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Boomerang review
Lots of talk about the Boomerang recently--here's what Guitar Player had
to say about it:
from Guitar Player, 10/96
The Boomerang Phrase Sampler
by Joe Gore
Not long ago loop-crazed guitarists bled top dollar for discontinued
devices like the Electro-Harmonix 16-Second Delay or hotrodded Lexicon
PCM-42s. Then Lexicon and Oberheim filled the long-delay void with,
respectively the JamMan and the Echoplex Digital Pro, rack mountable units
that offer formidable looping features at prices far below those of more
elaborate signal processors from the like likes of T.C. Electronic and
Eventide. The Echoplex is definitely the deeper of the units, though it
costs almost twice as much as the nifty-in-its-own-right JamMan. And now
thereÕs a third contender: the Boomerang Phrase Sampler. It may be the
price/performance winner--if its simplified but stage-friendly features
fulfill your sampling/looping needs. (If youÕre unclear whether you have
sampling and looping needs, see last monthÕs issue [8/96], in which loop
addict David Torn discusses the technique and analyzes its attendant
hardware.
First, the BoomerangÕs limitations: None of the devices in question
remembers your loops after power-down, but the Echoplex and JamMan allow
you to select between multiple loops during recording and playback. The
Boomerang is strictly a one-shot device, though it too allows infinite
overdubs. Its maximum sample rate is 16kHz, lower than the Lexicon or
Oberheim, albeit perfectly adequate for most electric guitar applications,
especially live ones. The Boomerang lacks spiffy features like the
OberheimÕs undo operation and ability to craft overdubs longer than the
initial loop, the LexiconÕs tap-tempo delay, or either deviceÕs MIDI sync
capabilities.
The BoomerangÕs strength is simplicity. Unlike its two competitors, itÕs
a self contained floor unit--no rack stuff, no remote pedals. The
5.5Óx17.5Ó metal housing seems genuinely roadworthy, though the wall-wart
adaptor is a bummer. Five sturdy foot switches trigger most functions,
which are illuminated by big LEDs. Like the other boxes, you can select
between infinite looping and single playback. As on the Oberheim, you can
reverse any loop (the Lexicon only reverses in single-playback mode).
The Boomerang also does a few tricks neither competitor can boast. A
Òthru muteÓ foot switch removes your direct signal form the outputs, so
you can silently initiate a loop for subsequent unleashing. With thru
mute engaged, you can literally create backwards guitar is real time. A
half-speed option lets you replay your samples an octave down, or record
them slow and then shift into double-time--handy for learning and
transcribing. (Low speed doubles your total sampling time, but at a
halved sampling rate--i.e., with noticeable loss of high-end definition.)
One particularly inspired feature is an output-level Òfoot roller,Ó a big
potentiometer with a textured rubber surface readily regulated by toe.
You can fade any sample in or out--way smart.
Of the current looper-samplers, the Boomerang is the easiest to use. If
you plan to manipulate just one loop at a time and donÕt seek pristine
sonic results when applying the device to sources that withstand
relatively low sample rates less readily than do electric guitars
(acoustic guitars, voices, pianos, the sound of wall-warts being hurled
through plate glass windows), this may be the top pick. It lists for
$459, the same as the JamMan. At that price, the Boomerang offers 30
seconds of sampling at workable sound quality (60 seconds at lo-fi slow
speed), as opposed to the JamManÕs superb-sounding eight seconds. (For
about $140 more, you can expand to 120/240 seconds. The JamMan expands to
32 seconds for about the same price. The Echoplex delivers 12.5 hi-fi
seconds at its $879 base price, or 50 seconds for $1,295.) The Boomerang
is neither the deepest nor the best-sounding option, but, depending on
your needs, it may be the smartest one.