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Live looping is the recording and playback of a piece of music in real-time [1] using either dedicated hardware devices, called loopers or phrase samplers, or software running on a computer with an audio interface. Musicians can loop with either looping software or loop pedals, which are sold for tabletop and floor-based use.
The Metal Zone (MT-2) was released in 1991. In 1992 Boss released nine new pedals, including the Turbo Distortion (DS-2). The Heavy Metal (HM-2) distortion pedal was an integral part of the guitar sound of many styles of heavy metal music ever since. [6] The pedals all share the same 'footprint', for compatibility with pedal boards.
Ditto looper pedal. 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 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. [13]
By using a looper pedal, a singer-guitarist in a one person band can play the backing chords (or riffs) to a song, loop them with the pedal, and then sing and do a guitar solo over the chords. Some units allow a performer to layer multiple loops, enabling the performer to create the effect of a full band. [109]
The pedal also features a rarity for an overdrive pedal: an effects loop, which allows a second pedal to be connected and activated at the same time—e.g., using the Guv'nor paired with a delay effect for solos. [61] Notable players include Gary Moore, with the pedal visible in artwork for his album Still Got the Blues. [62]
An effects loop is a series of audio effects units, connected between two points of a signal path (the route that a signal would travel from the input to the output); usually between the pre-amp and power amp stages of an amplifier circuit, although occasionally between two pre-amp stages. The two principal uses of effects loops are in ...
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A phaser is an electronic sound processor used to filter a signal by creating a series of peaks and troughs in the frequency spectrum. The position of the peaks and troughs of the waveform being affected is typically modulated by an internal low-frequency oscillator so that they vary over time, creating a sweeping effect.