Yeah I got one in the first batch - it’s an extremely cool device but I found it a bit fiddly to get an adequate workflow with it and the rest of my gear initially. The main drawback is the lack of MIDI imo: I think it would have been very tricky for Glou Glou to do a full MIDI implementation given the idiosyncratic way everything relating to the clock works, but just being able to address the core functions through MIDI messages would have meant being able to sequence record messages (octatrack style), keeping my hands free to actually play the thing I’m trying to record. That I say “hands” is pretty crucial here as well - I don’t really see how this could work for someone without it at hand level, as using a foot to engage the non-stomp switches is a nonstarter, and you definitely want all the switches/buttons accessible! You also have a few functions that you’re going to want to keep on every game (undo, record, multiply, overdub, replace) which limits the number of free switches to load up with the funky stuff, but you can always switch back and forth between games while your loop is going so this isn’t such a big deal.
I’ve definitely found my groove with it now though, and I think it really shines once you’ve synced it up. Of course you only have a sync out so Loupe has to be your master clock (this will make a lot of sense when you start using functions that change the length of the loop), but it works pretty well as one. I send the clock triggers to a Befaco VCMC module to convert it into MIDI clock that then goes to my elektrons, an IO Labs Flux sequencer, Pulsar-23 and Ableton, and this is rock solid. The only real issue is lack of a start/stop output, but I use Maths and VCMC to create a start message when record is hit on the Loupe (and it starts sending triggers) and a stop message when Loupe is stopped (and stops sending triggers).
My typical thing is to use the record/bpm mode to give me an empty 1 or 2 bar loop on Loupe in sync with everything else that will have started up the moment I hit record, which I can then overdub/replace into and manipulate as I jam. What is super cool is using the quantised versions of the length changing functions to get Loupe going in 3/4 or 5/4 (or whatever you want!) against everything else (which is still receiving clock defined by the original loop). You can also just do unquantised record and it’ll try to work out a BPM (and will keep doing so for all loop length changing), which can be quite interesting. It’ll always think whatever you record initially is ‘1 bar’ for the sake of bpm detection though, so doesn’t work so well with long loops (it actually divides the clock for v short loops so it’s not bad there). Other faves are replace (for punching in silence or creating very interesting textural loops), the sample rate reduction feature “redux” is super nice and crunchy, and of course scroll and infinite reverse are totally unique to the Loupe and great. It has a really unique workflow for a looper (kinda like a mega powered CBA Blooper but with enough real estate to take advantage of all its functionality + all echoplex functionality) and now that I’ve finally found a methodology that clicks with me I’m getting superb results. To be honest I also feel like I haven’t even scratched the surface of its power…
