The Guitar Players Of Touch Loops


Over the last few years we've been blessed to record some of the industries finest guitar players.  From the experimental LA tones of Runson Willis to the refined jazz standards of Artiom Krikunov, each one brings something beautifully unique to the Touch Loops roster.  Find out what these fine players get up to when they're not creating industry leading guitar loop packs and check out their top performance / recording tips.  Some serious wisdom was dropped in this one!


Runson Willis - Vintage Guitars 


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Runson Willis defines what it means to be soulful.  From his LA home to the music that inspired him, this eclectic combination of sounds can be heard throughout Willis' music as well as inside his debut sample pack.  Combining a love for classic Blues, Hip-Hop & jazz, this range of inspirations ripples through his guitar playing.  From his use of lush jazz tinged chords to his abstract use of the guitar in creating percussive lines, his creativity just breaths through his guitar and the music he creates.  





Instagram: @RunsonWillis


Damien Nolan - Soundscape Guitars


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Damien has been performing, playing, recording and operating as an industry leading session musician for over 2 decades now.  From his time as the go-to guitar player for industry giant Lianne La Havas to being taught by the infamous Eric Roche, Damien's musicianship, love for the instrument and talent is clear for all to see.  With this thirst for creativity, Damien stretched this skills and sound-design chops by helping us create 'Soundscape Guitars'.  A combination of beautiful performance, extensive peal manipulation and modular processing, the collection sounds like no other and is truly beautiful.  





Tip: When you're playing alone play as a guitarist.  When you're playing with others, play as a musician'



Instagram: Damien Nolan


For more help with guitars be sure to check out our guide on 'How To Mix Guitars'



Artiom Krikunov - Jazz GuitarsNeo-Soul Guitars


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Artiom was born in the USSR in 1984.  After being exposed to iconic albums like Dark Side Of the Moon at a young, Artiom was instantly drawn to the guitar.  An instrument he would never put down to this very day.  After a youth of bands, music and composition, Artiom eventually became obsessed with the world of jazz.  After moving to Paris, Artiom honed his skills at the infamous ASMM/IMEP (Paris school of music) forming numerous jazz quartets as well as becoming a guitar must have in the session world. 

We're proud to exclusively sell these incredible guitar loop packs by Artiom.





Instagram: @Artiom


Tip: Respect the old-school but never stop experimenting. 

Respect the old-school but never stop experimenting . Whether it's playing, recording or composing. Know how to play jazz standards, but put all those harmonies on a new-shool beat.
Don't be obsessed with vintage amps, try digital stuff, preamp's and speaker-sims.  Compose using all the musical knowledge since Bach, and try to mix things in a new way.




Brent March - Desert Jazz Moods / Blue Tones


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When not creating Guitar Loop packs Brent is an established session musician and gear demo expert (A trait that's clear in his polished recordings and mixes).  From his extensive knowledge of guitar pedals and FX to his years of clear practice, Brent has been an integral member of the composition team, creating some of the finest guitar tones the label has to offer.


Tip: Even if recording on a clean channel I’ll add some form of saturation to the signal, as this can smooth of the peaks of the signal
and improve the overall crest factor at the end of the final production.


1) Always record a DI along with your amped version, this way you have unlimited re-amping possibilities down the line.
2) I prefer to try and get as close as possible at the source. I usually record with 2-3db of compression to catch the harsh
transients that occur when recording guitar. 90% of the time I prefer to record with pedals on. In post im usually just attenuating
Frequents with something like OEK sound Soothe 2, or Fab Filter Pro-Q3.
3) Even if recording on a clean channel I’ll add some form of saturation to the signal, as this can smooth of the peaks of the signal
and improve the overall crest factor at the end of the final production.
4) I may or may not end up using double tracked parts, but having them is invaluable. If I don’t record the same part exactly, I’ll play
It at a higher octave or use a capo to bring out extra harmonic content.
5) If I’m trying to achieve a Nile Rodgers type funk guitar tone, I’ll almost never record through an amp. Recording DI allows the guitar
to cut through so much more effectively, and old Bob Clearmountain technique from his Chic recording days.
The Touch Loops team!