![]() ![]() ![]() If we strike the note immediately following the loop point a bit early, we get a glitch when the premature attack collides with the loop’s start point. If we accelerate at the end of a phrase, the loop feels wobbly. Many of us tend to speed up-and tense up-as we approach a loop point. Do you have trouble consistently creating tight, rhythmically accurate loops? It could be simple performance anxiety. Part 1: Looping Basics Get on the good foot. It’s a single-track model, yet it’s packed with features, including XLR input, amp modeling, effects, tone controls, and a tuner. With hundreds of prerecorded backing tracks, Line 6’s JM4 emphasizes practicing and jamming. This lesson doesn’t cover such topics as integrating prerecorded loops into your performances, syncing your looper with other musicians’ time-based devices, or using your looper as a practicing tool. Our focus is spontaneous, realtime looping. Digital Possibilities explores the mischief you can make when looping within a digital system, be it laptop-based or a standalone hardware rig.Multitrack Techniques focuses on arranging and performing with advanced loopers, with an emphasis on breaking out of predictable looping.Looping Basics covers tips and techniques valid for all looping devices, even the simplest single-shot/single-track models.So first, a word about how this lesson is organized: While I hope you find useful info here, not everything will be relevant to your gear, needs, and tastes. ![]() Other models let you record and play back many loops, but I don’t call them “multitrack” unless they let you combine multiple loops, or toggle between them to create multi-section compositions.) (I use “one-shot” to refer to loopers that store only a single loop, though you can overdub onto that loop as much as you like. Our bodies just seem to flail a bit less when we breathe out. Some photographers recommend snapping the shutter on the exhale for increased camera stability, and the technique often works when setting loop points. ![]() It definitely pays to consider your needs in advance and research each looper’s features. Others, like Line 6’s JM4 with its prerecorded rhythm-section tracks, emphasize jamming and practicing. Some include built-in modeling or effects. Some loopers remember your recordings from previous sessions, while others forget everything the instant you unplug. There’s much variation from model to model. Checking in between those extremes are such gizmos as Pigtronix’s Infinity Looper and Vox’s Lil’ Looper, both of which offer two tracks of looping for not much more than you’d spend on a single-track model. On the opposite end of the spectrum are elaborate multitrack loopers such as Boomerang III, Electro-Harmonix’s 45000, and Boss’s RC-300. Single-track looping also appears on digital multi-effectors such as Line 6’s DL4 and TC Electronic’s Flashback 4. On the simple side, there are compact one-shot, single-track loopers such as TC Electronic’s Ditto and Hotone’s Wally. Today’s looping devices reflect this range of applications. And some ambitious players create entire concerts from loops. Others use looper pedals for textural variation in an otherwise non-looped performance. For some, a looper is simply a handy composition tool, great for devising parts that work well together. Looping means many things to many players. ![]()
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