FAQ
Why Looperwerk?
Every Looperwerk product is handmade and extensively tested. Specialized steps I cannot perform myself are carried out by regional partners. Component quality is given high priority – parts are chosen for their performance, not their price.
Because Looperwerk products are sold directly, prices remain fair while maintaining top-level quality.
Each Looperwerk product reflects over 10 years of experience, continuous refinement, and dedication to building tools that truly work for musicians.
The result: products that combine maximum quality with excellent value for money! The return rate and repair/complaint rate are both below 1%.
Who is running Looperwerk?
Looperwerk is run by Constantin – a passionate guitarist, long-time effects builder, and music electronics tinkerer with a background in electronic engineering. More at "About me".
Sustainability
... is very important to me. I have written down the measures I take to be as resource-friendly as possible - so that the FAQs don't get too long - under "About me".
How long can I record with the loopers?
Not at all! The term “looper” has a double meaning. Looperwerk loopers are true bypass loopers — they don’t record audio like loop pedals (e.g., Boss Loop Station). Instead, they are designed for routing and switching your effects.
Looperwerk uses plastic jack sockets – wouldn’t metal ones be better?
No. To ensure that each signal remains completely isolated, the jacks must not be made of conductive material.
There are plastic jacks with metal nuts that may look more premium, but in practice they have a major drawback: the metal nut tends to loosen easily because the connection between metal and plastic is less stable than plastic on plastic.
I use only high-quality Neutrik jack sockets – and in large numbers (the Patchbox Quintet alone contains ten of them) – and have had consistently excellent experiences with them.
I would like a custom pedal...
Get in touch – custom builds are possible, provided they’re within my expertise and my current workload allows it.
Do you ship to _____?
I ship to these countries (most European countries). If your country is not on the list, please send me a message - I may still be able to help.
How can I pay?
I accept payments via PayPal (credit cards supported) or bank transfer.
How long are the delivery times?
Most products are built to stock. Typically, orders go out within 1–3 days.
More questions? Send me a message!
Below are some general answers to questions that often come up in connection with pedalboards.
The simplest method of using a pedalboard requires two cables - one from guitar to pedals, one from pedals to amp input. Every pedal (overdrive, delay, reverb, etc.) runs before the amp’s preamp section. The amp’s preamp & power amp shape the entire signal.
This is good for simpler rigs and if you mostly rely on your pedals for tone shaping (amp is more “clean platform”).
If you use the amp’s preamp distortion (crunch/lead channels) it's usually better to place pedals that belong after distortion (like delay, reverb, chorus) in the amp's effects loop, after the preamp but before the power amp.
For this you need four cables, hence the name "4 cable method".
- Guitar → Pre-FX (Overdrive, Distortion etc.)
- Pre-FX → Amp Input
- Amp Send → Post-FX (Delay, Reverb etc.)
- Post-FX → Amp Return
Looperwerk patchboxes featuring Smart Switching allow you to set up your pedalboard for amps with an effects loop - Pre-FX are then in front of the amp, Post-FX in the amp's effects loop.
The same pedalboard can also be used with amps without an effects loop. In that case, the patchbox automatically places the Post-FX directly after the Pre-FX in the signal chain — no re-patching or pedalboard changes required.
The ¼" plug and jack are by far the most common on pedals. They're used for audio ins and outs, as well as for many control signals. However, there are two different basic types of ¼" connectors: TS and TRS.
A TS (tip-sleeve) cable carries a mono signal on the tip, and is the standard for guitar and patch cables between pedals. A TRS (tip-ring-sleeve) cable has three conductors, so it can carry two separate signals - tip and ring. The sleeve provides grounding, both for TRS and TS cables.
TRS for stereo
One of the most common ways to use TRS is to send stereo signals: left on the tip, right on the ring. That's how headphone jacks work. Some pedals use this method too, to save space (and cables).
TRS for control
TRS can also be used for expression control, MIDI, or to connect several auxiliary footswitches over one cable.
TRS for send/return
A common approach is to put a send and return on the same jack: send goes out through the tip, and return comes back through the ring (or vice versa, depending on the pedal). This saves space, and allows you to use a single Y-cable.
Instrument level
The signal level output from electric guitars, which is hotter than mic signals and below line level - but this isn't what makes it special.
Guitar pickups have a very high output impedance. The way in which they interact with effect pedals depends on the input impedance of the effect; for some effects, this interaction is critical. For example, if you plug a reverb pedal with a low-impedance buffered output into a fuzz pedal that's picky about impedance, it will drastically affect your guitar's tone.
Line Level
Line level refers to signals that have been amplified to the point where they can be sent between pieces of studio gear without signal loss. These are much higher levels than mic or instrument, measured in volts rather than millivolts. Studio effects racks run at line level, and many effects boxes can put out line-level signals as well.
Speaker Level
The hottest signal, running from a power amp to speakers. Too strong for normal pedals, except rare cases like a passive talk box. That’s why effects loops sit before the power amp - where levels are manageable.
AC or DC?
Most pedals run on DC (direct current). A few - typically those with real tubes - require AC (alternating current). Power supplies are clearly marked with either AC/DC text or symbols (solid/dashed lines for DC, sine wave for AC). Using an AC supply on a DC pedal will almost certainly cause damage.
Voltage
Always check the manufacturer’s recommendations – don’t substitute a higher voltage to an effect unless the manual says you can.
Current Draw
Current draw is the amount of electrical current a pedal needs to operate, measured in milliamps (mA). The important part is supplying at least the required amount. Too much isn’t harmful - the pedal only uses what it needs. In fact, extra available current can improve stability, especially for digital pedals.
Polarity
Using the wrong polarity is the fastest way to fry a pedal. Most stompboxes use center-negative (the standard), but some—such as certain Eventide or Line 6 models—require center-positive. Always double-check before plugging in.
In longer effect pedal chains, order matters: the wrong setup can make your sound muddy, thin, or noisy. The “traditional” order maximizes clarity and keeps noise in check - but there’s no single right way. Experiment to find what works for you.
Core Sound (directly tied to your instrument)
- Pitch Tracks best near the front. A noise gate or compressor before it can help.
- Fuzz Highly sensitive to guitar output; usually placed first for the most responsive tone.
- Volume Pedal Early placement allows swells and gain control; later placement can mute everything, including reverb tails.
- Wah Often placed before fuzz or gain to emphasize its sweep in the distortion.
- Compressor Usually early, but after gain if you want to preserve dynamics.
- Boost Place before overdrive/distortion to push them, or at the end for solo volume.
- Overdrive/Distortion Typically before modulation/time effects for a steady signal.
- EQ/Filter Flexible: before gain to shape distortion, or after to refine tone.
Embellishment (effects that sit “behind” your core sound)
- Modulation Chorus, flanger, phaser, etc., usually after gain so the movement stays clear.
- Delay Often before reverb for crisp repeats; earlier in the chain exaggerates other effects.
- Reverb Typically last, so it diffuses the final sound rather than blurring everything.