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In this article, then, I’ll do a number of things: I’ll explain how to make seamless loops I’ll discuss the pros and cons of the different approaches to time-stretching and I’ll then give some pointers to help you use looping tools effectively. And you’re going to need your loop to be able to stretch or shrink to fit the tempo of any project you wish to use it on. You must work to avoid glitches, pops, crackles and other ugly artifacts. You need your loops to transition seamlessly when laid end-to-end, so your edits must be precise. However, there’s much more to loop creation than tracking a part and snipping out a two- or four-bar measure. And although there’s a need to invest time in loop creation, you’ll find that you waste far less time auditioning a gazillion unsuitable loops you’ll never use - a process that can sap your creative juices all too quickly. Not only do you get something unique, but you get to determine exactly what material you use in your projects, rather than let the loops dictate what you write. We’ve really never had it so good.ĭespite the quality of many commercial libraries, though, there’s a real satisfaction to be had from making your own loops. Your DAW also offers various means of editing, quantising and otherwise mangling your loops. I mean, it’s just so easy isn’t it? Loop libraries abound you can buy them in various formats for any genre, and most DAWs ship with several gigabytes of such ‘content’. There can be very few people now who don’t make some use of audio loops in their music. Rolling your own loops can breath life into your compositions - especially if they can stretch and shrink on demand.