Signal Processors

JoeMeek combine the old and the new in their opto-electronic analogue compressor with 24-bit digital I/O and M&S signal path. Paul White tries it out.

The latest incarnation of SPL's enigmatic Vitalizer offers a mixture of the qualities of other models in the range. But does it have anything new to offer?

Though marketed as a guitar effects unit, the G Force might be more accurately described as a full-function studio effects processor with some neat guitar-related functions added.

We try out what must be the most cost-effective programmable 24-bit effects unit on the market. But can quality really come at such a low price?

Is it really possible to produce a worthwhile stereo compressor which sells at under £200? Paul White finds out.

In Part 1, we saw how manufacturers realised that putting DSP effects on synths made for great sales. Subsequently, they twigged that it was also a good idea to let us take them off again (selectively), and route and adjust them ourselves.

Bob Moog's analogue filter in a pedal certainly has the vintage look — but does it capture that vintage Moog sound? Paul White does the stomp and finds out.

Is it a bird? Is it a plane? No, it's a new guitar-oriented effects unit from Lexicon. But will it inspire our mild-mannered reported John Walden to turn his Clark Kent chords into guitar (super)heroics?

TL Audio have gained an enviable reputation for high-quality processors. Hugh Robjohns takes a look at the latest addition to their Classic range.

Can this intriguing little box really emulate the recorded sound of many of the world's greatest guitar amplifiers?

Taking the essence of the highly regarded Finalizer Plus, TC Electronic have repackaged their multi-band compressor in a new easy-to-use format. Hugh Robjohns puts it through its paces.

Digitech's Quad 4, like its predecessor, can treat up to four signals independently, parcelling out its processing power according to your requirements. Could this be the only multi-effects unit you need? Hugh Robjohns finds out...

We get down to some serious equalising with SPL's most Qurious product to date.

Sony's new mid-priced multi-effects unit boasts four-channel operation, 200 preset effects algorithms, comprehensive user programming capability, and great sound quality to boot. Hugh Robjohns spins that dial...

Paul White bypasses his mixer and goes directly to tape with Drawmer's new mic/line/instrument input channel.

Paul White conjures up a nostalgic tape effect using an MIDI + Audio sequencer.

Paul White meets the latest version of Alesis' Quadraverb concept, and finds it respendent with 20-bit I/O, improved digital and analogue interfacing, and a proper internal PSU.

It's small, beautifully formed, shows a fondness for purple and claims to be an 'Artist'. John Walden finds out whether Digitech's new guitar preamp/effects processor sounds fit for a Prince.

All recording setups incorporate effects devices of one sort or another, but it's easy to end up using them only in the same predictable ways. Roger Jackson introduces some more imaginative ways to freshen up your productions.

Eventide, the undisputed masters of digital pitch-shifting, have launched a limited-edition version of their industry standard DSP4000. Is it just window dressing, or does it have anything genuinely new to offer? Hugh Robjohns finds out.

SPL are remowned for producing highly specialised audio processing tools, and their latest product is no exception. Paul White attempts to unravel the mysteries of the Transient Designer dynamics processor.