IF YOU’RE A HARDCORE STOMPBOX
PLAYER, YOU’VE probably
already adopted an “I’ll give my pedals up when
they pry them from my cold, dead hands” opinion when it
comes to any discussion of multi-effects processors. But there
are plenty of reasons why a multi-effector can be a smart
thing to own. The biggest probably is bang for buck, as the
number of effects packed into a processor completely overwhelms
what you could put on a pedalboard for the same
amount of money. Modern multi-effects rigs typically feature
most of the popular effects and amps that guitar players
need, and while sonic authenticity is often an issue for
tone heads, there’s no doubt that digital modeling has come
a long way, and many of the amps and effects that are offered
nowadays are authentic sounding and dynamically responsive
to your touch and the guitar’s volume setting.
Technophobia tends to keep a lot of players glued to
stompboxes, and there’s no doubt that the options and deep
editing capabilities of most multi-effectors can be daunting
to anyone who resides in the analog world. But most of
today’s processors are user-friendly enough to where you
can power the unit up and step though presets without even
bothering to crack the manual. And with a bit of tweaking
on the tone knobs that most effectors thankfully feature,
you can quickly have an assortment of useful sounds for
whatever the gig calls for.
The five multi-effectors on review in this roundup are
highly evolved units that provide all the key effects and amp
models needed for a wide range of gigging and recording
applications. They also have advanced interfaces that make
them intuitive to operate—extra points here for the Boss
GT-100 with its dual LCDs, and for the DigiTech iPB-10,
which utilizes the drag-and-drop convenience of an iPad
touch screen.
We tested these multi-effects units with a variety of guitars
from Fender, Fernandes, Gibson, and PRS, and listened
to them though headphones, P.A. systems, and amps that
included an Egnater Rebel 30, Victoria Silver Sonic, and a
Mesa/Boogie Royal Atlantic. —ART THOMPSON
Boss GT-100 COSM Amp Effects
Processor
A FOLLOW-UP TO THE GT-10 MULTIEFFECTS and
amp modeling pedalboard, the
new GT-100 offers over 40 kinds of effects
and 25 amp models. A cool new feature here
is an Accel pedal that can toggle or momentarily
engage seven radical effects with
names like Twist, Warp, and Laser, which
are effective for adding a dash of “wow” to
a solo. It also functions as a user-assignable
control pedal, capable of controlling up
to nine parameters at a time. In addition,
there’s an A/B Channel Divide function that
assigns different amps and effects to separate
channels whose relative levels can be
determined either by picking dynamics or
by frequency, like a P.A. crossover system.
Booting up the GT-100 through an amp,
I noted all the presets included amplifier
models, which Boss calls “preamps.” I wished
I could globally shut them off to check out
the unit as strictly an effects processor, but I
had to program one set of patches for playing
through an amp and another for direct.
Fortunately, with 200 user slots, there is
plenty of patch real estate, and the unique
dual LCD screen system made programming
easy. I merely pushed the Effect button and
the left screen revealed the complete signal
chain. The four knobs below let me switch
an effect or amp on or off, select its type,
and/or move it to a different place in the
chain. The screen on the right showed the
parameters of the chosen amp or effect and
its four knobs adjusted them—all of this
with a minimum of page scrolling.
The classic Boss tones (OD-1, Metal
Zone, Chorus, Delay, Slicer, etc.) are in evidence,
and the COSM modeling captures
the essence of non-Boss pedals (Rat, Tube
Screamer, Whammy, etc.) as well. Whether
plugged into an interface from the audio
outs, or used as one via its USB port, the
GT-100’s essential amplifier models (Marshall,
Fender, Vox, JC-120, Boogie) closely
approximated all the appropriate flavors.
One thing COSM modeling does extremely
well is making the amps feel right. Setting
up a T-Scream, Rat, or Guv DS overdrive
through a Clean Twin amp—Boss
isn’t subtle about referencing the modeled
hardware—I happily lost hours jamming
through my computer.
Though it’s easy to dive into the GT-100,
the unit is ultimately deep, with many routing
options for switches, knobs, pedals,
and MIDI control. It also has the kind of
cool goodies that make gigging life easier—
like an effects send and return that can be
placed anywhere in the chain, and Global
EQ and Reverb Percentage for adjusting
the tone and wetness to a room without
having to reprogram the patches. Manual
mode turns six of the switches into on/off
controls for individual effects, and an easy-to-
use phrase looper can be placed pre or
post effects.
