Category Archives: FX

TC-Helicon VoiceTone Harmony-G XT

voicetone_harmony-g-xt_frontTC-Helicon introduced one of its latest products the VoiceTone Harmony-G XT.

With improved harmony technology and the reverb taken from its big brother, VoiceLive 2, Harmony-G XT improves vocal tone and provides pro effects and vocal harmony controlled by naturally playing guitar.

Whether creating vocal harmonies that automatically follow guitar input, smoothing vocal performance with the live engineer effects or applying one of the 18 combinations of specifically tailored combinations of effects, Harmony-G XT can transform any vocal performance into a fully produced masterpiece.

New Features in VoiceTone Harmony-G XT:

  • Improved NaturalPlay guitar-controlled harmony algorithm
  • Front-of-house quality reverb algorithm and selection of styles from VoiceLive 2
  • Selection of four overdub-style doubling effects with two more doubling voices available
  • Reworked FX presets offer even more utility across music styles
  • USB connection for easy software updates, tips, and preset backup using the included VoiceSupport applet
  • Adaptive harmony gate added to Tone for a cleaner mix
  • Easy manual selection of Scale & Key for singers without an instrument or horn players

Standard Features

  • Some of the features that made the original Harmony-G such a success
  • Listens to guitar and voice to create correct harmony parts automatically
  • Tone switch smoothes vocals with adaptive Live Engineer Effects
  • 18 combinations of reverb, delay, and ??mod shared by vocal and guitar input
  • 10 presets available, each with A/B options
  • Harmony interval selection includes 3rds and 5ths above and below, octave up and down, and the unique Bass interval
  • Stereo or mono configurable output
  • Clean, studio-quality mic preamp with phantom power and XLR input
  • Guitar signal can be mixed in and share reverb or passed through to separate amplifier
  • Fast, accurate guitar tuner

VoiceTone Harmony-G XT will be available in early December 2009 for $345.

More information: TC-Helicon

Gig-fx SubWah pedal

SubWahGig-fx inc. has presented the SubWah a bass version of the popular MegaWah.

The new SubWah captures the signature wide-sweep range and funky low end of the Megawah, but has tailored the frequency ranges for bass guitar. The SubWah was developed with cooperation from top professional bass players in Boston, Nashville and LA, including Bootsy Collins.

The all-analog pedal features four settings: a classic wah sound, a very deep bass Sub wah, a funky envelope wah with adjustable trigger sensitivity, and an auto-wah with adjustable rate. Special care was taken to ensure preservation of bass frequencies, including five/six string low B response and at the same time to maximize ‘quack’ and ‘ping’. Many months were spent with professional players perfecting the sweep to optimize the effect and still retain bass response.

The SubWah uses optical switching and is noiselessly by-passed when the pedal is all the way back and switches on noiselessly when the pedal is pressed forward. The SubWah features a user-adjustable off-delay so that the effect turns off exactly when the musician wants it to.

The pedal features the new ‘better than true by-pass’ circuitry proven to be superior to a true by-pass in terms of preserving the instrument’s tone and harmonics through instrument cables.

The SubWah follows the popular Megawah legend, which is currently being used by an impressive list of creative guitarists such as Peter Frampton, Nick McCabe (The Verve), Brett Tuggle (Fleetwood Mac), Robin Finck (NIN), Johnny Hiland, and more.

More information about the product: Gig-fx

SL Multitrack Drum Loops libraries

000049772Smart Loops has released three new SL Multitrack Drum Loops libraries.

The latest Smart Loops SL MultiTrack drum loop libraries 6/8 Medium Light Rock 1, Medium Straight Rock 11, and Medium 16th-note Shuffle 1 are now available for download in ACID WAV, Apple Loop, and REX 2 formats.

