Using plogue bidule in pro tools 1st full#

“But whilst they were the best thing out there at the time as an effect/pseudo-looping solution, and they can resample into themselves, they do all of that very clunkily and slowly.” “You could do accurate subdivisions of a tempo, or multipliers of a tempo, so you could have a one-beat loop, a bar-length loop, a four-bar length loop going all at the same time, and they’d always stay in time with each other,” Beardyman says.

He says he’s tried out virtually every looping pedal that’s ever been made, and got close to approximating what he wanted to do with an arsenal of Korg KP3 KAOSS Pads ( see them in his old setup pictured to the left). “They’d always go out of time, and I’d go out of time with myself because I had one pedal going into another one, and it was all going everywhere,” he says. While it suits his personality-which he describes as “quite strongly ADD”-to follow every random whim, it has taken years, and endless hours in those years, to get technology to cooperate with his needs.īeardyman started out performing in cafés with a friend playing and looping guitar while he looped his beatbox ideas, but the loopers didn’t play well together. He builds them up, breaks them down, dissolves them, and then transitions into something entirely new. Case in point: Midway in the set, before embarking on his next improvisational excursion, he announces, “I’m going to start a song that I wrote five seconds in the future.” His ideas manifest from seemingly nothing. Listen to his set in Pune, India ( above) in October, and you’ll have an inkling of how his brain operates. Scott’s idea to collaborate musically with machines is also Beardyman’s goal. You just selected from loads of different buttons, and it made the music.” WHAT WAS MISSING His dream was for the audience to hear what it was that he had in his head by virtue of a machine that would interpret the most minimal of his movements.

He had this thing called the circle machine with this armature with a light sensor on it that would swing around a circle of light bulbs. So he inadvertently made the world’s first sequencer. Chatting with him over the phone while he was on vacation in Morocco, it’s quickly apparent that he’s something of a pioneer, inventor, and very smart dude.Īfter almost an hour of falling down the technological rabbit hole with Beardyman, he asks, “Do you know Raymond Scott?” (Beginning in the 1930s, Scott was a swing/jazz composer, bandleader, and electronic-instrument inventor whose songs could be heard in Looney Tunes cartoons.) “He decided that he needed to invent a machine that could perform for him because human musicians weren’t rigid enough or capable of performing the complex music he had in his head. To pull off his funny, improvisational sets the way he wanted, he spent six years and $30,000 building a complex live setup he calls the Beardytron 5000 mkII.

Technology simply couldn’t keep up with his demands. What beatboxer/live-production performer Beardyman (aka Darren Foreman) dreamt about doing couldn’t be done. But true innovators that move music and technology forward are doing something with more profound consequences. When they do, they aren’t necessarily making better music than songwriters writing catchy-but-been-done-before pop hits.

Using plogue bidule in pro tools 1st full#

While many of the details remain top secret, the man himself shares how he’s evolved from a simple guitar loop setup to the new custom-designed Bearytron 5000 mkII – read on for the full story!įew musicians dream up ideas that push into uncharted territory. Over the past few months, he’s been building a brand new live performance setup. Today we’re bringing you an in-depth interview with none other than one of the modern living masters of live performance and looping, Beardyman.