The loop station

A multi-layer loop station that records the GP-200's USB audio right in the browser , a capability the pedal doesn't ship with (its built-in looper is a single loop). Open it with LOOP in the top bar; you'll be asked to enable audio capture the first time, and you pick the GP-200 as the input.

Simple and Advanced

The drawer has two faces, and the toggle at the top right remembers which one you used last. SIMPLE is the default: one big record button, play / undo / import / clear, a volume knob, the timeline, your tracks and your footswitches. Nothing has to be set up before it works.

The record button always says what pressing it will do next , RECORD, then LISTENING while it waits for your first note, ARMED while it waits for the downbeat, STOP while it runs, and ADD A TAKE once a loop exists , with a line underneath saying why. That gap between pressing record and hearing anything is the only genuinely confusing moment in any looper, so it is spelled out rather than left to a blinking light.

ADVANCED adds everything below: the capture-edge settings under RECORD SETUP, fixed take lengths, the trigger threshold, per-track play/pause and the expression-pedal routing. Both faces drive the same looper , switching is only about how much is on screen.

Stacking layers

Every record pass adds a new layer, quantized and phase-locked to the loop, with no limit on the number of layers , so the tenth overdub is still exactly in time with the first. Each track has its own Play / Mute / level / delete, and there's a master progress bar and Clear All. You can also import an audio file as a layer to jam over.

VOLUME is the loop station's own output level, and it is worth knowing why it sits on the main surface: tracks sum. Three takes stacked at full level is three times full scale, so the loop starts out below unity and you take it wherever you want from there. A soft clipper on the output keeps a heavy stack from breaking up if you push it , it does nothing at all until the mix is genuinely running out of headroom.

Starting and stopping in time

Everything that decides where a take begins and ends lives under RECORD SETUP, on the ADVANCED face. The defaults are chosen to be right for a first loop, but these four are worth two minutes before a serious one , and SIMPLE puts the most valuable of them, locking the bar to the drum machine, one tap from the loop readout:

• Loop grid. Hit LOCK BAR TO DRUMS and the looper's bar becomes one bar of the practice drum machine's tempo , an exact length, rather than one measured between two of your own button presses.
• Take length. Pick a bar count and recording stops itself at exactly that length. Nothing to press in time, so no reaction time ends up in the loop. Leave it on FREE to stop by hand.
• Start on first note. With this on, your first take doesn't begin when you press REC , it begins when you play. The recorder keeps a rolling pre-roll, so the pick attack that triggered it is still there rather than clipped off, and the loop starts at a zero crossing. Set the trigger level against the meter beside it: above your rig's hiss, below your quietest intended note. Once a loop is running, later takes drop in on the downbeat instead, which is always the better reference.
• Timing trim. The app already compensates for the round trip your interface reports (shown in ms). If takes still land consistently late, raise the trim; if they land early, lower it. It is remembered per browser.

How the loop point is joined

The downbeat is usually the loudest thing in a take, so fading it in , which is what a plain crossfade does , is exactly what makes a loop sound like it is breathing. This looper never touches the head. Instead it keeps recording past the end of the loop and mixes that ring-out back over the downbeat, so the last chord carries across the wrap the way it would if you had kept playing. LOOP JOIN sets how much: raise it if the wrap sounds cut off, lower it if the last chord smears over the top of the loop.

Keyboard

R records and stops, SPACE plays and stops everything, Ctrl/⌘ Z undoes , and mid-take it throws away the pass in progress, which is the one thing you always want in a hurry. Ctrl/⌘ ⇧ Z redoes, M mutes the selected track, [ and ] step through tracks, and DEL deletes the selected one (undoable). They work anywhere in the app while capture is on, even with the drawer closed, and stand down while you're typing in a field.

Hands-free from the pedal

Playing guitar and clicking a mouse don't mix, so the looper can be driven from the GP-200's own footswitches , and because that is the only way to work a looper with both hands on the guitar, the row of them is on both faces. There is one button per action (REC / STOP, PLAY, MUTE, TRACK +, TRACK −): click the action you want, stomp any switch, and it's bound. You never pick a switch by number. An assigned action turns amber with a tick and grows a small ✕ to forget just that one. A takeover mode makes a learned stomp control the looper instead of its normal patch function while the loop station is open, so you don't change your sound every time you punch in. Bindings are remembered between sessions. Mapping the expression pedal to loop levels is experimental (its wire format is still being captured).

The pedal's own single-track looper and its transport are in the same drawer, folded under the loop station, so the two never compete for the same button.