Maybe it is because we have heard the
Boss sound on so many records, but playing
through the GT-100, whether through
the computer or the amp, sounded like a finished, mastered recording. If you
find
that kind of polish attractive, this may
well be the effects/amp modeler for you.—MICHAEL ROSS
SPECIFICATIONS
CONTACT
bossus.com
GT-100
PRICE $549 street
EFFECTS 40 types
MODELS 25 amps, 11 compressor/
limiters, 21 OD/DS, six wahs,
and more
PRESETS 200
USER MEMORY 200 slots
CONNECTIONS Guitar (1/4”),
Aux In (1/8”), L/R
outputs (1/4”), headphone
(1/4"), effects loop (1/4 "), Amp
control jack (1/4”), Amp CTL
(1/4”), SUB CTL 1,2/EXP (1/4"
TRS), USB, MIDI In/Out
EXTRAS Dual LCD
screens.
COSM modeling.
POWER 9v (AC adaptor included)
WEIGHT 10.1
lbs
BUILT Taiwan
KUDOS Easy to program basic
patches. Classic, professional
sound. Deep
levels of control. Rugged
metal construction.
CONCERNS None.
DigiTech iPB-10
IN A UNIQUE APPLICATION OF THE Apple
iPad, the iPB-10 combines the userfriendliness
of this compact computer with
the stage-worthiness of an all-metal footcontroller.
The iPad (purchased separately)
docks into the iPB-10, where it displays a
broad assortment of amps, effects, and cabinets
that can be touch selected, placed in
the signal chain in any order, and quickly
configured as presets for instant recall with
the iPB-10’s footswitches. Noteworthy is
the fact that the iPad is merely an interface
for programming and editing. You download
the iPB Nexus app (available free from the
Apps store) onto your iPad, and from there
the modeled sounds are generated completely
by the iPB-10’s much more powerful
pair of Audio DNA2 DSP processors. Once
all of your settings are dialed in and stored,
you can remove the iPad and use the iPB-10
on its own—albeit without any visual cues
other than a 2-segment display and the on/off
LEDs for the switches. The tuner still functions
with the iPad removed, but it uses the
display to show the note and the five lettered
footswitches to indicate flat (A/B) or sharp
(D/E). When the note is in tune, the A and
D footswitches will light together.
The iPB-10’s 54 amps and 26 cabinets
offer tons of tonal possibilities, and their
ability to replicate the dynamic feel of real
amps is impressive—even direct though
a P.A. The Hi Wattage and Jump Panel (a
’68 Marshall plexi with “jumpered” inputs)
models are tickets to classic Brit rock;
Citrus 120 through the Green 4x12 served
up killer “Hit Me with Your Best Shot”-
style crunch; and running the DigiTech 2101 Clean model with the gain cranked
through the 2101 Speaker Filter yielded a
nice replication of Bryan Adams’ tone on
“It’s Only Love.” Amp models can often fall
short at semi-broken up tones, but DigiTech’s Spank amp through the
Spank 4x12
accomplished this very well. Match 30 was
a portal to Keith Urban-type sounds, and
adding compression and backing off the gain
was a recipe for twangy country licks. For
more rockin’ modern-country tones, the
Chief Head through the DigiVintage 4x12
ruled. Probably the most versatile amp in
the collection was Les 40, which excelled
at everything from jangly Doobie Brothers
rhythms to gritty Keef-style riffage.
On the effects side, Rodent delivered a
full-bodied punchy distortion (perfect for
punk rock), and Later Fuzz, Fuzz Face, and
Classic Fuzz were all smoothly voiced and
dynamically responsive. The rich sounding
Analog Delay and Modulating Delay
preserved my guitar sound as if they were
patched into an effects loop, and compared
to my DOD FX 25 envelope filter pedal,
the iPB-10 model had precisely the same
range and response. You can run up to ten
effects at once, which makes for almost
unlimited creative options with all the
great-sounding distortions, modulations,
delays, and reverbs that can be stacked in
the signal chain.
My only frustration with the iPB-10
is its lack of a tap-tempo function. Other
than that, the iPB-10’s ease of use, flexibility,
and great sounds add up to a killer
floor effector for iOS-enabled guitarists.—PAUL
“TFO” ALLEN
SPECIFICATIONS
CONTACT digitech.com
IPB-10
PRICE $499 street
EFFECTS 87
MODELS 54
Amps, 26 Cabinets
PRESETS 100 (unlimited presets
on the iPad)
USER MEMORY 100
slots
CONNECTIONS Input (1/4”), L/R outputs
(1/4" and XLR), USB, Headphone
(1/8"), Amp Loop
send and return (1/4”),
Stomp Loop send and
return (1/4”)
EXTRAS Expression pedal. Amp/
Mixer Switch. Master
output level control. Ground Lift Switch.
POWER 9v (DC adaptor
included)
WEIGHT 12.6
lbs
BUILT USA
KUDOS Wide
variety of killer
sounds. Easy drag-and-drop operation.
Super
CONCERNS Can’t tap tempo
delays on the fly.