New SL Multitrack Drum Loops:

6/8 Medium Light Rock 1:

Stereo Mixes: 34

Individual Track Loops: 145

Total Loops: 179

Total Size: 367 MB ACID (Download 277 MB ACID)

Original Tempo: 70 BPM (dotted Quarter-note)

Recommended Tempo: 55-110 BPM

Time Signature: 6/8

Styles: light rock, pop, and similar styles

Medium Straight Rock 11:

Stereo Mixes: 58

Individual Track Loops: 308

Total Loops: 364

Total Size: 408 MB ACID (Download 336 MB ACID)

Original Tempo: 78 BPM

Recommended Tempo: 58-118 BPM

Time Signature: 4/4

Styles: rock, light rock, pop, and similar styles

Medium 16th-note Shuffle 1:

Stereo Mixes: 47

Individual Track Loops: 250

Total Loops: 297

Total Size: 271 MB ACID (Download 227 MB ACID)

Original Tempo: 82 BPM

Recommended Tempo: 67-112 BPM

Time Signature: 4/4

Styles: rock, R&B Rock, pop, Rock-Rap, and similar styles

The SL MultiTracks libraries are available for download in ACID WAV format for $14.99 USD each.

More information: Smart Loops

Numark effects controller for NS7 and Serato Itch

large-nsfx_angle_lgNumark, the world's leading manufacturer of DJ technology, announced NSFX – an effects controller for use with the company's NS7 premium software-performance controller.

Numark developed NS7 and NSFX in strategic partnership with software developer Serato. NSFX made its worldwide debut at Numark's stand, E10, during the 2009 BPM show, October 3 and 4, 2009 at Birmingham, U.K.'s National Exhibition Centre.

NS7 DJs can now take advantage of Serato ITCH's effects capabilities with NSFX. Designed in collaboration with Serato for the ITCH system, NSFX is designed to mate perfectly with NS7, delivering seamless integration and hands-on control of the wide range of effects built into ITCH. Those effects will sync automatically to the tempo of the track to which they are applied, allowing for quick, easy, musically satisfying results every time.

DJs attach NSFX to NS7's integrated laptop stand for convenient access to effects controls. Designed to match the high-quality fit and finish of NS7, NSFX delivers the same robust, professional feel that NS7 users have grown accustomed to. Because Numark designed NSFX in collaboration with Serato, it is instantly compatible with ITCH. Users simply plug NSFX in via USB, which will activate the effects functionality in the latest version of ITCH. All parameter controls are intelligently pre-mapped and no software-driver installation is needed so DJs literally plug and play with NSFX. Club DJs will appreciate NSFX's light-up controls that indicate each control's setting and/or status for visual feedback in virtually any lighting environment.

More information about the controller: Numark

Effectrode Delta-Trem Stereo Optical Tremolo

effectrodedeltatremEffectrode's new product is now available and its name is Delta-Trem Stereo Optical Tremolo.

This pedal authentically recreates the alluring, hypnotic tone and feel of a vintage amp tremolo. This is accomplished by using a filament lamp and photocell assembly in conjunction with a vacuum tube signal path. This gives an exceptionally warm and musical tremolo effect that blends well with clean and overdriven guitar sounds. The dual signal path allows the pedal to operate in mono tremolo mode into a single amp or stereo where the sound is ping-ponged between two amps for a huge, spacious tone.

Delta-Trem Stereo Optical Tremolo features:

100% Tube Signal path: Vacuum tubes and photo-resistors are utilised to create the tremolo effect. Custom photo-cells ensure absolute minimum harmonic distortion for an exceptionally pure tremolo tone.

Powerful Mixed-Wave Modulator: Advanced L.F.O. technology allows continuous control of 32 waveforms! Standard mode reproduces smoothed triangle (linear) to sine and psuedo-square with all the wave variations between to recreate a range of authentic tube amp tremolo tones. The pedal can be further configured to produce variations of rising and falling sawtooth waves, for “Leslie style” acceleration effects. The Delta-Trem is unique that all waveforms have rounded edges for a sweet and musical tremolo – very usable and quiet operation.

Twin L.F.O. Operation: In standard mode the signal is ping-ponged between left and right outputs. The Delta-Trem can also be configured so that the “Depth” knob operates as an independent L.F.O. control. This creates some unique amplitude modulation effects as the channels drift in and out of phase.

