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Posts Tagged ‘effects’

2017-03-22 12.29.39

The Vox VDL-1 looper has been a major part of my violin pedal set up for some time now. I bought it in August 2011 and have rarely done a violin gig without it. This is a review based on those 6 years of use and to explain why I think I need to get something else now.

As I wrote in 2012, there’s no such thing as a perfect looper. They all have their plus and minus points. Which one works for you depends on which plus points you need the most and which minus points annoy you least. I assembled this list of pluses and minuses for the Vox looper based on those 6 years of near constant use.

Good points

  • Two loops. They can be either synchronised to each other or not as you want. The mode is easy to set when you record the second loop and was one of the main reasons I looked into this looper over others available at the time.
  • Loop Effects. The VDL-1 has loads of effects that you can add to loops after they have been recorded. This is a great feature, you can pitch shift, add filter effects, stutters … oh all sort of things. You can also vary those effects with the footpedal while they are being applied to the loop. It’s such a cool feature. You can overdub effects over other effects too.
  • Live effects. You can also apply effects to the live signal that are independent of the loop signal – though they do get recorded onto the loop if you record it. I hardly ever used this as you can only have one live effect per preset.
  • Foot pedal for controlling the effects. Another great feature I think, it allows the loops to become something more than just a static background effect, they can make loops really ‘live’ and evolving.
  • Stop modes fade/delay and stop. In practice I only ever used the fade and stop options as the delay sounds cheesy. Again the fade option is a major feature for me as it allows me to change sections of the music gradually rather than suddenly.
  • Uses a standard 9V pedal power supply. It’s a minor point but useful when you have a lot of pedals and power bricks lying around!
  • The price. It’s only £199 new. It was that price when I bought it 6 years ago and seems to be the same now. It’s very good value.

Good points that I never used

  • Microphone input (with trim). It has an XLR socket on the back for a dynamic microphone. I never used it though.
  • Metronome/bpm option. Actually for me this was a bad feature as it’s quite easy to switch it on by mistake and I never needed it. When it was on, it forced loops to end on a whole beat – which was useless to me as the looper never knew what speed I was playing at so it just left empty space at the end of my carefully crafted loops!

Bad points

  • It has a gate built into it that you can’t bypass. When I first wrote my piece on loopers I thought it was the Vox being noisy. This isn’t true, it’s the BOSS RE-20 that hisses (it’s emulating a tape delay – rather too well). But the looper’s gate makes that noise come and go in a very conspicuous way when playing pizzicato. UPDATE: It does seem that the Vox was aggravating the RE-20 noise. Now I’m using the Pigtronix Inifinty looper it’s all gone quiet!
  • For arco playing it’s much less of a big deal to be honest, but once you know about it it starts to annoy.
  • No loop level control. Loops always play back at the level they were recorded at. You can assign the footpedal to control the loop level, but it counts as an effect so you can’t have any other effects applied to that loop unless you overdub the loop at a lower level and then change presets.
  • Changing presets causes a momentary dropout in the live channel. This one of my biggest gripes with this looper. If you want to change preset while playing … DON’T. You’ll get a glitch of about 1/8 of a second in your playing. The loops continue to play fine so I don’t know why it can’t keep the direct channel going too. It’s really irritating.
  • The effects are often of low quality. The pitch shifts and distortions are quite ropey if I’m honest. and the delays are quite basic sounding. They are nowhere near as good as the ones I have in dedicated effects pedals. For the price I suppose that’s to be expected, but it does make them less useful than you might like. Generally I mostly used the reverse, stutter and filter effects.
  • It’s complex to operate. There are quite a few operations where you have to press more than one switch at the same time … with your foot … without falling over … and playing a violin. With practice I learned to do this, but it does take practice.
  • It’s big. really big. Not heavy. Just big. There’s no way this would go on a pedalboard, unless it was a huge pedalboard with not much else on it. So you do have to carry it around separately. This also means it always has to be at either the beginning or end of the signal chain.
  • Low build quality. I think this has become a major problem for me now. The footpedal need regular tightening to stop it just flapping around and returning down to the ‘toe’ position all the time. The push switches fall off occasionally and when that happens the tiny springs disappear into the undergrowth of the carpet or blackness of wherever you’re playing. The internal boards come loose and the whole thing stops working until you kick it … then it works for a while and you need to kick it again. Then you need to take it to bits and just reseat everything because it’s been kicked around. Its not fun.

Things that other people have mentioned not liking that never or rarely bothered me

  • There’s a stupid bug where if you record a loop and don’t use it immediately (go to STOP rather than PLAY), it puts a small gap at the end of the loop, adding time to it so you lose sync. I only hit this once playing a piece written by someone else.
  • Only 90 seconds total recording time. I very rarely hit this though I’ve come near to it quite often. For others it’s been a deal-breaker though.
  • No way of saving loops. I always play live.

So I’ve been looking around at other loopers that might take its place. Current favourite is the Pigtronix Infinity – watch this space, I might review it in six year’s time 😉

 

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I was in my local friendly music shop asking about other things and, for one reason or another, ended up playing with the Roland BOSS SY-300 Guitar Synth pedal. The guy in the shop was enthusing about how well it tracked guitars – including slides and vibrato and my  next thought was “yeah yeah, but how well would it work on a violin?” In my experience tracking a violin pitch is very very hard. I’ve seen nothing that would do it reliably in either hardware or software, and it’s something I’ve been looking for for a long time now.