Line 6 POD HD400
JOINING ITS SIBLINGS THE POD HD300 and
HD500, the HD400 features
HD amp modeling with selections based
on Fender (Bassman, Deluxe Reverb, Twin
Reverb), Marshall (JTM-45 MKII, JCM 800,
“Plexi” 1959 Super Lead), Vox (AC15,
AC30 Top Boost), and a variety of other
popular models such as the Bogner Uberschall,
DR. Z Route 66, Divided by 13 JRT
9/15, ENGL Fireball 100, Hiwatt Custom
100, Mesa/Boogie Dual Rectifier, Soldano
SLO 100, and more. Amps are selected via
a 16-position rotary switch, and gain, EQ,
and volume adjustments are made with the
adjacent set of controls. The models do a
good job overall of capturing the essential
signatures of the classic and boutique
amplifiers they’re based on, and with such
broad selection of gain structures to choose
from, it’s easy to find happening sounds
for everything from jazz and blues to hard
rock and metal.
Adding effects is also easy with the
Smart Control FX section, which has three
controls that sweep though a wide variety
of distortion, modulation, pitch, and
time-based effects (also selectable with the
Presets knob), providing a range of level
adjustment for each effect as you turn the
knob in a clockwise direction. There’s also
a dedicated Reverb knob, and you can select
from nine different ’verbs (no spring model,
however) with the Presets knob. The Tap
Tempo button adjusts the modulation and
delay effects that are controlled respectively by the FX2 and FX3 knobs.
Pressing and
holding the Tap button activates an onboard
tuner displayed in the main LCD.
The FX Only button disables the amp
modeling, but keeps the effects and reverb
controls active. This is the preferred mode
for running the HD400 straight into a
guitar amp. Again, Line 6 has attained a
high degree of realism with these sounds,
and the delays, modulations, distortions,
pitch effects, and ’verbs that I tried out all
sounded excellent when pumped through a
good clean or overdriven tube amp.
Customizing effects in edit mode is facilitated
by a 4-way Nav button that scrolls
though the edit pages when pressed side-to-
side, and toggles though the available
parameters when pressed up or down. Once
you’ve landed on a parameter you wish to
tweak, adjustments are then made with the
Presets knob. Saving and storing updated
presets to a new memory location requires
a few more steps, but the HD400 also has a
free software editor (downloadable for Mac
and Windows at Line6.com), which not only
makes for easier editing and storing of presets,
but allows you to share them online.
Factor in the HD400’s 24 seconds of looping
time, its ability to interface with other
L6 Link capable Line 6 products—such as
the DT-50 amplifier—and its rugged, allmetal
construction, and you have a powerful
processor that could handle all of your
effects needs for a very attractive price.—ART THOMPSON
SPECIFICATIONS
CONTACT line6.com
POD HD400
PRICE $399 street
EFFECTS 90+
MODELS 30 HD
amps
PRESETS 128
USER MEMORY 128
slots
CONNECTIONS Guitar (1/4”), Pedal 2
(1/4”),
CD/Mp3 (1/8”), L/R outs
(1/4” and XLR), Headphone
(1/4”), L6 LINK
(XLR), MIDI via USB.
EXTRAS Stereo effects loop. L6
Link. 24-second looper.
POWER 9v (AC adaptor
included)
WEIGHT 9.4 lbs
BUILT China
KUDOS Excellent amp models and
effects. Intuitive operation.
Rugged construction.
CONCERNS No dedicated MIDI jacks.
Vox StompLab 1G
NO BIGGER THAN MANY SINGLEEFFECT
stompboxes, the StompLab is a fullfledged
processor with a sound engine
equivalent to that featured on Vox’s VT+
series modeling amps and ToneLab series
multi-effect units. A study in minimalism,
the StompLab’s interface puts 103 effects
and 100 preset sounds at your fingertips
with an 11-position Category knob that
has settings for Ballad, Jazz Fusion, Pop,
Blues, Rock & Roll, Rock, Hard Rock, Metal,
Hardcore, and Other (weird sounds). The
last position, User, is where you click to
for writing custom presets. There are also
Gain and Level knobs that operate on any
active preset, and also double as Value 1 and
Value 2 controls (respectively) for adjusting
parameters when in Edit mode (selected by
a small button on the left side). Individual
effect and amp models are selected with a
pair of up/down buttons on the right side.
Effect types include amps (44), drives (18),
cabinets (12), pedals (8), modulations (9),
delays (8), reverbs (3), and noise reduction.
A maximum of eight effects can be
used simultaneously when noise-reduction
is active. All info is displayed in a 2-segment
LED screen.
The two metal footswitches toggle you
up or down through the ten presets available
for each Category setting. Pressing
both switches down momentarily activates
the easy-to-read tuner, which uses three
LEDs to indicate flat, sharp, and in-tune.
This is also the StompLab’s bypass mode.
