ProAudio Review - October 2008 - (Page 70) LIVE | REVIEW creature comforts of software. I settled on using the delay to simulate a tape slap on my lead vocal and was very happy with the result. I then decided to take the TimeFactor on the road for a short tour, as I also spend some of my time each year away from the studio as a front-of-house engineer. I loved using this pedal at FOH. I was on a small club tour with a band from Chicago called Bound Stems, and it was the perfect compliment to their sound. I have never really been a fan of the standard delay boxes at most clubs (like the TC Electronic D-Two) because they sound boring. The Eventide was great because I could easily dial up different sounds for each song, change tempo and EVENTIDE Continued From Page 68 ® FOH Engineer Jim Ebdon Kyle Cook Guitars Guitars signal path. The DSP+DLY Bypass mode for TimeFactor acts like the DSP mode in all aspects except it allows for the bypass of the input to an effect without cutting the output signal of a delay with feedback. The expression pedal can be programmed to control any combination of the parameters of both pedals, whereas the auxiliary switch input allows for three independent switches using tip, ring, and tip plus ring. The three switches on the auxiliary input can be used for parameters as well as functions like a dedicated tap-tempo and an instant switch between Bank and Play Modes. | IN USE In the studio, I am a guitar pedal freak. I love the pure sound of a tube amplifier as much as the next guy, but when I get a chance to manipulate that sound, I start to get excited. I just helped design a 50W head for Revolt Amps — the I.V. Classic Fifty — and I thought I’d start out with the simple setup of American Telecaster through ModFactor to amp. I began my career working for Billy Corgan — who has more modulation pedals than anyone else I know — so I’ve had plenty of exposure to a myriad of classic effects. The Eventide effects were lush and pronounced, with little of the unpleasant digital edge of newer effects pedals. I shot it out with the Line 6 modulation pedal and preferred the effect detail of the Eventide. The ability to shape the effect is unmatched by any pedal I have seen and the sheer number of organic sounds that the pedal can make sets it apart from other multi-effects pedals. On a mix session, I decided to hook up the TimeFactor in line input mode to my API 1608. I love using delays that are just barely perceived and not really heard as delays, but as an extension of the music. The quality of the delay sound was very good, but I did miss the ability to automate nearly every parameter as with some of my software delays. This isn’t to diminish the pedal’s effectiveness; it just shows how dependant I have become on some of the Royers On The Road With MATCHBOX TWENTY “Live guitars sound amazing with R-121 Live mics on the cabinets, and they stand out well in the mix. Royers are warm, natural, present and uncolored - not at all harsh like several of the other mics we auditioned, and the band loves the natural sound they get in their in-ear monitors. note value without going in to a bunch of confusing edit menus. The ease of use of this box on the fly would also make it a great choice for any guitar player in a live situation. | SUMMARY Eventide has a long history of great effects processing for the studio, and with the TimeFactor and ModFactor it has made a giant leap into the worlds of performing musicians. These pedals sound wonderful and aren’t complicated to use, yet have the programmability that would make any tech-savvy person satisfied. Most multieffects pedals forego quality for quantity, but Eventide has not made this mistake. I would recommend these pedals to guitar players and engineers alike, as they have practical applications in both the fields of performance and recording. Manny Sanchez is a professional studio and live engineer and owner of Chicago's I.V. Lab Studio. “I've used Royers on Aerosmith for a few years and currently on Matchbox Twenty and they've been among my most reliable microphones. These are amazing ribbons.” FOH Engineer - Matchbox Twenty, Aerosmith, Annie Lennox Jim Ebdon Royer Ribbons 818.847.0121 Burbank, CA. www.royerlabs.com AES Booth 1433 70 | ProAudio Review | October 2008 www.proaudioreview.com http://www.royerlabs.com http://www.royerlabs.com http://www.royerlabs.com http://www.proaudioreview.com
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