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Posts sent on: 2015-12-07

07 Dec 2015 
While wireless technology has liberated many guitarists from the restrictions of a cord running to the amp, stomp box effects can still threaten to sully the stage with spaghetti madness. A lot of people seem to prefer gear with full analog paths over digital gear because analog sounds better than the 'cold' digital devices etc. The power of DSP will continue to grow and to create new possibilities, but tube amps haven't gone away and neither will devices that are fully analog. But 'digital' as a descriptor for sound has no meaning, unless you're talking about 8-bit conversion or low sample rates, neither of which are issues in any modern digital system.

Wills effects remain analogue, even those with a digital sound and appearance use analogue components to 'mess with' the digital path to create new textures and sounds. I am lucky enough to own 2 of Will's pedals - the Geiger Counter and the Super FatMan - both of which have been a mainstay of my set up for a while now and I have to mention that they are out of this world! On more sophisticated delay pedals or rack delays, it might be identified by the word feedback". But, i've still got a problem, if i set vol pre" to 0 it doesn't sound clean but it doesn't sound at all… no sound.

Above: If the hardware that you wish to use is an effects unit or reverb (basically, something you would want to send to, as opposed to insert on a channel), you can set up an instance of the I/ plug-in on an Aux object, and use the channel sends to control the amount of signal that is sent to the external device. You chuck your chorus pedals aside because they may just sound too dated or impose too much unnatural triangle wave movement to your tone.

The signal flow is: guitar hits a TC micro tuner , then a few fuzzes - a custom Paul Trombetta 4-channel CeyZo fuzz and a few other custom pedals - then a Jam Whacko wah, and then a few more fuzzes or modulation devices, including a Jam Big Chill Tremolo pedal used with the wrong-impedance expression pedal to cause a bizarre tremolo feedback effect.

We created delays that had the sound of analog warmth with modulation effects on the repeats (the other pedals offer modulation effects in varying degrees), and an externally connected expression pedal was easily configured to control multiple effect parameters concurrently on a per-preset basis. The lack of a digital display makes programming some sounds more challenging and requires keeping the Pilot's Handbook nearby to refer to some tables and illustrations.

The sound didn't do it for me when I played it. For some people, it either sounds better to them than their pedals did (or their amp modelers to their amps), or the versatility and ease of use is worth the compromise in tone. Hardwired bypass pedals can allow your signal to run through without any power running to Eddie Kramer the pedal too. I think there's only one guy at my church who knows anything about guitar pedals. I will admit that because I can afford the boutique analog pedals, that's what I use.

Regardless which digital multi processor you're using you should always start off with matching the in/out levels. Switch off any effects and amp sims and set all global levels to unity with the initial guitar+amp/soundcard signal. As none of these units have a unity bypass level you need to engage bypass mode as well and set the volume. When all levels are set on your processor or software you can start adding amp and pedal sims and set these as desired.

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