StompLab’s presets offer lots of ways
to roll, from sparkling clean and beautifully
chorused tones to shimmering tremolos
to some very eerie sounds that explore
the reaches of the rich modulations, juicy
delays, and pristine reverbs. The amp
sounds are rich and dynamic in feel, and
along the way, there are plenty of happening
tones for jazz, blues, and rock (many
with well implemented distortion, delay,
and reverb) and that’s all before you get
to the Metal and Hardcore presets, which
offer ten flavors each of grinding tones—
some extremely sinister—that are fun to
play and sound great for heavy standardor
drop-tuned riffing.
The StompLab offers an insane amount
of bang for the buck, it stashes easily in a
gig bag (just be mindful not to switch it on
when stuffing cords, etc. around it), and is
an ideal solution for players who want lots
of sounds but don’t want to tote a full-sized
multi-effector. —ART THOMPSON
SPECIFICATIONS
CONTACT voxamps.com
STOMPLAB 1G
PRICE $69 street;
2G version $89 street
EFFECTS 103, including 8
pedal effects
MODELS 44 amps, 12 cabinets
PRESETS 100
USER MEMORY 20 slots
CONNECTIONS Input
(1/4”), Main/Headphone
output (1/4” TRS )
EXTRAS Onboard tuner
POWER 9v (Uses four AA batteries
or optional AC adaptor)
WEIGHT 1.4 lbs
BUILT Japan
KUDOS High-quality amp and
effect modeling. Covers
a wide range of genres. Rugged construction.
CONCERNS No battery hatch.
Pushbutton
power switch
can easily be activated
when unit is in a gig bag.
Zoom G5 Guitar Effects and Amp
Simulator
WITH THE G5, ZOOM ENGINEERS have somehow
extracted extra goodies from
the same ZFX-IV chip used in the G3 version.
The G3’s trio of LCD display/footswitches
is increased to four, while simultaneous use
of up to six effects jumps to nine—with four
visible at a time for instant tweaking. The
new 3D Z-pedal can control three separate
parameters with up and down and left and
right motion. Looping is extended to 60
seconds, and there are 22 amp models and
123 effect models. Also added is a 12AX7
Tube Booster with dedicated Tone control.
Like the G3, the G5 contains an integrated
drum machine, a tuner, and a USB audio
interface for DAW recording (a version of
Steinberg Cubase LE is included).
Zoom multi-effects have long found favor
with metal guitarists who groove on their
high-gain pedal and amp simulations. The
G5 has those in abundance, but there are
plenty of quality, vintage-oriented Fender,
Vox, and Marshall emulations as well—the
59 MS, based on a 1959 model Marshall is
exceptional. The amp models don’t attempt
to ape the exact controls of the originals,
but capture their feel and flavor admirably.
Pedal models also nail the signature tonalities
of classic effects like Fuzz Face, Marshall
Guv’nor, Pro Co Rat, and E-H Big Muff.
As an occasional experimental guitarist,
I was over the moon about some of the
more outside effects, such as the wiggle and
warping of Space Worm and W-Shift, and
the digital chop of Granular. For me, the G5
is worth buying solely for the BendChorus,
which automatically slides notes and chords
into the target note from above or below.
The Tube Booster is touted to kick a solo or
signature lick up a notch, but I found leaving
it on all the time added warmth to all
the models, and its Tone control became a
global EQ tweaking tool. One quibble: The
only parameter an external expression pedal
can control is the master level output, thus
cutting off reverb and delay tails.
With all of these digital goodies going
on, I expected some sonic compromise—
I was wrong. As far as I can tell, the only
thing sacrificed on the altar of these additions—
other than $100 more of your cash—
is the ability to run it all on batteries. Pitch
shifting displayed minimal aliasing, the HD
Reverb at full wet resisted graininess, and
the sound quality overall was uniformly
high. If the G5 ran out of processing power,
it let me know by rejecting the latest effect
installed. I just had to place that effect on
another patch.
With its massive range of great-sounding
vintage, metal, and “beyond” tones,
ease of use (I barely cracked the manual),
solid build, and compact size, the Zoom
G5 rates a high priority to investigate if
you are in the market for a multi-effects
pedal. —MICHAEL ROSS
SPECIFICATIONS
CONTACT samsontech.com/zoom
ZOOM G5
PRICE $299 street
EFFECTS 123
MODELS 22 amps
PRESETS 150
USER MEMORY 297
slots
CONNECTIONS Input (1/4”),
Control IN (1/4”),
L/R outs (1/4”), balanced
out (XLR), Headphone (1/4”),
USB
EXTRAS Tube booster. 3D Z
pedal. Up to nine simultaneous
effects.
POWER 9v (AC adaptor included)
WEIGHT 6.8 lbs
BUILT China
KUDOS High-quality amp and
effect modeling. Covers
a wide range of genres.
Rugged construction.
CONCERNS External expression
pedal can only control
master output level.