The middle kid in EHX’s expansive family of loopers inhabits a sweet spot between deep functionality and accessible, intuitive operation.
RatingsPros:Great compromise between deep features and simplicity. Intuitive to use. Easy to interface with complementary app. Cons: Easy to get lost in some compound octave and tempo-shift situations. Street: $221 Electro-Harmonix 1440 Stereo Looper ehx.com | Tones: Ease of Use: Build/Design: Value: |
Looping is one of the best ways to transform guitar playing into meditation. Sure, certain looping styles can test your focus, improvisational and compositional skill, and sense of precision and timing. But looping can also be utterly mindless and abstract—a tabula rasa that lets your last thought and musical impulse guide your next in an endlessly blooming musical Mandelbrot set. A state of pure creative flow. I've written a few of my favorite songs using loopers in this way, and it always feels magical in the moment.
EHX's 1440 Stereo Looper excels at instigating that kind of intuitive layering. And it compounds the fun of those basic processes with reverse and variable tempo playback that can transform simple loops into wildly unique sound webs and radical pitch-shift collages. But it also enables the precise, rhythmically driven layering and composition techniques that hardcore loop scientists dig. There are simpler loopers, and certainly more complex ones, but the compact 1440 inhabits a sweet spot between those worlds—a distinction that adds up to a lot of creative upside.
Designed to Streamline
The 1440 is part of what's grown into a very comprehensive family of EHX loopers. As with its cousins, the simpler 360 and 720, and the much more complex 22500 and 45000, the name alludes to the pedal's maximum loop length. And at 1440 seconds—or up to 24 minutes—there's a load of looping time to work with.
The 1440 also has the capacity to store up to 20 loops, as well as goodies like unlimited overdubbing, variable fadeout length, stereo I/Os, tempo sync to MIDI, and a downloadable loop manager app (for Mac and Windows) that enables you to store loops or export audio to the 1440. There's enough to know (and enough ways to get into trouble) to make a thorough read of the manual worthwhile. But as deep as the features can seem, the 1440's streamlined control interface does an excellent job of keeping these features a touch or two away, rather than buried beneath layers of menus and complex click patterns.
Even the downloadable loop manager, which you access via a USB connection to your computer, is a breeze to use. It has a simple, graphic interface that enables you to drag audio files to and from virtual “slots" that correspond to the 20 banks on the pedal. It's also a fast way to move a loop to your recording software if you want to use the loop as a basis for a project.
Simple to Spun Out
Electro-Harmonix's efforts at making the 1440 navigable and accessible translate to confidence when using it in performance and facilitates experimentation. A lot of that ease is down to the logical layout and flow of the 10 controls.
The tempo switch opens up possibilities for surreal multi-tracking effects. It can be set for bpm-regulated adjustments (fine mode) or for half-step adjustments (coarse mode). Whether you chase precise subdivisions of tempo and pitch or stranger manipulations of those parameters, the possibilities are endless. You can increase tempo to pitch up a loop, play along, and then pitch down again to turn your previous loop into bass or baritone accompaniment. The same process can be used to achieve even weirder, smeared-and-bleary sub-bass washes. Really experimental improvisers will love the way you can record loops at super-disparate tempos, alter those tempos, then reverse them to create woozy swirls reminiscent of the Beatles musique-concréte and tape-loop experiments. Add ethereal reverb and delay to these types of loops and the effect can be mesmerizing, creating unusual beds and textures for longform ambient pieces, particularly when you stack long, spare loops.
These types of pieces, as well as tighter, more conventionally arranged fare, can also be further shaped with the overdub knob, which, depending on where you set it, will reduce the volume of previously recorded loops—transforming your composition into an evolving, fractal piece where previously recorded parts recede into the distance as if you're gliding down a river of sound.
Reverse and octave effects are the two other primary sound-shaping (or warping) functions. For the most part they are easy to use—particularly because you can activate either or both with the small push buttons in the middle of the pedal, or by assigning those functions to the stop switch. Recording a backwards solo, for instance, is as easy as reversing your initial loop, recording a lead passage, and then hitting reverse again. The octave switch is similarly easy to use, and killer for spectacular intros, outros, and demented solo sections when switched in and out judiciously. You can drift too far from home if you use the tempo and octave switches together in a fast-moving performance situation. If you're going for deconstructed psychedelic loop tapestries, these happy accidents can produce magic. But to use them effectively together—which can yield equally weird but more tightly arranged results—you should count on a bit of practice.
The Verdict
The EHX 1440 Stereo Looper is a sound collagist's tool box in a compact 1590-sized enclosure. While we only had space in this review to cover the most prominent features in depth, it's a deep, capable looper with plenty of memory for long-form looping, and a design streamlined enough to facilitate the most pedestrian looping tasks.
It takes a little practice and study to make the most of the 1440, but in general it's very accessible and intuitive. Whether you're trying to reconcile deep looping capabilities with pedalboard-friendly size, or keeping your feature set streamlined, the 1440 represents a very smart middle ground at a nice price. But make no mistake—this pedal is capable of deep, unconventional, and highly experimental, textures if you invest a little time to uncover its secrets.
