Effects

Valeton GP-100

Caratteristiche

• Elaborazione del segnale a 24-bit / 44,1kHz
• La tecnologia di modellazione digitale avanzata offre un suono organico
• Oltre 140 effetti di alta qualità
• Catena effetti modificabile
• 45 Amplificatori leggendari per chitarra / basso / acustica
• 40 Cabinet IR di fabbrica
• Supporta la memorizzazione di 20 IR utente
• Oltre 50 effetti dinamici / drive / EQ / mod / delay / riverbero
• Funzione interfaccia audio USB con streaming audio stereo
• Modalità Stompbox e Preset per diverse situazioni
• 198 preset (99 di fabbrica, 99 utente)
• Looper di alta qualità
• 100 Pattern di batteria di alta qualità
• Chassis e pedaliera in robusto metallo
• Accordatore cromatico incorporato
• Editor intuitivo per PC / Mac
• Uscite stereo da 1/4"
• Uscita cuffie da 1/8"
• Ingresso Aux stereo da 1/8"
• Pedale di espressione incorporato
• Alimentazione 9V
• Dimensioni: 198 x 134 x 28mm
• Peso: 800g

Nux MG-30

Caratteristiche

• 25 modelli di amp per elettrica, 2 per acustica e 3 per basso
• Ampio display 4" a colori per una navigazione semplice e intuitiva
• FX: Wah, Comp, Gate, Efx, Eq, Mod, Dly, Rvb) e Block Routing
• Drum machine e looper integrati (56 ritmi e loop da 60 secondi)
• Frequenza campionamento: 48kHz
• Latenza di sistema: 2ms
• Range dinamico: ~ 110dB
• Processori: 2 x NXP® RT
• Audio Codec: 2 x AD/DA AKM AK4558EN 32-bit
• Pedale di espressione integrato (multi funzione) + footswitch NMP-2 (incluso)
• Quick Tone editor software
• Alimentazione: 9V DC centro negativo
• Include: alimentatore 9V, NMP-2 footswitch, cavo patch, cavo USB
• Dimensioni: 313x166x54 mm
• Peso: 1.5 kg

Nux MG-300

Hotone Ampero

Line6 Pod Go

Line6 HX Stomp

Headrush Gigboard

Boss GT-1000

Atomic AMPLIFIRE 3

Boss GT-001

Zoom G3

Digitech RP155

LINE 6 Pod XT

ROCKMAN Sustainor

Introduction

The Sustainor is the heart of every Rockman rig. It is certainly the most complex and the most charismatic of the Rockmodules: its development required several years from a complete team of engineers, probably working separately on sections of the Sustainor.

Though its sound signature is immediately recognizable, the possibilities and versatility of the Rockman Sustainor are almost endless, still over twenty years later.
Certainly the first high-end analog amp simulator ever built, the Sustainor is, still today, an outstanding device, far above the classical preamp image that some people have of it.

Objective and history

The basis of the Rockman Sustainor is the amp simulation of the Rockman headphones amps. If one considers that the Rockman and the X100 are semi-professional devices, then the Sustainor stands as the professional extrapolation: while the headphone amps are based on four preset sounds, the Sustainor was extended by several complex, smart and useful inventions.

The Rockman headphone amp was created by Tom Scholz and issued in 1982. SR&D improved it continuously between 1982 and 1986, without significant changes: only minor circuit tweakings.

In the meantime, Tom Scholz had imagined the improvements that would give birth to the Sustainor:

Adjustable gain stages, volume controls and filters.
A noise reduction circuit: the Smart Gate
A truly amazing feature: the Autoclean
A 4x12' cab simulation: the Phase Notcher
When did the studies for the Sustainor begin? Probably right after the issue of the Rockman: 4 years is not much when the deal is to stuff 1kg of components in the volume of a pocket book! All in all, the Rockman Sustainor was issued as a commercial product in January 1986, along with the Rockman Chorus/Delay.

The Sustainor, like all the Rockman products, was continously improved. The first commercial items correspond to the REV03, knowing the last commercial release, in 1989, was REV09.

The first models had this blue logo that make us call them "Blue face", and the rear plate was stamped "100" (as a matter of fact, all the Rockmodules are stamped 100 and it's more an enclosure type than anything else). SR&D sold almost 9000 Sustainors in 1986. In February or March 1987 (circa S/N 10000), the rear plate was stamped 100A, and the blue logo was still here. These 100A Sustainors have nothing special: they are just the last Blue-Face Sustainors, a sort of transition model before the change of logo.

In October 1987, the logo on the frontplates of the Rockmodules (i.e. the Sustainor, the Chorus/Delay and the Instrument EQ) received a white logo instead of the original blue one. The Chorus/Delay was actually discontinued, and the existence of white-faced C/D's or blue-faceed EQ's as commercial products is not proved.

The change of logo was accompanied, for the Sustainor, by a change of rear plate: it was now stamped 200 instead of 100. The front plate was slightly modified, and all these changes make us speak about the Sustainor 200, though the 200 is just a continuous improvement of the 100, not a different product.

Inside the Module

The Sustainor is complex. Very complex. While the amp simulation circuit of the original Rockman took only 6 OpAmps controled by only one mechanical switch, the Sustainor is made of 28 Opamps with a complete network of mechanical and J-FET switches.

ROCKMAN Instrument Equalizer

Introduction

In a first approach, an equalizer is only an equalizer. Something simple that all the manufacturers should be able to design correctly.

But if you ask someone like Tom Scholz if the common commercial devices fit his requirements, the answer is less obvious.

The Rockman Instrument EQ is just different and better than what's available on the market. Let's see what makes its qualities and differences.