To cut a long story short .. IT WORKS! it even tracks the octave violin (which is tuned an octave below a normal violin so, on a 5 string instrument, makes it go down to the bottom C string of a cello). I stayed in the shop for a couple of hours playing with my violins on the device and was simply astonished about how well it worked. It is possible to confuse it, either with bad technique or pulling too hard on the low octave C string, but those are hardly major problems for normal use. And by bad technique I don’t mean tuning – if you play out of tune, the SY-300 will simply play the pitch you hit, I mean not placing your finger cleanly on the string which makes a dull grinding note on the violin anyway. If you slide all the way down a string – the SY-300 will follow you, if you use wide or narrow vibrato – the SY-300 will follow you. If you play loud to soft to loud in a single bow stroke – the SY-300 will follow you.

Amazing.

The guy in the shop thought it worked even better with violin that guitar because of the expressive effect of the bow on amplitude, and the ability to play long notes easily, it turns the SY-300 into a very expressive synth. It’s interesting to note that playing a synth via a violin (or guitar for that matter) doesn’t sound like playing a synth from a keyboard, it transfers the intrinsic ‘feel’ of the instrument onto the sounds made by the synthesizer – so in no way is it a replacement for a keyboard synth, it’s something totally different.

You need good synthesis knowledge to get the most out of the pedal, a lot of the factory presets are very guitar-orientated, made for a plucked instrument and often with lots of distortions added, so to get the best from a violin you need to get in there and make your own patches. As a violinist who also plays synthesizers this is easy enough for me, but people less familiar with subtractive synthesis might find it hard work to get what they want from it. This really is an expert’s device/

The architecture is slightly odd. It has 3 oscillators (with the standard virtual-analogue waveforms) each with its own filter, LFO and sequencer. Yes, the LFOs, filters and sequencers are per-oscillator! There are also 3 global LFOs (called Waves) that can be applied to the built in effects as well as the oscillator parameters. There are 4 effects slots which can be placed almost anywhere you like on one of two synth busses or the dry channel, and are of very good quality – as you would expect from a BOSS device. There is a good range of the usual effects, delays, reverbs, phasers, flangers & distortions – all with a good range of options. And also there are combined effects (delay+reverb for example) so you can make full use of those four slots. Most of the parameters of the effects can be controlled from the Wave LFOs. Although the way you configure those is rather clunky.

There are a few downsides. While it has MIDI in & out sockets (including USB) it does not send or receive MIDI notes, only control change and program change. I would also have liked more waveforms than just the standard saw,triangle, sine, square and maybe some interaction between the waveforms (eg FM). Also the software editor doesn’t work on Mac OS/X Sierra. Even the driver (which is supposed to work) crashed my system … and WHY OH WHY do MIDI devices need drivers anyway when they should just be class-compliant?! sigh.

But generally I think it’s an amazing device and if you’re a violin player who’s also into synthesis I strongly recommend you have a look at it.

I made a video about it with more information and examples

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Effects Pedals

They say write about things you know love, or things you know about, so here’s one about effects pedals.

I have a bit of a reputation for being a ‘collector’ of effects pedals, and not without reason. My website (which is up-to-date as I write this) lists 30 of which I normally gig with 16 – two of which are loopers. That’s a lot by most people’s standards I suppose though I’m sure there are plenty of people with more. They are heavy, and expensive, and I need to keep checking the cables (power and signal) to make sure they are working properly and sounding right, and that the control knobs haven’t mysteriously changed position in transit or while the cats were asleep on them – this does happen.

Sometimes I look enviously at the multi-effects units that people make and wonder if one of those might be easier. All the presets digitally stored so they never get lost or accidentally changed. Hundreds of different effects all on one easily portable box. It sounds ideal really.

No, not really. I’d never swap my motley collection for one of those, not really.

Those pedals are the instruments of my orchestra. They all have their own characteristic sounds that I know and (mostly) love. I know, for instance, that when I press the footswitch on the MXR delay pedal that it will give me a different sound than the RE-20 delay, and I know what that difference is and why I should use it in any particular context. The 16 pedals on those boards are the ones that I have chosen out of the larger collection I have to suit the sounds I want for most purposes. I know the sounds they produce, intimately, they are textures I know and can trust. I know the sounds they make in combination and I know in what order they should go to produce the sounds I want. I also know, when a sound isn’t quite right, what knob on which pedal has been moved and where it needs to go back to to restore normality and how far I can twist it to get one-off effects for special colour.

I also like the array of lights that blink and display the state of the sounds as I play, and the dance I do while playing is almost as much a part of the performance as the notes. I often do ‘footpedal practice’ to make sure that my feet are as trained as my fingers to get the music coming out right. In fact I was surprised, when recruiting another violinist to play a piece with pedals that she couldn’t really cope with it at all. I suppose I was like that once.

I’m sure the multi-FX units are useful for certain types of people but I’ve decided that I like the ones I have – to change to one of those would be like sacking a factory of crasftspeople and replacing them with a robot. Maybe more efficient but with the loss of the soul and individuality that the people bring. Buying all my sounds from one manufacturer can make the sound homogeneous. Even though these multi-FX units emulate all sorts of different pedals from different companies, they never quite capture the essence of the real thing. Yes, I know the RE-20 is a digital emulation of a tape-echo, but it works extraordinarily well, and is made by the same company that made the original.

And, to be honest, I do like the looks of amazment, awe, suprise or incredulity as I spread my pedals out on stage, covering a large proportion of it in the process, and the “she’s got more pedals than <xxx>” jokes that often follow 🙂

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