Watch our Electro-Harmonix 1440 Stereo Looper First Look:
Line 6''s JM4 Looper is packed with presets and features on top of its looping capabilities
Download Example 1 Jamming to #094 "Leotard" in the Endless Jam tracks | |
Download Example 2 Jamming to #116 "Stadium Rocker" in the Endless Jam tracks | |
Download Example 3 Scrolling through the "Style" presets: '50s: That's All Right '70s: Spirit of the Radio '80s: Boy You Too '70s: The Boys Are Back in Town '80s: Another Brick '70s: Barracuda | |
Download Example 4 In full looping mode | |
Fender VG Stratocaster, Epiphone Slash Les Paul, Line 6 JM4, Digidesign 002R interface, Digidesign Pro Tools, Apple Mac G5. All sound files were recorded live and on-the-fly with the JM4, with no editing or overdubs added post-recording. |
Within its rugged construction, it houses 12 Line 6 amp models from clean to “insane.” The seven Smart Control FX include Chorus/Flanger, Phaser, Tremolo, Reverb, and tap tempo effects such as Delay, Tape Echo and Sweep Echo. Effects for the independent vocal/aux input include 3-band EQ, Compressor, Delay and Reverb. An integrated tuner is very useful to check your tuning in between jamming. There are plenty of presets to make a guitarist happy: more than 200 artist-created presets, more than 150 song-based presets, and 36 user-programmable presets.
The ins and outs of the JM4 include: separate instrument, aux and mic inputs, as well as an input for a CD or MP3 player, and outputs for an amp, stereo headphones and stereo line out. A Master Volume knob controls the output, and there is also a Trim knob to adjust the gain of the mic input.
The Looper can work just like any other loop pedal, by looping and stacking tracks from just one instrument. However, it also features over 100 “Endless Jam” tracks and drum grooves for you to play along and create loops with. There are many different musical styles to jam with—from metal to country and everything in between. These tracks aren’t just sterile MIDI tracks with fake-sounding instruments, they’re actual recordings by top LA and Nashville session players. These high-quality grooves sound great and they’re fun to jam with. It sounds as if you’re playing with a real band, not a Casio keyboard! A fair warning: going through these tracks and playing along can be very addictive (see clips 1 & 2). I easily spent a couple of hours jamming along with them !
You can save up to 100 CD-quality recordings internally (totaling 24 minutes of recording time), and there is a slot for an SD card (sold separately) if you want to import and export loops and recordings. The JM4 supports up to a 2GB SD card, which is good for up to 6.5 hours of recorded jams. The looper has dedicated footswitches for Record/Overdub, Play/ Stop, Half Speed, and a handy Undo feature, should you wish to discard your last take or flubbed line.
Features, Features, Features!
As you can see, there are so many features on this unit that I didn’t know where to start exploring. I decided to check out the different amp models first. The basic amp model set consists of Clean, Twang, Blues, Crunch, Metal and Insane. I liked the fact that each different model has two variations—labeled “Red” and “Green.” For example, the Blues Red is inspired by a mix of a ’65 Marshall JTM45, a ’58 Bassman and a ’63 Fender Vibroverb and a Supro. The Blues Green is more like an early British rock tone, inspired by a fawn Vox AC30 with an expanded and updated tone control circuit. Each model can be tweaked with the Drive, Bass, Mid and Treble controls.
I’m a big believer in presets. I have no problem with companies that spend a lot of time and money to create good sounding presets— they do all the hard work for you! It’s a big time saver, and most of the time the presets are ideas that I would never come up with on my own. With the JM4, I was really impressed with the Artist presets. There are over 200 presets that were dialed in by a number of rock star guitarists—everyone from Albert Lee to INXS to Slipknot. The tonal variety was plentiful and there seems to be something for every taste. Some of the artists recreated the unique tones from their records, while others explored and created new sounds. I found every sound fresh and innovative, and they were fun to play with. Each of these presets can be modified and saved to one of the 36 User preset locations.
The Style presets are great as well. These tones are based on the top 200 guitar rock songs of all time, from the fifties all the way to today. For example, if you want the tone that Ritchie Blackmore had on “Smoke on the Water,” it’s here. If you want Prince’s clean sound from “Purple Rain,” it’s here also! The presets are actually labeled by the song names that these guitar tones are modeling. I had a great time scrolling through and playing these songs with tones and effects that are very similar to the originals (see clip 3).
Of course the main feature is the looper. The JM4 manual provides a couple of tutorials to get you up and running right away. I wanted to create a four-bar loop with drums as a foundation. I simply picked a groove from the drums menu, armed the guitar record button and pressed Record. The concept is simple: after you hit record, there is a count in, and then you play a phrase on your guitar for four bars. On the downbeat of bar five, hit Record again and it will loop back to the beginning. You have then set your four-bar phrase, which will loop over and over. To add another overdub, you simply press Record again and play, and hit the button again at the end of your phrase. You can then add additional overdubs for each repeat of the loop. You can also tap Undo if you don’t like a phrase you just recorded. In minutes you can become a loop master (see clip 4)!
The Final Mojo
The Line 6 JM4 is a useful tool for any guitarist. A casual or amateur guitarist will enjoy practicing and jamming with the JM4 and sharpening his or her skills. This is also a great tool for professional guitarists who want to keep their chops up in between gigs. The abundance of looping capabilities, tracks, sounds and effects will keep a guitarist busy and happy for hours!
Buy if...
You want a loop pedal with added sound options, effects and features.
Skip if...
You’d rather have a loop pedal with no other functions or extras.
Rating...
Street $330 - Line 6 - line6.com |