Reasons You Want to Use a Pedal with a Multi-Effects Unit
Brendan J. Whelan
2 Sept 2020
Multi-Effects units have become a go-to solution for many live and studio rigs. They offer a compact and flexible platform for musicians to add available tones and effects, and control outboard equipment such as amplifier switching or other effects units. It is also convenient to be able to program the whole system with a single program, app or interface and store all parameters in one place. The tradeoff is that there are limits in terms of number of available effects and accessibility via footswitches. Multi-Effects units generally have a small number of effects that can be included in a preset and an even smaller number of switches and expression inputs for controlling these effects. This makes them more useful in a “preset mode” than a “stompbox mode”. As such, a combination of effects units may give the best overall system.
The flexibility of Multi-Effects units is a major advantage and feature. The ability to completely reconfigure the signal chain, both in terms of actual effects as well as order and settings, is a powerful tool. In order to make the best use of this flexibility, it may make sense to pull out effects that are always in the signal chain, such as Delay and Reverb, to an external effects box. This allows the Multi-Effects unit to be optimized for flexibility. It also allows the on-off stomp switches or Expression Pedals that might have been used in the Multi-Effects unit to be retasked for other functions or effects. It is especially helpful in this case to choose outboard effects units with MIDI so that these effects can be linked to the primary Multi-Effects unit for preset or parameter switching, sharing of tap tempo, and more integrated control. An example of this would be to add a Source Audio Nemesis Delay. This frees up a common function from the Multi-Effects unit and allows for direct footswitch control of the delay as well as MIDI control. In addition, as a dedicated effect unit, the Nemesis has a huge palette of available delay algorithms and could potentially give more delay options and quality than the Multi-Effects unit. As a stereo unit, the Nemesis preserves the stereo operation of the Multi-Effects unit. This provides a unique system that maximizes the flexibility of the Multi-Effects unit for on-the-fly operation.
How far can this go? An obvious next step would be a reverb unit, another “always included” effect in many systems. While any favorite reverb unit will do, this would be the time to consider interoperability and overall use of space. Given enough external effects boxes, the space-savings of this approach quickly vanishes. It would also be an advantage to retain the Multi-Effects control of the reverb as well as the stereo operation. The Source Audio True Spring Reverb or Ventris Dual Reverb pedals are good choices here, as they are designed to communicate with the Nemesis delay via the Neuro connectors, have similar form-factors, and would give a minimum total footprint. These would then ease the burden on the Multi-Effects unit further and retain the advantages of having the Multi-Effects unit. For the smallest size, the Source Audio Collider can be used for both delay and reverb function in the same space as just the Nemesis. The Collider also has the advantage of a parallel mode, so that the reverb and delay effects can be added to the signal separately, rather than cascaded. This gives a clearer sound that doesn’t double up on the delays. Each player has their own signature tone or “often/always on” effects. Any of these may be chosen as an external unit, though delay and reverb are likely the best options since they are usually last in most signal chains. The ultimate extent of this would be to combine multiple Multi-Effects units to double the number of effects, switches and controllers available.
With these concepts in mind, reasons you might want to combine a Multi-Effects unit with outboard pedals include:
1. There are never enough effects available at one time. Add an extra effect or two with an external pedal.
2. There are never enough switches, or each preset must reassign switches to get the control you need. Take it easy on your brain and focus on your playing by extending the reach of your controller layout with an extra pedal or two.
3. Multi-Effects are powerful tools. Take advantage of that power by focusing on flexibility in preset programming while using the MIDI and switch controls available to expand the capability of your pedalboard system.
4. Specialization can give better capability and quality. Multi-Effects units have a limited amount of memory and processing, and only so many effects algorithms. For some functions, particularly those that must sound crystal-clear or have wild and crazy options, an external pedal is often your best bet.
5. New effects and algorithms come along all the time. While firmware updates can add some of these to a Multi-Effects unit, it’s sometimes better to swap in a newer unit. Since Multi-Effects units are generally expensive, an outboard stomp box can save the day and all your existing programming.
6. Comprehensive Multi-Effects units are large and expensive. You can probably find a unit that has enough buttons and effects, but is it the right size and shape? Is it too expensive? Are you paying for a lot of features and functions you won’t actually use? Are all the effects and control functions exactly what you want?
7. Pedal effects are constantly improving in terms of both quality and features. Compact, power-efficient processors and algorithms allow for a LOT of functionality in pedal effects formats. New modulation and time-based effects can have multiple modes, stereo in and out, MIDI control, computer or app programmability, and incredible fidelity. They won’t have the space-savings and total system control features of a Multi-Effects unit, but can add huge value to the total package.
With some careful consideration, the combination of a moderate Multi-Effects unit plus pedal system can be smaller, more cost-effective, and outperform a larger, more expensive Multi-Effects unit, while providing sonic and control alternatives unavailable to any single-unit solution.
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