Multi-effect Pedalboards and Units

In the previous pages we saw the various possibilities that today's musical market can offer to someone who intends to create their own personal setup. Many times it is our wallet that decides which equipment to choose: from this we can say that a basic pedal setup costs much less than a rack, but with pedals you lose the programmability, which is useful in many situations. Because of this, in most programmable equipment catalogs you will find preamplifers, effects and in some cases, control pedalboards combined into one case. Most all are very reasonably priced, with respect to the various effects included and the quality of the machine.
I want to make an important point: a musician is not judged by his/her instrumentation, but by the results that are created using their talent and knowledge of the instrument. It's therefore not true that you have to spend thousands to create good sound. For example, I saw Brian May (guitarist for Queen) play using only two Vox AC30 amplifiers and one (or two) Zoom(s). The fact remains that it was a very simple instrumentation. The result was an incredible sound! Ok, it was Brian May, but he was using only that equipment. Do you want others? Jeff Beck played in the sound column of '' Frankie's House '' primarily using a Digitech GSP21 Legend; Steve Vai used a Sans Amp for some guitar parts while recording the album Alien Love Secrets (1995); Alex Lifeson (guitarist for Rush) used a Digitech 2101 for some recordings in his solo CD Victor; Jennifer Batten usually uses a Digitech 2101 and a Peavey 5150 header; and the list goes on. Therefore if you are personally satisfied with your setup, that is the correct choice. This should be a rule to follow.

The Processor effects

We will now look at a standardized analysis of the effects processor. This can be separated into three types:
-   preamplifer + effects processor
-   effects processor
-   pedalboard effects processor.
With the preamplifer + effects processor, there is the possibility to have two important sections in the circuit, which is the preamplifer and the effects. For the preamp, we can say that this is usually equiped with controls similar to a normal preamp. First of all, you need to verify if there is a valve or a transistor circuit, and secondly if there is a valve simulator. The processores obviously work on the effects, from those that effect the body of the sound (compressors, equalizers etc.) to those that work on the environment (chorus, delay, reverberation etc.). Besides, in a few years almost all models will have the functions of a Speaker Emulator. If you are interested in one of these pieces, try creating your own effects sequence in the processor: this system is very useful in sound research because it allows you to vary the configuration of the effects along the signal path. It's like building a one or two unit rack system where you decide the position of the various effects.
Remove the preamplifer and you get the effects processor: basically the difference between the first two types of effects processors is that the first one has a preamp, the second one doesn't. Clearly an effects processor must be used with a preamp.
The effects pedalboard has an effects processor and in many cases a preamp. The nice thing with this is that the real time controls are already included in the unit that is therefore ready for use without the need of particular connections.
Generally, the effects processors have a good quality-to-price relationship. The Eventide for example, may have a more prohibitive price, but is truly an exceptional piece of equipment.

Midi pedalboards

This equipment checks the Midi signals of the various program changes of the processors within the case. The quality and functions of the pedalboards vary from model to model. Starting with the basic unit, which has only a series of foot switches and possibly a Midi channel changer, and going to more evolved and expensive models that offer more control switches and also various possibilities of assigning parameters (for example inputs for the expression pedals which can check in real time the volume settings, effect levels, etc.).
Depending on the setting, the Midi-out of the pedalboard is connected to one of the Midi-in's of the various equipment. At this point you should assign a Midi transmission channel that coincides with the receiption channel of the other equipment: read the instruction manuals of the units very well, because its possible that the system may not function properly if the assignment of the Midi channels is incorrect .
There are pedalboards with special characteristics, like Digital Music Corporation's Ground Control which offers numerous control options, especially if combined with the GCX Audio Switcher (of the same manufacturer). This is a very interesting system that allows you to control various parameters of different equipment, of two or more preamplifers as well as the assignment of the audio lines and command switchs. Everything is checked in real-time using the pedalboard that is equipped with an LED display where the various characteristics of the programs can be written. Rocktron has the All Access, which is also equiped with particular programming systems. Among the normal Midi pedalboards we have the Boss FC-50, the less expensive series by Rolls or the Rocktron Midi Mate.

Valve Simulation

Continued research in the field of musical equipment has brought about the development of simulators. In music, simulation can be the sound of a sax obtained from a keyboard for instance. For guitars there have been fundamental advancements regarding valve simulation in a transistor circuit. These simulators, made by Fender and Peavey for a few years now, were made famous by the Marshall Valvestate series which is now amplified by the Yamaha Tube and Peawey Trans Tubas series.
In analogical preamplifers, the distorsion may be simulated, but it's difficult to define the differance between the search for a good sound and real simulation, in the sense that some manufacturers have instruments with a very warm and rich harmonic sound (like a valvular circuit) thanks to the high quality of the actual product, even if the base model doesn't offer simulation. This can be defined by the digital preamp: in this case the input signal is converted to digital and elaborated by a DSP (Digital Signal Processor) thats then reconverted into an analogical signal. Effects processors such as the Rocktron Chameleon, the Ibanez VA3 or the Viscount EFX-10 use this type of processor, like the rest of the more expensive equipment (ie. Eventide DSP 4000).
Why is it necessary to simulate a sound? As already mentioned, in some cases the instrumentation choice depends mostly on your economic situation. There are some models that pick up various effects from within and also have good valve simulation. This way, you can "simulate" the sound of your favorite guitarist as well as create your own.
The fact remains that if you like the characteristic sound of a certain amplifier, is it always better to have the original. But does a Marshall amplifier have a different sound than a Mesa Boogie, or a Rivera, Fender, or Soldano... And if you like more sounds? If you want to empty your bank account you could purchase all of them, otherwise there is simulation, which can now be found in new specially dedicated equipment, as we will see in the next page.