Blooper

How loud your recorded loop is compared to your live playing. Straight up (noon) means the loop matches your normal level; turn it right to make the loop louder. If you've turned on the built-in modulation feature, this same knob instead controls how fast that automatic movement happens.

tip: Leave it at noon for natural looping. Only when you activate internal ramping via dip switches does it become the 'Ramp speed' control — the printed 'RAMP' label above the knob reminds you of this dual purpose.

Think of your overdubs as a stack of pancakes. Turn this left to peel layers off the top (undo your recent additions), turn it right to put them back. It's great for removing a mistake or performing by dropping parts in and out. Important: it's cumulative — going back to layer 3 means you hear layers 1 through 3 together, not layer 3 alone.

tip: Because it's really Undo/Redo, if you rewind to an earlier layer and record something new, everything after that point is erased for good. Use this deliberately for arranging on the fly.

This decides whether your loop holds forever or slowly dissolves like a delay's echoes. All the way right means classic looping where nothing disappears. Turn it down and your layers gradually vanish as you keep overdubbing, turning Blooper into a delay-style or ambient wash machine.

tip: Keep it maxed for normal looping. If your loops keep mysteriously fading away, that's this knob — not a malfunction. Crank it down to use Blooper like a tape delay or for Frippertronics-style playing (remember it only fades while recording).

This is the 'amount' dial for whichever effect you've assigned to the A slot. Noon is always the safe, do-nothing middle. Turning left does one thing (e.g. reverse, low-pass, slow down) and turning right does the opposite (e.g. forward, high-pass, speed up), depending on which modifier is loaded.

tip: Remember noon = neutral for every modifier, so you can always return to center to 'zero out' an effect without turning it off.

This makes your pristine digital loop sound like it's playing off an old, slightly broken tape machine — pitch wobble, hiss, and softened frequencies. Off (fully left) keeps things clean. In Additive mode, each time you re-record with Stability up, the loop degrades a little more, so you can literally hear it decay over time.

tip: Set Stability to maximum and hit record in Additive mode to watch your loop dramatically fall apart pass by pass — a signature Blooper move. For clean loops, keep it fully counter-clockwise.

Same idea as Mod A but for the second effects slot. Noon is neutral, and the two sides of the knob give opposite versions of whatever effect is loaded. You can run A and B at the same time for layered mangling.

tip: Combining a Modifier on A with one on B is where sound-design chaos lives — but note some processing-heavy modifiers (Pitcher, Stretcher) can't run simultaneously with certain others.

This little switch picks which of three possible effects is loaded into the A knob. Flick it up, middle, or down to choose modifier 1, 2, or 3 from your current bank.

tip: Use the BLIP software to load different modifiers into these three slots (and use Bank A/B dip switches for alternate sets), so you can customize your palette of effects.

The most important switch on the pedal — it changes Blooper's whole personality. NORM = safe, predictable looping where effects don't get recorded. ADD = the wild mode where effects pile into the loop and evolve it. SAMP = quick, performance-style sampling where each recording replaces the last and you fire samples with the right footswitch.

tip: Your audio travels with you when switching modes, so build a loop in Additive, flip to Normal for clean overdubs, then flip to Sampler to trigger the whole thing as a one-shot.

The counterpart to the left toggle — it picks which of three effects is loaded into the B knob. Flick to choose modifier 4, 5, or 6.

tip: Pair complementary modifiers across A and B (for example a filter on one side and a pitch effect on the other) for musical, controllable combinations.

Your main record button. First tap starts recording, second tap ends the loop and starts playback, and further taps flip between overdubbing and just playing. Holding it does a smart 'one-shot' that records exactly one lap of the loop then stops itself — perfect for stamping an effect over the whole loop cleanly.

tip: Hold-for-one-shot is the secret weapon in Additive mode: it lets you imprint a Modifier or Stability over exactly one full loop pass without having to punch in and out by hand.

Your stop and rewind button. A quick tap stops the loop. Hold it to enter a special mode (shown by a green light) where you can undo and redo layers with your feet instead of the Layers knob. In Sampler mode this becomes your 'fire the sample' trigger.

tip: The Undo/Redo foot menu duplicates the Layers knob, letting you perform layer changes hands-free. While in that menu, no other commands work — hold the right switch again to get out.

