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27-561: The dembow rhythm is usually employed as a loop , in line with reggaeton's mainly electronic production. Described as having a "bounce", it has a 3+3+2 (tresillo) cross-rhythm with a slight syncopation on every other half-beat. While dembow is the main building block of the reggaeton genre, similar modern rhythms can be found in Africa with the genres of afrobeats , on account of their common ancestry. There are also connections with Arabic music , credited to "cross-pollination" between Spain ,

54-609: A Woman” also from the Saturday Night Fever soundtrack. That same loop was also use – though slowed down quite a bit, for the Streisand recording of “Woman in Love” produced by Albhy Galuten, Karl Richardson and Barry Gibb. When Jeff Porcaro of the band TOTO came to work with Galuten and Gibb on a Bee Gees record, he was shown the technique of creating drum loops with analog tape. Porcaro subsequently went back to California where he used

81-472: A fair approximation of the music of the spheres ." The album inspired Mike Oldfield 's Tubular Bells and Pete Townshend 's organ parts on The Who 's " Won't Get Fooled Again " and " Baba O'Riley ," the latter named in tribute to Riley and to Meher Baba . It has also inspired progressive, jazz fusion band Soft Machine 's instrumental piece "Out-bloody-rageous". A Rainbow in Curved Air has also had

108-530: A idealistic poem on the back cover, written by Riley, which depicts a world in which the Pentagon is "turned on its side and painted purple, yellow & green within a plainly psychedelic environment" and "the concept of work was forgotten." The album received a favorable review in Rolling Stone . Writing for The Village Voice , critic Robert Christgau opined positively that the "title side of this has to be

135-599: A looper pedal, a device that records the signal from a guitar or other audio source and then plays the recorded passage over and over again. In the early 1990s, dedicated digital devices were invented specifically for use in live looping , i.e. loops that are recorded in front of a live audience. Many hardware loopers exist, some in rack unit form, but primarily as effect pedals . The discontinued Lexicon JamMan , Gibson Echoplex Digital Pro, Electrix Repeater, and Looperlative LP1 are 19" rack units. The Boomerang "Rang III" Phrase Sampler, DigiTech JamMan , Boss RC-300 and

162-419: A player might loop what they play on an entire verse of a song in order to then play along with it, accompanying themselves. Loops can be created using a wide range of music technologies including turntables , digital samplers , looper pedals , synthesizers , sequencers , drum machines , tape machines , and delay units , and they can be programmed using computer music software . The feature to loop

189-408: A section of an audio track or video footage is also referred to by electronics vendors as A–B repeat . Royalty-free loops can be purchased and downloaded for music creation from companies like The Loop Loft, Native Instruments , Splice and Output. Loops are supplied in either MIDI or Audio file formats such as WAV , REX2 , AIFF and MP3 . Musicians play loops by triggering the start of

216-512: A series of albums on the American experimental music scene titled "Music of Our Time," which would eventually include recordings by Steve Reich , Pauline Oliveros and Richard Maxfield . The first of Riley's releases on CBS was a 1968 recording of In C ; the second would be A Rainbow in Curved Air . A Rainbow in Curved Air was an early recording at CBS to utilize a professional eight-track recorder. The largely improvisational nature of

243-413: A significant impact on the developments of minimalism , ambient music , jazz fusion , new-age music , progressive rock , and subsequent electronic music . It foreshadows the later overdubbed instrumental works composed by Steve Reich . The 1970s progressive rock band Curved Air named itself after this album. Some of the music on this album was used as the background accompaniment of The Guide in

270-427: A slapback echo effect by using both mechanical and handmade tape loops. These techniques were later adopted by hip hop musicians in the 1970s. Grandmaster Flash 's turntablism is an early example in hip hop . The first commercial drum loop was created for the song “Stayin’ Alive” for the movie Saturday Night Fever by Albhy Galuten and Karl Richardson. It was created by recording two measures of drums from

297-460: The Arab world , and sub-Saharan Africa . At the beginning of the 1990s, there existed several closely related Jamaican-origin dancehall riddims revolving around a "boom-ch-boom-chick" sound such as the "Bam Bam riddim" or the "Fever Pitch riddim". Added to this group was the beat of Shabba Ranks' song "Dem Bow", which became known as the "Dem Bow riddim". The song's popularity resulted in the adoption of

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324-532: The Electro-Harmonix 2880 are examples of popular pedals. As of December 2015, the following pedals are currently in production: TC Ditto, TC Ditto X2, TC Ditto Mic, TC Ditto Stereo, Boss RC-1, Boss RC-3, Boss RC-30, Boss RC-300 and Boss RC-505. The musical loop is one of the most important features of video game music . It is also the guiding principle behind devices like the several Chinese Buddhist music boxes that loop chanting of mantras, which in turn were

351-478: The "dem bow" name to describe the entire nascent genre that would eventually come to be known as reggaeton. The term "dembow" today commonly refers simply to the drum beat of reggaeton, which, while retaining its core "boom-ch-boom-chick" sound, has stylistic variations. Loop (music) In music , a loop is a repeating section of sound material. Short sections can be repeated to create ostinato patterns. Longer sections can also be repeated: for example,

378-459: The Phantom Band" is a saxophone -based drone piece featuring tape loops and edits, drawing on Riley's all-night improvisatory performances in the 1960s. Riley's record deal with CBS was part of "Music of Our Time," a short-lived album series on American experimental music helmed by CBS employee David Behrman , who also facilitated the release of Riley's 1968 album In C ; these two were

