As Splatt noted, all these units work different so you will have to figure out the nuances to make IT work for YOU. Again, MIX down until you want to hear it if it does not do continuous recording while bypassed.

When you want to grab your material, stop the recording. Worth noting here too is that if you are using a LOOPER then RECORD a 'blank' loop for the amount of time you want to use (If not the maximum), then leave it on RECORD with low feedback/repeats. I do this quite a bit (due to Splatt's influence initially some time ago) and that is the ticket - feedback down and delay time set where you want it, mix all the way DRY until you want to hear the WET signal, then hit the infinite hold or feedback up. Torn has laid it all out for you! (as he has for so many of us so many times!) and, practise within music, with musical application. Without going into more specific depth, this takes practise. He hit the 'maximum repeats'-button/pedal (OR, better, the 'infinite closed loop'-button/pedal, for better 'phrase isolation'), Then, when the OP wants to repeat something he believes is worth repeating within his 10-20secs-past sampling window, I'd suggest the same technique, but with repeats set very low Which, again, could prove great (& useful, creatively speaking), but not might be what he's after. enough to create a tonal/sonic/ambient kitchen-sink- soup of sound. Much overdubbing ('sound-on-sound') will likely have occurred by the time he 'un-mutes' his loop. If the unit is cotinuously recording & the repeats are set high & the loop is 10-20 seconds long, This, because it sounds as if the OP might be more interested in simply isolating/repeating limited phrases he's played. My guess, here, is that the OP might be better off using this 'hidden/muted' technique,īut with the minimum repeats set on the device: no feedback, as it were, or very, very little of it

I don't believe that the specific technique that you've suggested to the OP will get him to what (it seems like) he may be seeking. I believe i likely gave (&, showed) a generalised lesson on this topic in my 1992 'instructional' videos.Įivind has graciously thanked me for my contributions (as has bill, albeit only privately). I taught some of the elementary techniques to bill frisell & eberhard weber in the '80'sĪnd have spoken in some depth about it both privately and in the music-press, on & off for decades, at this point The ability to create 'loops' (of tonal, noise & rhythmic or arrhythmic variety) without physically listening to them while they're being created,Īnd the possibilities for developing a further set of techniques to take advantage of both the predictability & the unpredictability of the results. Might be one of my own few 'legacies' to the looping community & to other guitarists: one of many, which are broader in musical effect & more generally applicable than they might seem to be in words. With sincere & due respect for the work of both eivind & nels:

Augustus loop vst