Amber/orange LEDs pulsate with modulation speed for visual song tempo matching. The orange LED indicates the modulation rate for the second L.F.O.

For more information, visit

The EAW MicroWedge Series MicroSub stage subwoofer


EAW announced their new product – the MicroSub stage subwoofer, the latest offering in EAW‘s MicroWedge Series of stage monitor products.

The single-15″ enclosure is a high-quality, highvolume, ultra-versatile stage and small venue subwoofer, designed to address the unique environment of onstage low frequency demands – sonic territory that often goes ignored by stage monitor setups.

The MicroSub can be configured and interlocked in a huge range of different combinations – by itself, with other MicroSubs or with other MicroWedge units. Small pads and recesses are located on its sides, top and bottom.The loudspeaker is mounted at a 45-degree angle and that the cabinet height is exactly half of the cabinet width when the MicroSub is laid flat (features which facilitate a variety of arrangement options). Due to its small profile, it serves as an excellent side fill monitor, particularly in a club setting: the 13″ height allows the MicroSub to be used as a building block to achieve the optimum height for the top cabinets. It is versatile enough to fit in the monitor wedge line downstage or as an addition to many different types of stage monitor setups, understage and front-of-house.

For optimal performance, it is tuned at 35Hz, operating in the range from 27Hz to 150Hz. It features external DSP with one-way filter. Axial SPL Sensitivity is 92dB (LF – whole space) or 98dB (half space) at 27-150 Hz. Nominal input impedance is 8 Ohms LF, with minimum input impedance of 7.6 Ohms at 165Hz. The unit’s High Pass Filter is a 12db/octave Butterworth filter at 28Hz. Able to produce high sound pressure levels, the MicroSub has a calculated SPL Axial Output Limit of 122dB average/128dB peak (LF – whole space) or 128dB average/134dB peak (half space).

The EAW MicroWedge Series MicroSub stage subwoofer is available from August 2009.

For more information, please visit

V845 Wah Wah Pedal from VOX Amplification

large-VOX_V845One of the most famous gear producers – VOX Amplification, announced the release of the new V845 Wah Wah Pedal. This product is a new version of the most popular guitar effects pedal of all time. Based on the specifications of the original pedal, developed by VOX in the ’60s, the V845 Wah-Wah offers guitarists the same legendary Wah-Wah tone in a new sturdy but very affordable design. An AC power connector is fitted to save on batteries and the outer case is coated with tough all-black finish making it the perfect choice for your pedal board.

VOX developed the world's first Wah-Wah effect during the ’60s in an effort to allow guitarists to emulate the sound of a trumpet being muted an important musical ingredient of the day. VOX's original Wah-Wah pedal quickly gained widespread popularity and its unique sonic characteristics have encouraged further experimentation by guitarists ever since. Having made spotlight appearances on some of the most famous recordings of all time, the Wah-Wah is still considered must-have equipment for guitar players of all levels and abilities today.

VOX V845 Wah-Wah Specificaitons

Input/Output jacks: INST jack, AMP jack, DC i/p jack.

Power supply: One 9V DC battery 6F22(S-006P)

Power consumption: 540uA @ 9VDC

Battery life for continuous use: approximately >100 hours with manganese battery (will vary depending on conditions)

Dimensions: 102(W) x 252(D) x 75(H) (including rubber feet, pedal in lowest postion)

Weight: 942g (including battery)

The V845 Wah Pedal will be available November 2009 with a retail price of $155.00.

For more information, please visit the official site of the producer:

MXR Bass Auto Q


If Parliament were condensed into a genie-in-a-bottle like place, they would live here. The MXR Bass Auto Q

This little black box is basically an auto-wah effect – with full tweaking controls coming at not extra cost. It runs on a wall-wart (not supplied) or just a standard PP9 battery. As far as external links go, that’s about it. Not forgetting the obvious input/output jack-ins. A nice touch to the design of this pedal is how the knobs are arranged, in a scowl-like fashion. Link this with a personified pout and you’ve got a funk player.

