The Logic Off Topic list

> Från: GAmoore@...
>> >  Try this one: "Why did Charlie Parker have to play so fast? He would
>> >have much better control if only slowing down a bit!"  ;)
> 
> There are a lot of differences in your analogy. But if he could slow
> down, play it perfect, then speed it back up again during performance I
> think he would do it. Also, he is actually playing and enjoying the vibe.
> When you hit the C key and it plays and arp, you're not following your
> muse, your synth is.

Oh, yes - not the best analogy maybe, but funny. I just wanted to show that
"having great control" on a muscally detailed level is not the big thing in
using an arp. What you gain from  arps is hearing these lines on the spot
and in real time. I wrote this in countrary to you example with the pencil
tool in Logic, that I thought missed the point.

Of course a very experienced composer won't need arps because he might
already know those scales and arpeggios as objects of their own, thus being
able to use them in his imagination for comosing. But before you get to that
point it's a BIG time saver to program an arpeggiator for trying out which
note sequences that work best for you.

If your definition of "using an arpeggiator" is "hitting a C and see what
happens" I cannot argue any more. I'm talking about a creative use of arps,
mostly software based ones.  Checking out the IGA for the Logic environment
was a big awakening for me. Here you can trig the arp with the groove form
another track while playing chords that generate sequences. You can also set
up rather detailed rules for the "arping". Then we have the whole next level
of arp use which is "sound". I definitly think you're letting your muse out
while adjusting synth filters, attack times etc to a repeating arp line.
Those things cannot be "penciled in the matrix".

Just a bunch of coins on up sides of arps.

Regards

Per boysen 


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