Press both switches at once to wipe everything and start fresh. It was made deliberately awkward so you won't trigger it by accident — but there's no confirmation, so it happens instantly.

tip: There's no undo for delete, so be certain before you stomp both. To just rewind rather than erase, use the Layers knob or Undo menu instead.

These tiny switches decide which knobs can move by themselves (built-in modulation) or be controlled by an expression/CV input. Turn on 'Stability', for example, and you can have it slowly sweep up over time, or ride it with a pedal.

tip: Combine with Sweep and Polarity switches to shape exactly how each knob moves. Great for evolving, hands-free loop transformations.

Chooses whether the automatic knob movement travels to a new spot and stays there, or keeps rocking back and forth forever like an LFO.

tip: Use Bounce for oscillating, seasick tape-warble effects; leave it off for a one-time slow build.

Instead of a smooth sweep, the assigned knob jumps to random positions — good for unpredictable, generative results.

tip: Assign Random ramping to a Modifier knob for ever-changing glitchy textures that never repeat the same way.

Keeps the automatic movement subtle and narrow instead of sweeping the full range — for a light shimmer rather than a wild swing.

tip: Use Wiggle on Smooth Speed for a delicate vibrato/chorus-like wobble on your loop.

Locks the automatic movement to your loop's length so the modulation always happens at the same spot in the loop — rhythmically tight and repeatable.

tip: Turn this on for musical, tempo-locked movement instead of free-running drift; use the Ramp knob to pick how many loop-lengths the sweep takes.

Decides whether the automatic movement travels upward toward max or downward toward min, starting from wherever you've set the knob.

tip: Pair with Polarity to precisely dial in the direction and endpoints of any ramped knob.

Flips the direction of the automatic sweep — starting at your setting and moving out, or ending up at your setting.

tip: Experiment with Sweep + Polarity combos; they give four different sweep shapes for expression and ramping.

Silences your live, direct sound at the output so you only hear the loop — useful in the studio or in effects loops where the dry signal is handled elsewhere.

tip: Essential when running Blooper in a parallel/aux setup or a mixer's send so your dry tone isn't doubled.

Tells the CV jack to listen for an external tempo/clock instead of controlling knobs, so your loops lock tightly to a drum machine or sequencer.

tip: Use this when playing with electronic gear so your loop length snaps perfectly to the beat rather than free-running.

Chooses whether Blooper jumps to playback right after your first loop, or keeps recording so you can immediately pile on another layer without a gap.

tip: Set to Dub for ambient music so the tails and trails of your first pass flow seamlessly into the next layer.

Swaps out the three effects available on the A toggle for a different pre-loaded group, expanding your effect choices.

tip: Combine bank switches with BLIP customization to build your own curated collections of modifiers for different songs or moods.

Same as Bank A but for the B side — gives you a whole second set of three effects on the B toggle.

tip: Use both bank switches to effectively multiply the modifiers you can reach without opening the software mid-session.

The on/off button for your A effect, located on the underside of the pedal. Click it to toggle the effect on, or hold it down to have the effect active only for as long as you press.

tip: Use the momentary hold for rhythmic, glitchy stabs of an effect — great with Stutter, Dropper, or Stopper for performance moments.

Same as the A button but for your second effect. Tap for on/off, hold for momentary bursts.

tip: Because these are on the bottom, players often set them by hand before a performance, or reach under for momentary hits — or automate them via MIDI.

Where your guitar (or the pedal before Blooper) plugs in.

tip: Blooper records whatever hits this input, so any pedals before it in your chain get captured into the loop as part of your dry sound.

Where you connect to your amp or the next pedal. Both your live playing and your loop come out here.

tip: For studio use, engage the Dry Kill dip switch to send only the loop out this jack, keeping your dry signal on a separate path.

A do-two-things jack on the left side. Plug in a MIDI adapter to control Blooper from a MIDI controller, DAW, or clock; or plug in a simple external footswitch to trigger recording remotely (handy for tabletop use).

tip: An external momentary footswitch takes control automatically with no setup — perfect if you use Blooper on a desk instead of the floor.

Plug in an expression pedal or a modular-synth CV signal here to control Blooper's knobs with your foot or an external source. You choose which knobs it moves using the dip switches. If you pick none, it just controls Volume by default.

tip: Assign expression to Smooth Speed or a Modifier for dramatic real-time tape-warp performances. Flip the CV Clock dip switch to sync recording to an external clock instead of modulating knobs.