Some loopers are difficult to use live, but thanks to the 95000’s microSD function that’s not a concern. Through the card you can save your loops for instant recall. This is a really useful feature for live work, as you don’t have to set up the loop in the moment, and avoid the potential mistakes and errors that come with it.

Tap tempo lets you sync the loops to a specific BPM, even if they’re recorded at another tempo. So if you come up with a riff you like, you can fit it into pretty much any song. There’s a speed control that adjusts across a range of two octaves, and the overall loop volume can be set through an external expression pedal.

It’s not just for guitar pedals either. The inputs are a combo XLR/TS standard, with dual 1/4” outputs. There are also MIDI inputs and outputs and a USB type B connection. Through the USB connection you can import and export .WAV files. This means you can take your recordings, throw them into your DAW for processing, and load them back into the pedal.

All four loops offer four mono tracks that flow into a stereo buss for mixing. The digital recorder operates on CD-quality 16-bit/44.1kHz settings. While higher sample rates might be nice, this standard is compatible with basically everything—and makes file transfer a breeze. It records directly to SD card flash memory. 100 loops can be stored on each 4GB card, with a max recording time of 125 minutes. You can toggle through them using the optional foot controller (sold separately). They can also be bounced to .WAV files for further editing.

It can record as well as play in reverse, and the loop speed is adjustable across two octaves.To make sure your timing is spot on, there’s an internal metronome that you can send out to headphones or monitors and optional quantization.

The optional foot controller allows you to set parameters in real time with greater ease—especially if your hands are occupied while playing. It controls transport, as well as selecting between different loops and tracks. An LED readout tells you what loop number you’re on, and it’s easy to see in dark settings.

The six footswitches are assignable over three pedal modes. Two external control inputs allow for a unique way to set the parameters of loops in real time. The I/O section is one of the most advanced in its class, with combination XLR-1/4” inputs and three assignable 1/4” outputs.

BOSS is one of the industry leaders in effects, and the 32-bit onboard effects that come built into the RC-600 give you a number of ways to augment your sound. There are 49 input effects and 53 effects types, and up to four of them can be used on each loop.

In the world of loopers, there are multi-effect pedals that offer basic looping functions—but then, there are dedicated looping workstations. The RC-600 is the latter. If you’re serious about looping, this one of the best choices. The easy I/O options, onboard effects, and the ways it aids in looping through the loop status indicator make this a no-brainer if you’re looking for a full looping control station.

Some loopers can be difficult to use, and if you’re not spot-on with your timing and playing it can be frustrating to get things just right. The RC-505 takes a lot of these headaches away, with long throw faders and functions that let you edit and change things up easily. Controls can be mapped and set up 16 parameters and control them through MIDI and each loop can be quantized for putting things together quickly. Running out of room for presets isn’t a concern, with 99 available banks. You can also choose between 85 rhythm patterns to keep things interesting.

Looper pedals aren’t just for guitar, so a versatile and robust I/O section is a must. There are dual XLR inputs with on-deck phantom power as well as instrument inputs that work in mono or stereo. External control is offered through an expression pedal, external footswitches, and MIDI. This second version of the 505 also offers a larger display in addition to more preset banks, onboard effects, and more intuitive I/O. It has DAW integration too, and it can output audio through the USB port.

The RC-505 is a full-featured powerhouse of a loop station. It’s much more than just a guitar pedal, and it’s just as useful in the studio as it is on the stage. The faders are a nice tactile touch and the effects section offers a diverse range of BOSS sounds. It comes in at a high price point for a looper, but if you need a model that offers easy ways to edit and process audio this is one of the best.

Another great entry-level option from BOSS is the RC-5. It offers the same stereo I/O, but comes with a number of additional features.

It offers 13 hours of recording time, 99 preset slots for storing sounds, and you can even throw the loops in reverse. But BOSS added some arranger functions that include seven drum kits and 57 rhythms to help build out your sounds, and each offers an A/B variation.

You can control everything from the front like any guitar pedal, and these controls are extended if you use a footswitch or expression pedal. There’s also MIDI control that’s accessible via 3.5mm jacks on the rear.

BOSS's most basic looper pedal doesn’t offer the options that the larger ones do, but that doesn’t mean it’s underpowered. And of the entire RC line, it’s the easiest to use: so if you need a no-nonsense, straight-to-the-point looper, RC-1 might be just the thing.

Loops can be recorded in stereo for up to 12 minutes, and you get unlimited overdubs. Through an expression pedal you can control the Stop and Undo when recording new loops. There’s an easy to read visual that lets you know the loop position, and a level control for getting the perfect mix blend. Even better, you don’t have to worry about losing anyting because loops that are recorded stay in the pedal’s memory even after it’s turned off.

The RC-1 is a simple but powerful looper pedal. If you need something that’s compact but has a lot going on under the hood, it’s perfect for players who want to start experimenting with looping. The RC-1 is a great, affordable choice.

The DSP runs at 32-bit/48kHz to offer four different sounds across a 44.7 second loop memory. It’s got an interesting switching system that’s based on five footswitches. It has a unique way of handling transitions between the different loops due to the crossfading it provides.

As far as layout goes, the controls are logical considering what it’s capable of. There’s a central control knob and four additional knobs on either side. The EQ section is no joke either. The low and high-pass filters both have three different cutoff frequencies. A reverse switch lets you switch up the incoming audio, and you can duck sections of the loop in real-time through the Erase switch. If you need to start the loop over you can use it to take out the memory buffer by hitting it twice.

A pedal this unique has got to have features you don’t usually find in a looper, right? You can add distortion, control dynamics with a pseudo-compressor effect, and input and output gain ensure your gain staging is spot on.

So what’s new with the Line 6 DL4 MkII? The enclosure is more streamlined than the previous version. It’s the same layout, but it’s sleeker and more ergonomically shaped. It offers a total of 30 distinct delays, half from the first model and 15 new sounds. Even better, there are 15 reverbs that you can use in tandem with the delays!

While Line 6 added new sounds, a slightly different look, and improved everything overall, you’ll notice the biggest difference in how the looping function works. Transport is set through the footswitches, and the looping section can be used with all four switches to layer things.

It offers up to 240 seconds of loop time, and it can be expanded by using a microSD card. Things get even more interesting when you use the performative looping options. It lets you switch sounds up to half-time or reverse things altogether—a trick heard in music by experimental rockers like Minus the Bear's Dave Knudson, Nick Reinhart of Tera Melos and Disheveled Cuss, and composer/guitarist/synthesist Tyondai Braxton.

With a retro aesthetic, the Sixteen Seconds Delay immediately stands out on first look. And there’s a reason for that. It’s a reissue based on the venerated Electro-Harmonix 16 Second Digital Delay—and an outgrowth of their past work with the Sweet 16, a somewhat simpler re-imagining of the original.

The control set is where the magic of the Sixteen Seconds Delay really unfurls. Five sections (Delay, Sweep, Clix, Mix, and Vent) and the corresponding sliders adjust parameters like rate, depth, harmonics, feedback, and wet/dry blend.

The routing offers a unique configuration. You can connect external footswitches to control how fast the delay is, as well as controlling forward or reverse playback. You can output the clock to other gear, but the pedal is mono only. There’s even an onboard metronome to make sure you stay in the pocket!