Inside the Module

The first thing that a tech will see inside the Instrument EQ is... no 4053/4066 chips! These J-FET IC's are everywhere in the other modules, and were not used in the EQ. As a matter of fact, SR&D designed it for the best signal-to-noise ratio, and selected a +/-12V power supply - instead of +/-8V - that prevented from using the integrated switches (the bypass circuit is therefore based on discrete J-FET's).

ROCKMAN Stereo Chorus

Introduction

The Rockman Stereo Chorus was introduced in 1987, when the older Chorus/Delay was discontinued. Based on the same circuit, it has the same qualities, plus some improvements that make it a genuine reference.

Objective and history

The Chorus/Delay was a combined unit. Like in all the multi-effects, some features were limited: some footswiches would have been welcome, but the rear panel was simply too small for that...

The new Stereo Chorus was therefore entirely dedicated to the chorus function, and all the switches were now remote-controled. The Stereo Chorus has a total of four footswitches:

Bypass
Long-Chorus
Sweep Stop
Alt-Mix
The possibilities are of course huge, and the technical quality of the unit - already great for the Chorus/Delay - were improved again.

Inside the Module

The Stereo Chorus has the same structure and circuits as the Chorus/Delay. This includes of course the noise reduction compandor.

The key difference is the BBD's: the Chorus/Delay has one MN3005 chip (up to 200ms), while the Stereo Chorus is based on two MN3007 (up to 50ms each). The choice of two BBD's was made to allow a silent switching between the Normal (20ms) and Long-Chorus (40ms) chorus modes.

ROCKMAN Stereo Echo

Introduction

The Rockman Stereo Echo is often considered as the Holy Grail of the analog delays.

Well, it's only fair!

There aren't many quality analog delays on the market, especially since this technology was replaced by the cheaper digital technology.

The Rockman Stereo Echo not only uses state-of-the-art analog circuits, its functional design was, like every other Rockman unit, performed by a musician for musicians.

And that makes a huge difference.

Objective and history

The Stereo Echo was issued along with the Stereo Chorus when the Chorus/Delay was discontinued in 1987.

And the delay section of the older C/D looks really simple compared to the highly improved Stereo Echo!

While the Chorus/Delay was limited to doubling, slap-back and reverb-like short echoes, the Stereo Echo can deliver these huge walls of sounds that a tape echo can give.

As a matter of fact, the filters of the Stereo Echo were designed for this warm, tape-like sound - nothing like the cold feeling of a digital unit.

The stereo effect of the SE is unique: the left channel delay is always equal to 3/5 of the right channel delay. This ratio was introduced to avoid taps overlapping: the echoes interleave from left to right and right to left without crossing path.

This special feature allows the Stereo Echo sounding a little like a reverb - something that no classic delay can do.

nside the Module

Just like the Stereo Chorus and the Chorus/Delay, the Rockman Stereo Echo includes the compandor noise reduction circuit. This is one of the key features that make it sound clean, when the common analog delays are fairly noisy at long delay settings.

There are four BBD chips inside the Stereo Echo, which are connected in series. The Left Channel - short delay - is picked up after the third chip, and the last chip provides an extra delay for the Right Channel.

ROLAND GP8

Roland Gp-8 Guitar effects processor (1987)

The Roland GP-8 Guitar Effects Processor dates back to the eighties and was basically hyped as eight BOSS compact pedals thrown into one rack unit (BOSS is a division of Roland). Quick and easy to manipulate sounds once you get a feel for the wheel. MIDI capability, effects loop, and foot pedal input give plenty of additional options.

The eight effects include: Compressor, Dynamic Filter, Overdrive, Distortion, Phaser, Equalizer, Digital Delay (12-bit) and Digital Chorus(12-bit).

BOSS Compression/Sustainer CS-3

Boss CS-3 Compression Sustainer
With the Boss CS-3 Compression Sustainer you get smooth sustain, a more balanced string response, and more clarity and punch at any volume. A must for recording. Ideal alone for a clean sound or in front of a distortion or chorus.
Boss CS-3 Compression Sustainer features:
Compact compression/sustainer pedal with high-quality circuitry
Compresses loud signals and boosts softer signals for a smooth overall sound
Onboard Level, Tone, Attack and Sustain controls for precise tonal shaping
Low-noise design for super-quiet operation

BOSS SUPER CHORUS CH-1

Boss CH-1 SUPER Chorus Pedal
The versatile Boss CH-1 SUPER Chorus produces the swirling chorus sounds heard on many rock, jazz, country, funk, and other popular music recordings.
Boss CH-1 SUPER Chorus Pedal features:
Classic BOSS chorus pedal with clean, brilliant sound for guitar and keyboards
Effect Level, EQ, Rate and Depth knobs allow for precise shaping of sound
Features Mono input and Stereo outputs for connection to dual amps
BOSS 5-year warranty

BOSS Digital Delay DD-3

Boss DD-3 Digital Delay
With three delay-time modes, the Boss DD-3 Digital Delay Pedal can handle all your performance needs. Features delay times that range from 12-1/2 to 800ms. Produces endless repeats on demand in Hold mode. Comes with a 5-year warranty.

GUYATONE PS-017  Distortion Chorus

Guyatone Flanger PS-004

Loco Box CH-01 Stereo Chorus

IBANEZ UE 305

Ibanez UE305, Multi-Effects Pedal,
Compressor/Limiter, Analog Delay, Stereo Chorus
Made in Japan

ROSS Phaser

This Phaser is amazing. The effect is very sweet sounding. There are only 2 knowbs on this effect and I don't think at any position there is a real bad sound. You know how there are setting on almost every pedal that you can say, well there's no use for that sound, well this phaser doesn't have that.

There is a nice range on both knobs, and there is no harse tone. The analog effect sound is real warm.
Good Points: Great range on settings, very warm sound. Indestructible.