
01—Chase Bliss Audio
Blooper
Turning the looper from a utility into an instrument — the ambient performer's most-used pedal.
The only looper that actually changed the form. If you play live without a band, this earns its place.
02—On the bench
Chase Bliss's looper — but designed by people who think loopers should be instruments, not utilities. Blooper has two 'modifier' slots and two 'modulator' slots that let you alter the loop after you've recorded it: pitch, stutter, filter, decay, reverse, rearrange. The loop is the source material; the pedal is the destructive editor. Where a Ditto loops cleanly and forgets, Blooper remembers and mangles. It rewards players who treat the loop like a sample to be sliced and re-pitched, not like a backing track. Compact stereo I/O, MIDI clock sync, and Chase Bliss's bent-volt preset system. The pedal that broke the looper-as-utility paradigm.
- 01modifiers permanently alter the loop
- 02modulators alter it on the fly without committing
- 03stutter and reverse work musically, not as gimmicks
- 04stereo loops sync to MIDI clock
- 05presets recall the loop itself, not just the settings
03—In the room
Where else this pedal lives.
- Andy Othling
- Sarah Lipstate
- Christopher Tignor
Boss RC-505 MkII if you need more loop tracks; Blooper if you want the loop itself to evolve.