Effects

The Holy Grail is probably the simplest digital reverb unit on the planet. Designed for guitar, the pedal will work with any instrument-level source...

Does this preset-based dual-channel multi-effects processor produce a performance that belies its entry-level price?

Despite cramming 48 effects and 144 adjustable parameters into a box the size of a double CD case, Ineko is remarkably simple to use.

Mutronics bring a blast from the past to a rack near you.

Two more visually distinctive rack units from Line 6, designed to model the hallowed sounds of antiquity.

Heavyweight TC effects processing but with a menu-free, easy-to-use, hands-on interface.

The enhanced V‑Amp 2 has more sounds and more features... for less money!

Yamaha' s cutting-edge reverberation processor uses convolution techniques to sample the ambience of real acoustic environments, allowing extremely accurate simulations.

The latest technological advances in reverb design have yielded expensive hardware units that can 'sample' the sound of real rooms. Now Audio Ease's Altiverb brings the same convolving technology to the Mac — at a fraction of the cost.

The market for hardware samplers may be on the wane, but Emu aren't abandoning their hardware customers; their RFX32 effects/mixer card can add tremendous processing and routing power to any of their Ultra samplers.

A plug-in card for the Yamaha AW-series workstations that combines Waves-quality DSP effects with eight channels of ADAT optical I/O.

TC upgrade both the hardware and the software of their cost-effective M•One multi-effects unit.

Digitech BP200 Modelling Bass Effects

Korg's AX1500G floor-standing guitar multi-effects processor offers tons of tone for very few pounds.

The latest dual effects processors from LEM sound better than their price might lead you to expect.

Line 6's acclaimed Delay Modeler pedal gets a rackmount makeover.

Boss' latest multi-effects processor for guitarists gets the SOS review treatment...

The new AG Stomp physically models a miked-up acoustic guitar sound using the DI signal from an acoustic guitar piezo pickup, and also offers a variety of useful effects processors.

Eventide's new entry-level unit brings their high-end algorithms within reach of the serious home studio owner.

Modern digital effects units always include emulations of analogue effects such as tape delay and flanging — but none of them ever seem quite like the real thing. Paul White explains how these vintage effects worked, and offers insight into how our modern attempts could be made more accurate.

In the final part of his short series on pushing back the boundaries of effects processing, Paul White explores many different applications of audio filters, as well as exploring the possibilities of granular synthesis.