Volume is joined by Range (how low the effect goes) and Q (wah intensity), and on the right there’s Decay (how long the wah effect lasts relative to note sustain). All very clever stuff but the icing on the cake are the two knobs Blend and Rate. Blend controls the mix of wah and trem (left for wah only, right for trem only), and Rate handles the intensity.

When fiddling with all the settings and trying to find the sound to pound to, I quickly rendered this pedal absolutely useless if I were even to think about shredding. You will just hear nothing. It’s best to sustain your chords if you want to get the potential out of this pedal; and it has bucket-loads of that. Rotating the Q clockwise adds a harsher edge to the overall tone while Decay will dictate how quickly the wah and tremelo peak and lull. All these settings really make for a nice three-dimensional sound.

For an ‘out there’ player who’s not afraid of experimenting. In fact, you’d better welcome that idea!

The MXR Bass Auto Q retails at <!– /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:””; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:”Times New Roman”; mso-fareast-font-family:”Times New Roman”; mso-ansi-language:EN-GB;} @page Section1 {size:612.0pt 792.0pt; margin:72.0pt 90.0pt 72.0pt 90.0pt; mso-header-margin:36.0pt; mso-footer-margin:36.0pt; mso-paper-source:0;} div.Section1 {page:Section1;} –>
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Tonebone Plexitube


Valve power married with preamp circuitry, it’s been done before but the Tonebone Plexitube’s features make this a versatile, pioneering beast…

Canada’s Radial Engineering has been producing Tonebone effects pedals and switching boxes since 2002 and can boast a number of high-profile users, including Toto’s Steve Lukather and Mettalica’s Kirk Hammett. This pedal’s aim? To deliver ‘four generations of Marshall Plexi tones.’ Along with this monumental claim also comes the equally substantial price tag. It’s got a lot to prove, let’s see what it’s got…

First of all, the construction is sound. Made of very sturdy solid sheet steel gives it the ruggedness to be worthy of a good thrash on stage. Whereas the boasted features are personified through various knobs and switches. The two main footswitches, one to bypass the effect and the other toggling between two sets of settings that effectively act like separate amp channels, work well but mean there are a lot of other knobs to fiddle around with as a result.

Amidst the 12AX7 all-valve heart of this pedal beats a tin soul of circuitry genius. The EQ provides a hugely wide tone-shape. The shared low and high EQ controls mean that you can manipulate this Marshall JCM800-esque sound into anything from reserved crunch to a more bowel-moving fuzz. The excellent creamy tones of the Tonebone Plexitube make this an expensive, but equally good contender against Electro Harmonix’s Black Face.

The Tonebone Plexitube retails at £353.36.

Behringer Echo Machine EM600


As some of you may have read, I have already written about one of the pedals that Behringer have recently bought out. I however figured that the range was so good, and so inspiring that I needed to tell you about the other gem of the RSM range

Staring with the single and only bad point that this range has; not-so-fantastic plastic. The Echo Machine EM600, as well as all the other RSM pedals, has a plastic casing. This doesn’t bode well for the likes of you who want to be heard right at that precise moment in the song – everyone then. But it does mean that Behringer have been able to keep that all important cost down.

Unlike the Super Flanger MusicGadgets reviewed yesterday, the EM600 is the only one that will require you to read the manual. Beyond the usual mix, repeat and time controls there is a mode knob that offers three varieties of tap tempo delay. The time periods are broken down well in this pedal, featuring quarter or eighth note multiple repeats, two multi-tap settings, slap ducking, ping pong, sweep, swell and reverse delays. So as you can see, abundant is the EM600 with features, but you only get two seconds max of delay itself.

Finally, the trail and type switches give the pedal that old analogue, vintage twang; mixing it up with the newer functions can really make your guitar sound very versatile indeed. Background noise is a slight issue with this pedal but you can’t really go wrong for the price.

The Behringer Echo Machine EM600 retails at £36