405-513: The Phantom Band", the B-side of his influential 1969 album A Rainbow in Curved Air uses tape loops of his electric organ and soprano saxophone to create electronic music that contains surprises as well as hypnotic repetition. Another effective use of tape loops was Jamaican dub music in the 1960s. Dub producer King Tubby used tape loops in his productions while improvising with homemade delay units. Another dub producer, Sylvan Morris, developed

432-435: The contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology. The album was produced using Toshiba-EMI 's LMD-649 digital PCM sampler , which engineer Kenji Murata custom-built for YMO. Today, many musicians use digital hardware and software devices to create and modify loops, often in conjunction with various electronic musical effects. A loop can be created by

459-663: The inspiration of the Buddha machine , an ambient-music generating device. The Jan Linton album "Buddha Machine Music" used these loops along with others created by manually scrolling through C.D.s on a CDJ player. Sources A Rainbow in Curved Air A Rainbow in Curved Air is the third album by American composer Terry Riley , released in 1969 on CBS Records . The title track consists of Riley's overdubbed improvisations on several keyboard and percussion instruments, including electric organ , electric harpsichord , dumbec , and tambourine . The B-side "Poppy Nogood and

486-435: The instruments on the title track: electric organ, 2 electric harpsichords (a Baldwin electric harpsichord & a RMI Rock-Si-Chord ), dumbec , and tambourine . The piece moves through several sections; following the opening theme and introduction of "placid chords," Riley introduces "an explosion, a procession of right-hand lines that flutter and pirouette over the pulsing rhythmic patterns." The calmer second half of

513-403: The method he had learned to create the drum loop that was used by Toto as the foundation of the song Africa . The use of pre-recorded, digitally- sampled loops in popular music dates back to Japanese electronic music band Yellow Magic Orchestra , who released one of the first albums to feature mostly samples and loops, 1981's Technodelic . Their approach to sampling was a precursor to

540-631: The mid-1960s. Terry Riley is a seminal composer and performer of the loop- and ostinato-based music who began using tape loops in 1960. For his 1963 piece Music for The Gift he devised a hardware looper that he named the Time Lag Accumulator, consisting of two tape recorders linked together, which he used to loop and manipulate trumpet player Chet Baker and his band. His 1964 composition In C , an early example of what would later be called minimalism , consists of 53 repeated melodic phrases (loops) performed live by an ensemble. "Poppy Nogood and

567-613: The most successful LPs in the series. The album subsequently influenced a number of rock and electronic productions. In the late 1960s, composer David Behrman was working for CBS Records 's Columbia imprint as an editor when he visited Terry Riley in his New York apartment, witnessing his use of tape loops as accompaniment for his saxophone playing (achieved via the use of two Revox tape recorders running into one another). Riley had previously used this tape loop approach for productions such as Music for The Gift (1963). In 1967, Behrman had received permission from CBS to curate

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594-603: The musical sequence by using a MIDI controller such as an Ableton Push or a Native Instruments MASCHINE. While repetition is used in the music of all cultures, the first musicians to use loops in the sense meant by this article were musique concrete and electroacoustic music pioneers of the 1940s, such as Pierre Schaeffer , Halim El-Dabh , Pierre Henry , Edgard Varèse and Karlheinz Stockhausen . These composers used tape loops on reel-to-reel machines, manipulating pre-recorded sounds to make new works. In turn, El-Dabh's music influenced Frank Zappa 's use of tape loops in

621-488: The original BBC Radio 4 series of The Hitchhiker's Guide to the Galaxy by Douglas Adams . It was sampled/copied as the sound effects for the 1980 arcade game Moon Cresta. On April 26, 2007, Riley gave a live performance of A Rainbow in Curved Air (Revisited) . Necessarily, he had to be assisted by other performers: Willi Wynant on percussion and Mikhail Graham working synthesizers and samples. The album's title track

648-432: The playing of John Coltrane ). Riley used a time lag accumulator, consisting of two tape machines, looped audio tape, and a patch cord . The titular Phantom Band refers to Riley's tape delay accompaniment. A note on the album explains that "The spatially separated mirror images were adapted for studio recording by Glen Kolotkin and resemble the sound Terry gets in his all-night concerts." The original LP jacket includes

675-472: The recording features shorter, high-register keyboard lines which syncopate with the music's modal base. The B-side of the original LP is titled "Poppy Nogood and the Phantom Band." It is a saxophone -based drone piece featuring tape loops and jump cuts. The piece is a version of the performances given at Riley's "All-Night Flight" concerts in the late 1960s. It employs overdubbing, with Riley again playing all instruments (including saxophone inspired by

702-450: The song “ Night Fever ” and recording them onto a two-track analog tape which was then fed between the capstan and the pinch roller. Because the loop was about 30 feet long, it was fed out to a 7” plastic reel for ballast which was hung over the arm of a microphone stand before the loop of tape returned to the take-up reel. This same loop was later used by the Bee Gees for the song “More than

729-463: The work, based on modal scales, owes much to Riley's background in jazz improvisation and interest in Hindustani classical music . Jazz pianist Bill Evans , one of Riley's piano "heroes", had utilized overdubbing on his classic album Conversations with Myself from four years earlier. Riley would intensify this overdubbing approach with added instrumentation. Using overdubbing, Riley plays all

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