1985, Matthias started to use a Roland 3000 delay with a volume pedal in the FeedBack insert to create sound carpets, as he called them, without knowing about Enos work. They served for the daily exercises to ease his back problem. After half a year, the sound had taked over all of his interest and he started presenting it in public.

1987, Matthias traveled to t.c. electronics in Denmark to explain the necessity of loop functions for the 2290 delay to Kim Rishoj, who avaliated the functions carefully but found them only interesting for a "few esoteric" musicians.

1988, Matthias designed the Multiply function and sent the proposal (pseudocode / timechart) to Gary Hall at Lexicon, who liked the idea but thought that the sales volume for Lexicon would be to small.
The letter to Roland Corp. with a similar proposal was not quite understood and the answer was pretty negative.

1990, Matthias had the idea to bring the users of loop technology together to exchange music and information with the project LOOP Group. In 1995 he invited LOOP delay users for a common CD project but only got 4 contributors (Kuno Wagner, Michael Peters, Renato Rizzo, Andre Krikula) sent a DAT to Brasil. In 1996 the internet was introduced in Brasil and Kim Flint founded Loopers-Delight.com. There, more contributors became interested and the first Loopers-Delight CD finally was spread as CD-Rs in 1998, by Ray Peck. The second CD was a double with industrial quality, produced by Matt McCabe.

1991, Matthias decided to build the LOOP delay all alone. He was not aware of the effort for software, but destiny saved him by bringing Eric to the community of the beautiful chalet Musical Engineering was installed in:

Eric Obermühlner had just gotten his programmers degree and was without job yet when he moved to live with the community in the beautiful old chalet Musical Engineering was installed in. He was a dancing fool and strictly barefoot on the road, resistant and consuming like a bear. Personally very sensitive though, extremely sincere and trying to make it right for everyone. He reads much faster than anyone I know and knows more about everything than anyone I knew of his age. After a short exposure of my project, he went totally into it. We simply liked each other very much from the start. Since he had done his diploma work on a 68000 and we wanted to build a simple cheap machine quickly, we decided to go on with this rather outdated processor. MIDI was supposed to be done by someone else on a separate board or so, but then we realized, that this would be even more complicated. So Eric studied MIDI, too. We worked very hard for a long time. It was much more complicated than we had thought and I was insistent with my vision of a "free" operation (without limits like sample start point) and he was patient and made his strange noises when thinking and talked to the MacIIcx we did all the work on. Later Eric came to Brasil to elaborate the Echoplex and worked in Berkeley. Now he lives with his Brazilian wife and three kids in Switzerland and has about no time for looping any more.
Willy Strehler did a fundamental job with testing and adding features needed with MIDI/sync and sequencing. He used to operate two LOOP delays with a one octave bass pedal and may have been the first one to use loops in his "holistic" guitar and voice lessons. The final test phase of Stereo/MIDI/sync happened in his studio. I hope we one day will be able to implement the innumerous creative/crazy suggestions he made. So far, Quantize, the Sync schema and many small tricks are his contribution. have a look at his equipment
Ljubo Majstorovic came to PARADIS because he needed pieces for his home made guitars. We immediately understood each other about many technical and sound concepts. His incredible playing called the public to the booth in Frankfurt and and he explained the use of loops to many. He also contributed ideas for functions.
Marco Birchler of KENTEK, Zug, was the patient, sincere and responsible manager of the fabrication. After this project he gave up manufacturing to just deal with parts ;-)
Dent-de-Lion DuMidi worked the English version of the manual through and kept digging us out of the dust with funny ideas and fantastic visions.
Boris Bögli sensibly made the prospect and manual understandable.
Thomas Oeschger is the supporting critic "outsider" judging from the listener's and reader's point. He made his thorough knowledge of human nature available to us &endash; not only when correcting letters.
Dent-de-Lion DuMidi worked the English version of the manual through and kept digging us out of the dust with funny ideas and fantastic visions.
Thomas Bitterlin of DELFIN, Zürich, printed the housing carefully.
Hermann Hogg of ALPHA77 is the discrete master that years ago taught me everything about electronics and much more.

In 1993, the LOOP delay was presented at Musikmesse Frankfurt and its history changed:

Some representatives of Lexicon looked very closely at everything. The development of JamMan must have been advanced at that moment.

Keith MacMillan came and said: "would you like to licence your product" - the dream of any European inventor. We soon made a contract and the production of the LOOP delay stopped after the first hundred because Gibson was able to manufacture cheaper in bigger scale. A preliminary contract was signed quickly and after Matthias moved to Brasil, he went to Berkeley for a month, where improvements were elaborated and many of them implemented right away. A completely new surrounding:

Keith MacMillan is the genius and hyper active creator of Zeta products, ZIPI standard and a lot more. He also had created a prototype of a looping unit in the eighties. At the time, he leaded the G-WIZ, the Gibson electronic development labs, where 6 engineers were working on the INFINITY guitar, the final blend of polyphonic sound treatment, fret sensing guitar to MIDI/ZIPI conversion. In the middle of all his e contributed many ideas for the improvements for the Echoplex dp like: Single jack cable for the pedals The parameter field Time/Loop copy
Kim Flint I met at G-WIZ in '93. It was at his first job after graduating. He did all the testing and implementing of the hardware changes, the front panel design... and fell in love with the whole idea and started to com up with suggestions. When G-WIZ closed, he stayed with the LOOP and without him, the project might have died in '95. He cleared the confused business connections, installed AURISIS and LOOPERS-DELIGHT and convinced Gibson of the importance of looping. Kim also did most testing of the software, which is an amazing long and tiring process.
Claude Voit came in after making smart remarks on the Loopers-Delight mailing list and and finding the first bugs in the V5.0 soft. End 1999 he takes over Kims Job as tester and invents a lot of the finer Sync and MIDI features of the Echoplex. The fact that he is also swiss is a mere amazing coincidence!
Just like Claude, Andy Butler called attention on the Loopers-Delight list. First for his Vortex Data Base and then because he bought two EDPs and a week later found a bug - while no one had found any for years. End 2001 he started to do most of the testing and contributed FlipMode and other handy details to Loop4 Since 2002 we are working together on VST plug in projects... Andy is autodidact musician and programmer and lives a modest and happy vegan life with his lovely wife Peta in a cozy house in the east of England...
The youngest and most recent member of the crew is my nephew Johnny Schmid. He programs assembler and C++ since childhood and recently remarked: "its amazing, for a while I write code that does not produce compiler errors, but now it even runs straight away". I dont think I will ever get to that point... Johnny studies Informatics at the federal technical high school in Zürich and works as a sound mixer with Rock and Punk bands.