Recording - July 2018 - 41
Since all guitar pedals use unbalanced 1/4" TS connections
I put an older Behringer PX2000 Ultra-Patch Pro into service.
This is one of the very few unbalanced 1/4" patchbays to ever
come to market; used ones can be found on Reverb and Ebay.
They are dead simple to use, built like a tank, and well-suited
to guitar pedal patching. For this application, I set all of the
connections to be open with no normalling.
Reamping
With pedals mounted, powered and patched, we still need
to get them in and out of our DAW. Most modern DAWs offer
external effects loops, and if you have even a modest
4-channel interface, you should be fine.
The bigger concern is that most pedals are high-impedance
instrument-level devices. They will need to be converted to low
impedance to play nicely in a studio effects setup. If you don't
do this, the line-level signal will hit the pedal too hard with too
little headroom and clip the input stage. However, the output
will remain low in volume, and as a result it will sound like unusable garbage. So it's vital to make this level and impedance
change somehow.
This is usually done with "reamping" devices, after the original
Reamp brand boxes now made and sold by Radial. These
devices can be standalone boxes or 500 Series modules like
Radial's X-Amp or EXTC, the latter custom-made for interfacing
pedal chains into studio setups. Another option is the Avedis
MD7 preamp module (reviewed July 2017), which has a
high-impedance send and DI return built in.
For almost a decade, I've been using the original Little Labs
Redeye DI/reamper in my studio. The newer Redeye 3D
(reviewed July 2012) adds phantom power to the DI and the
ability to both reamp and DI the returning signal simultaneously,
and the Little Labs Pepper (reviewed July 2015) does all of the
above and more. Little Labs sells a faceplate/rack system for
placing any four of these standalone boxes into a single 19"
rack space.
In my case, my pair of Redeyes and single (so far) Redeye 3D have to come out of my studio sometimes for live or
guitar-amp use, so a rack faceplate is impractical. I've just
hook-and-looped them to a standard rack shelf; the original
Redeyes are for stereo pedals and the 3D is for mono. All
signals get returned through one of my many mic preamps
with DI inputs. See Figure 5.
Wrapped up
It was a lot of thought and work, but I'm very happy with
my decision to get my pedals off the Rhodes and into a rack,
ready to use. Having them all on a patchbay, always powered
on and ready to go, makes it a breeze to choose, chain, and
experiment with them, and the rig sounds great, too. If you
love the sounds of guitar pedals in your mixes, think about a
solution like this one; you'll be addicted in no time!
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Table of Contents for the Digital Edition of Recording - July 2018
Contents
Recording - July 2018 - Intro
Recording - July 2018 - Cover1
Recording - July 2018 - Cover2
Recording - July 2018 - 1
Recording - July 2018 - 2
Recording - July 2018 - 3
Recording - July 2018 - 4
Recording - July 2018 - 5
Recording - July 2018 - Contents
Recording - July 2018 - 7
Recording - July 2018 - 8
Recording - July 2018 - 9
Recording - July 2018 - 10
Recording - July 2018 - 11
Recording - July 2018 - 12
Recording - July 2018 - 13
Recording - July 2018 - 14
Recording - July 2018 - 15
Recording - July 2018 - 16
Recording - July 2018 - 17
Recording - July 2018 - 18
Recording - July 2018 - 19
Recording - July 2018 - 20
Recording - July 2018 - 21
Recording - July 2018 - 22
Recording - July 2018 - 23
Recording - July 2018 - 24
Recording - July 2018 - 25
Recording - July 2018 - 26
Recording - July 2018 - 27
Recording - July 2018 - 28
Recording - July 2018 - 29
Recording - July 2018 - 30
Recording - July 2018 - 31
Recording - July 2018 - 32
Recording - July 2018 - 33
Recording - July 2018 - 34
Recording - July 2018 - 35
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Recording - July 2018 - 37
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Recording - July 2018 - 40
Recording - July 2018 - 41
Recording - July 2018 - 42
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Recording - July 2018 - 72
Recording - July 2018 - Cover3
Recording - July 2018 - Cover4
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