, and started to be able to route my loop signal, or the signal from the first Lexicon, into it. And that’s how Grace And Gratitude was done – that string pad-like sound that comes in on the title track is me running the loop through a huge reverb and two delays (the Lexicon with my Kaoss Pad in its FX loop).
And that’s how my setup stayed until the end of last year. I started work on a new album towards the end of September, but soon stopped again, when the marvellous Bob told me about his new invention, the Looperlative – Bob had been talking about building a looper for a long time, but now he had the parts and was building his first prototype, and had a feature list, that made it clear that it would completely change the way I was able to perform. the biggest change simply being that it was stereo, so all those lovely ping-pong delays and high-res reverbs would stay intact when I looped them. Oh yes.
The story since then is fairly well documented elsewhere on this blog (just do a search on Looperlative), but the latest developments have been a string of software updates over the last four or five days, that have sent the Looperlative into overdrive. It already has 8 stereo channels, over four minutes of loop time, zero latency and an ethernet port for all those lovely updates, but now Bob has implemented a load of new features, the two best ones being the ability to program up to 8 (EIGHT!) functions to any one midi pedal to happen simultaneously (which means you can have it so that you’re in record, end the loop, reverse it, switch to the next loop, sync it, switch to half time and start recording all with one button push, for example!). The possibilities are enormous. The other great new function is ‘cue’ which arms a track for record, to start recording as soon as any other track is stopped, so if you use the synced stop, you can have it so that you start recording the moment the previous track stops playing, and you can then switch backwards and forwards between them as verse and chorus (or up to 8 different sections to switch between).
So the process of writing and arranging solo music just got way harder in one way, and way easier in another. suddenly the technology is there to do much more complex arrangements that I’ve ever done before, in stereo, with minimal button pushing, but I’ve got to conceive of what’s possible, program the box and experiment before the ideas can evolve… I’m guessing that each track will start the way they always did with me – a single loop which I start layering, and eventually realise needs another loop. And I now have a whole other range of options to start imagining as I go on. I’m rather excited about what this means for the next album!
If you’re into looping, you owe it to yourself to check out the Looperlative – there really is nothing like in on the hardware market (and if you’re like me, the temperamental nature of laptops means that hardware is the only way to go. All hail Bob of the Looperlative, granter of wishes and builder of dreams.
2009 was a fairly easy-going year, music-wise for Lobelia and I. We played a load of US shows in January, and a handful of other shows across the year, but it was mainly pretty low-key stuff.