ART FX1

This bijou processor is deceptively spacious. Derek Johnson shows you around.

When ART released their MR1 reverb (see SOS February 1995), many applauded its low price, portable package, 16‑bit sound quality, and ease of use. However, there was one small problem: it was a mono‑only device, which we reviewers found disappointing. Let no‑one say that ART never listen to suggestions — the MR1's new brother, the FX1, which operates in stereo and seems to offer more of everything for less cash, is the proof that they do.

What It Is

In addition to 16‑bit stereo operation, the FX1 has nearly four times as many presets as the MR1 — 60 altogether, including reverbs, delays, modulation, pitch‑shifting and, surprisingly, a range of dual, triple and parallel (for processing two signals at once) presets. Even more remarkable is the collection of four true stereo reverbs — a nice touch for such an affordable unit.

Though it offers more than the MR1, the FX1 remains refreshingly simple in use. Like many other sub‑£200 effects processors, presets are selected with a rotary knob. Other controls comprise a wet/dry balance knob, input and output level switches (for +6dBv line or ‑4dBv instrument operation), the Bank A/B select button, and a button intriguingly labelled Normal/More. Connections are on unbalanced jacks, and power comes from a 9V external supply, which, while not particularly bulky, is actually two‑thirds the weight of the FX1 itself!

I wouldn't reasonably expect a unit such as this to have a display, and it doesn't, but there is a power indicator LED, plus a clipping LED. Preset names are screened on the top of the unit, for quick reference, and a fold‑out manual explains all functions, and supplies a list of all the effects, plus notes of what the 'More' option provides.

Operation of the FX1 is simplicity itself: choose one of the Preset banks (with the A/B switch), and twirl the Preset knob to the desired Preset — there are 15 in each bank (thus 30 altogether), plus a bypass position. Now let's introduce that curious More button: pressing this provides another 30 Presets, each of which is a modified version of a main Preset. Bank A Preset 01 is a bright hall reverb with a 2.5‑second delay; pressing 'More' offers you a warm hall with a 4‑second delay. The More button gives access to two delay times for delays, two depth values for modulation effects, octave‑down or fifth‑up shift for the pitch‑shift Preset, and so on. Editability it's not, but at least there is some choice.

Further choice is provided by the multi‑effect and parallel processing algorithms. In the latter case, two separate signals (say, a guitar and vocal), via the left and right inputs, can be treated independently.

How It Sounds

Now I suppose you'll want to know what it sounds like. I could be churlish and tell you to get down to your local dealer and find out for yourself, but I know that's not good enough. Let's just say that I was pleasantly surprised. Despite the preset nature of the delays and modulation effects, I found the majority of the treatments perfectly useable. The reverb quality is good enough for many purposes, working well on overall mixes, if tending to 'boinginess' with solo drum machines. Delays and flanges are also pleasing — the choice of parameter values by the ART design team is more widely applicable than you might think.

Verdict

For under £150, you won't get a Lexicon PCM80. But if you buy an FX1 you will get a pocket‑sized processor that's easy to use and offers a serviceable collection of presets, plus the advantages of a selection of true stereo reverbs, and the option to process two signals simultaneously. There's no MIDI, and no editability, but you wouldn't seriously expect those at this price. When I got my first Portastudio years ago, I would have killed for an FX1; all you have to do is find £150!