Surveying sage sonicists at our Sound, Studio, and Stage forum, we asked POINT BLANK:

Loops (the ones you make, the ones that are commercially made, the free ones, whatever) . . . love ’em or hate ’em? Use ’em or lose ’em?

(1) I love ’em — almost all my music is loop-based 0%

(2) Most of my music is loop-based 3%

(3) I use loops quite a lot 32%

(4) I use loops sometimes 37%

(5) I use loops rarely 8%

(6) I haven’t used loops but I expect to 2%

(7) I haven’t used loops and don’t expect to 9%

(8) I hate loops and just wish they would go away 9%

BUT, BUT, BUT. . .

“I sometimes use loops, but always my own (mostly rhythmic loops).” —Mats Olsson

“I sample acoustic drum breaks and the like and dump them in ReCycle to study their timing, but never use them in something later. If I want the sound of human-played acoustic drums, I hire a drummer! I do use loops with styles like breakbeat and drum ’n’ bass, because they’re all about sampling and slicing anyway.” —Aeon

“I like using loops while creating a song, I’ll use them instead of a metronome. Then when I can, I bring in a drummer to replace the loops. I like [Sony’s] Mick Fleetwood CD, though I’ve used many other sources.” —Marc

“I have thousands of free loops stored in BPM folders that I use only as source material to be twisted and perverted in a modular synthesis environment.” —Alfonso

“I’ve not used loops, and I don’t really expect to. I’m not really comfortable with the idea in general. But, to each his (or her) own.” —Ouizel

“We just did a CD and we used percussion loops, but they are mostly a background, friction-creating element. We used real players for real drums and real percussion, and none of the tonal material (guitar, keys, bass) was sequenced or looped.” —Geekgurl

“I find commercial loops useful for inspiration sometimes, and, occasionally, I use one to add something to a piece I’m working on. If I use a loop as a significant element of a song, it’s either one I’ve created, or a ‘quasi-loop,’ such as something I’ve generated in Stylus RMX . . . never (to date) a commercial loop.” —Mark