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Chase Bliss Blooper Bottomless Looper Pedal


In stock
Weight:  1.00
Price: $499.00
South Austin
5 in stock.
North Austin
4 in stock.
7 in stock.


The bottomless looper.

Within this little blue rectangle is an intricate machine to explore, unravel, and make your own, with infinite opportunities and outcomes. The dream of blooper was to merge high-quality looping with creative manipulation, allowing you to steer your loops to new and extraordinary places. Record a loop one day, save, then come back and transform it on another.

On the practical end, there is loop saving, eight layers of undo and redo, and external syncing. On the creative end, there are two channels of modifiers, a lo-fi Stability control, and three looping modes. blooper’s heart is Additive mode, which allows you to record sound modifiers directly into the loop like any other overdub.

Power req: 9V Center Negative ~150 mA


Behaves like a “standard” looper. The key difference between Normal and Additive is how the modifiers / stability are treated. In Normal mode, you will be able to hear them, but they will basically be like external effects that come after Blooper (but do not apply to your dry signal). This way you can set up the sound just the way you like it, and record overdubs without things getting weird.

Here, overdubbing while a modifier (or stability) is active will imprint it on the loop. Think of the effects just like your instrument: if you hear them, Blooper’s recording mechanism can too. If you want to use these effects but overdub your instrument as usual – that’s normal mode! Additive is the creative heart of Blooper, and it can take some time to understand its quirks.

Sampler is a simple and immediate mode, with its own workflow. At its core, it lets you record and manually trigger samples, rather than looping. BUT ALSO, it can loop if you wish. Instead of overdubbing, each time you record, the previous loop is replaced by a new one. This can be great for stutter, or fast, performative looping. By default, Sampler mode is set to loop so you can smoothly move between modes without interruptions. Deactivate this by holding the right footswitch for manual one-shot sample launching. Like the other modes, samples will go through the modifiers and stability.


Smooth Speed
Allows you to adjust the playback speed and direction of your loop in a smooth way. This gives a natural feel reminiscent of adjusting a tape machine. You can go up to double speed, and slow things to complete stop. Going counter-clockwise from noon engage reverse playback.

Stepped Speed
Has the same basic operation as Smooth Speed, but with a wider range and quantized intervals. This means that it jumps between precise speeds that are tuned to stay in key, keeping everything musical and harmonious. The steps are Octaves and Fifths. The maximum speed in this case is two octaves up.

Allows you to shorten the length of your loop. Going counterclockwise will bring the end towards the beginning, going clockwise will pull the beginning towards the end. Use the Stepped version to rhythmically shrink your loop, cutting it in half, for example.

Causes small pieces of your loop to drop out, failing to play. These drops will sometimes be smooth and subtle, other times they will be abrupt and deep. Going counterclockwise produces a random stream of drops, while clockwise will produce a drop pattern: the position and feel of each drop will be consistent. At maximum you will get granular crumbling.

Rearranges your loop, turning it into a pattern. Going counter-clockwise will be random, while going clockwise will create a repeating sequence. Lower levels will produce the occasional jump, while higher levels will chop everything up.

Our most practical effect, this is a simple, non-resonant tool for sculpting the sound of your loop. Clockwise introduces a High-pass filter for removing low frequencies, while counter-clockwise introduces a Low-pass filter for mellowing out the highs.

STOP. YOUR. LOOP. Rotating clockwise introduces a gradual fade out in volume, while rotating counter-clockwise introduces a melting tape-stop effect. The effect kicks in when the modifier is turned on, and stays stopped until it’s disengaged.

Pitch shift your loop without affecting the speed. Clockwise from noon increases the pitch, counter-clockwise drops it down. You have a three octave range in either direction. NOTE: Because Pitcher uses a lot of processing, some other modifiers can’t be used at the same time.

Time stretch your loop without affecting the pitch. Clockwise from noon speeds things up, counter-clockwise slows them down. NOTE: Because Stretcher uses a lot of processing, some other modifiers can’t be used at the same time.

Create a loop within your loop, repeating the current moment. Counter-clockwise will create a stutter of whatever just happened, while clockwise will stutter what’s coming up next. Useful as a performance effect, or zooming in on a certain moment of a longer loop.

An interactive 3-position modifier that offers different ways to silence your loop. The two sides of the knob sweep introduce different kinds of envelope-sensitive muting– your loop will go silent whenever you play. Counter-clockwise sets the threshold of an immediate muting effect, while clockwise sets the speed of a more gradual fade into silence. With the knob at noon, the loop will immediately be muted whenever overdubbing is engaged. In ADD mode this muting effect will allow you to replace parts of your loop with new audio – hence, Swapper.


Manufacturer: Chase Bliss