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ART FXR & FXR Elite

Digital Effects By Paul White
Published January 1994

If you're looking for instant gratification in the effects department, ART have something that'll do nicely — as Paul White finds out...

If you're one of those people who find effects programming about as exhilarating as a Leonard Cohen Karaoke night, you'll appreciate ART's two new FXR models. Both the FXR and FXR Elite are based around a new generation of specialised microchips which purports to offer big bucks performance for less than the VAT on the pro‑audio equivalent. As far as the user is concerned, however, the keyword is simplicity. As far as I can ascertain, both units are identical in most technical respects, the main difference being that the FXR offers preset operation only, whereas the FXR Elite has MIDI control and allows a couple of parameters per preset to be changed and then stored.

Unusually for effects in this price range, the FXRs feature dual processors, enabling them to operate as true stereo‑in, stereo‑out devices, where each of the two inputs can be treated with a different effect. Though both channels can be effected differently, their outputs are mixed before they encounter the outside world so you only need one stereo effects return. Not all the presets provide different effects for both channels, though where they do, operating the unit with a single input will process that input with both effects. If there is a need to process a single signal with just one of the pair of effects, it is possible to plug a jack into the other input; a spare jack with no lead attached is ideal for this purpose.

The 16‑bit FXRs provide a repertoire of 255 presets based on reverb, delay, chorus, flanging and panning, up to four of which may be combined, depending on the preset selected. The reverbs contain examples of various plates, rooms, halls and chambers, with gated and reverse programs too, while the delays include various multitapped, stereo treatments. No audio bandwidth is quoted, and the fact that the input impedance is a high 500 kohms suggests that guitarists form a significant part of the target market.

MIDI In and Out sockets are provided on the Elite model only, allowing presets to be changed using MIDI program change messages. MIDI bank change is supported, enabling all 255 presets to be accessed rather than being limited to 128, and the unit can receive data on any of the 16 MIDI channels or in Omni mode. SysEx dumps are possible with the Elite, which also has a socket to take a bypass footswitch; the cheaper FXR has no such provision.

FXR

The FXR all‑preset model utilises a 16‑position rotary switch to select the basic effect or effect combination, and then a second 16‑position switch provides further variations on that effect. There's no bypass footswitch and no MIDI control, so the only way to select programs is from the front panel. Both units use identical input metering systems comprising three LEDs; two green LEDs act as signal present indicators for the two channels, while the third flashes red if either channel is in danger of clipping. Because of the design of the LED lenses, it is very difficult to see whether a LED is on or off unless you're looking directly into it. Physical controls are provided for Input, Mix and Output.

FXR Elite

The Elite has a slightly more interesting back panel, resplendent with MIDI sockets and a bypass footswitch jack, but it's still pretty streamlined. Things don't get that much busier around the front either. The Mix control is actually a rotary encoder and its setting is reflected in the numeric LED window whenever it is adjusted. It's also possible to control the mix function via MIDI; the manual, not surprisingly, suggests the ART X15 Ultrafoot for live performance. Usefully, the Mix setting is stored as part of a program.

The two variable parameters each have their own dedicated knob, and the parameters being edited are shown by a diagonal strip of green LEDs, accompanied by descriptive legending. Essentially, the far left glowing LED shows what parameter will be controlled by knob A, while the far right LED shows what will be controlled by knob B. Parameters available are:

  • Left Level
  • Right Level
  • Delay
  • Sweep
  • EQ
  • Regen.

There's also a Dry Kill button which mutes the dry sound without the need to change the mix setting, and this is very useful when working in a mixer effects send/return loop. The setting of this button may be stored as part of a program and a program is stored simply by pressing the Save button once. One particularly useful feature is the ability to set a global Dry Kill for all the presets, using the MIDI/Utility button. This is a Godsend for the musician working both live and in the studio because most straightforward live setups need the dry sound on, whereas for use with a studio mixer's send/return system, the dry sound needs to be muted.

Front panel program selection is handled by a pair of Up/Down buttons, and a manual Bypass button is provided, as are Input and Output level pots.

Summary

The concept of a preset‑only machine is nothing new, but the 'presets plus limited editing' approach appears to be gaining some support, as Lexicon's Alex confirms. However, I feel that in the case of the FXR Elite, there is insufficient flexibility, and discounting changes in level or mix, many programs allow only one true parameter to be edited. For example, you can have a delay and change either the delay time or the regeneration, but not both. In an ideal world, it would be possible to select which effects patches to use together in dual mode, and there would be three or four variable key parameters per patch. Sadly, what's on offer is unduly restrictive and offers little more flexibility than the preset‑only FXR.

On a more positive note, both machines sound great and most of the presets (identical on both machines) are musically useful rather than merely being demonstrations of pyrotechnic excess. The FXR is a straight‑ahead preset machine, and as such acquits itself admirably; flawed though the concept of the Elite may be, it still represents exceptional value. It's quite extraordinary to get a machine of this price that's capable of independently processing two input signals — just plug in two effects sends and you have a huge range of effects at your disposal. I can't help but feel that the limited editing approach, if properly applied, could be very successful, and maybe it's time the synth manufacturers started looking in this direction. ART produce a large range of good value processors of varying complexity, and despite certain reservations, the two FXR units have a lot to offer to the entry‑level user who wants 'instant' studio effects at the touch of a button.

The Sound

Despite the fact that one of these units offers no control besides the choice of preset, and the other offers very little more, they actually sound quite impressive. Because of the sheer number of presets, there's no problem in finding a suitable reverb patch, and the only time you might come unstuck with the standard model is if you want to find a delay that falls exactly in sync with the piece of music you're working on. While the Elite offers limited control, you can at least find a delay patch where you can change the delay time or a reverb patch where you can modify the reverb contour.

The reverbs are both varied and convincing, ranging from small, bright rooms to cavernous halls, and the gated/reverse settings are well up to scratch. I found the chorus and flange effects reminiscent of the old Electro Harmonix analogue pedals, with lots of depth and guts, but best of all were the combination effects, which can turn a simple guitar or keyboard part into a swirling mass of sound. The patches combining delay or reverb with flange were particularly dramatic, but there are plenty of more subtle treatments in there too. All the effects are reasonably quiet, and though no audio bandwidth figure is quoted in the manual, there seemed to be no obvious lack of brightness or clarity. However, it's quite easy to run into overload distortion when processing guitar, and the poor LED meter visibility doesn't help here.

Operationally, neither unit presented a problem, though the dual programs can be restrictive because you can't choose which effects are paired; you have to pick the best from what's available. In some ways, it might have been more useful if the second effect was always some form of 'vanilla' reverb, as most mix situations demand that at least one effects unit is committed to producing straight reverb.

Pros

  • Good value.
  • Good overall sound quality.
  • Large repertoire of effects and combinations.
  • Dual processors enable the two inputs to be processed independently.
  • No more 'pavement pizza' front panels!

Cons

  • Elite has very limited editing facilities.

Summary

Good sounding, dual‑channel pro‑cessors at an attractive price, suitable for any applications where a preset‑based machine is sufficiently versatile.