RECORDING January 2023 - 59

The 11 user-adjustable parameters include:
note off level, note on level, attack, decay,
envelope depth, dynamics, cutoff,
resonance, balance, level and effect.
v3 Updates
Future Impact v3 features the same
hardware as Future Impact I, aside from a
different decal on the enclosure. Owners
of the original Future Impact can update
to v3 with a free firmware update, which
brings significant improvements like
ten new LFOs, a broader input range,
the ability to utilize three effects blocks
simultaneously, access to community-made
patches and more. The flagship feature in
v3 is the ability to alter parameters using
a range of 3rd-party control sources.
This puts LFOs and envelopes all under
complete real-time user control.
In Use
There is much to unpack with Future
Impact v3. This is a device that rewards
those who spend the time to learn its
secrets. The factory patches are hugely
versatile, each one able to be crafted
and morphed into precisely what you
need. The sounds cover an extensive
range of styles-funk, disco, jam band,
rock, R&B ... you name it. And while it's
deeply versatile, Future Impact is also
just fun to play through!
On a synth pedal, note tracking is
arguably just as important as the sounds.
I tested both bass and electric guitars, but
it can also be triggered using a MIDI expander
controlled by a keyboard. Tracking
on the bass guitar is fluid, effortless
and precise. Even with faster tempos,
Future Impact caught the nuances of the
performance with a high degree of accuracy
(which made playing it all the more
enjoyable). It's also responsive to dynamics,
with most patches matching the level
and intensity of your playing.
Switching instruments requires booting
the pedal in one of its alternate modes.
This ensures its tracking and input range
are optimized for the selected source. In
Guitar Mode I experienced solid, reliable
tracking throughout with only an occasional
skipped note on faster lines. Revisiting
some of the patches I initially explored on
bass inspired different approaches and
sparked new creative ideas.
In addition to the bass and guitar
modes, Future Impact also features
Split, Synth and EWI modes. Split
Mode is a variation of Bass mode,
optimized for live use with two amps
on stage (one for the dry signal and
one for synth). This mode requires a
splitter box or Y cable prior to hitting
the pedal, which results in the dry signal
being removed from the pedal's
output. This allows you to control the
wet/dry blend between the two amps
on stage. Synth and EWI modes are
designed for use with a MIDI controller,
with the only difference between
the two being MIDI CC values.
The general operation of the pedal
became more accessible and easier
with practice. Before long, I was editing
parameters quickly on the fly entirely
on the pedal and got used to jumping
between banks rapidly. It's very intuitive
once you get the basic flow down.
Software Editor
You will need a traditional 5-Pin DIN
MIDI interface if you want to connect
to your computer. Once connections
are made, you can download firmware
updates, additional patches from the
community and create new patches
from scratch. I didn't have any challenges
adjusting patches on the pedal
itself, but for some, the option to tweak
and store patches from the comfort of
your computer might be a more manageable
workflow. Plus, the software
allows you to get deeper and fine-tune
more parameters. While it's not vital to
operating the pedal, it does unlock its
full potential for those looking to go further
under the hood-the best of both
worlds and workflows.
Wrap Up
Future Impact v3 is a highly versatile
synth pedal with incredible sound and
depth. It's responsive and accurate to
play through and allows you to harness
the sound of classic synthesizers in an
approachable pedal format. While it
primarily lends itself to use with bass
guitars, it can open this pallet of textures
to guitars, keyboards and beyond!
Price: $399.99
RECORDING January 2023 59
http://recordingmag.com

RECORDING January 2023

Table of Contents for the Digital Edition of RECORDING January 2023

Fade In
Fast Forward
Roland SPD-SX PRO Sampling Pad
Session Log with Marc Urselli: Trasfrontera Japan, taiko drums, Kaoru Watanabe and Anna Sato
Soundware Showcase: Toontrack Hitmaker SDX
PreSonus Studio One Version 6
Hugh Padgham: Behind the Gates of the Hitmaker
LEWITT BEATKIT PRO
Soundware Showcase: Spitfire Audio Abbey Road Orchestra: Low Percussion
Studio 101 with Joe Albano: An Intro to Drum Recording
sE Electronics T2
Solid State Logic SSL CONNEX
API 3122V
Inside the Studio with Mark Hornsby: Steve Gadd
Plugin Outlet: Strymon BigSky Plugin
Panda Audio Future Impact v3
EFNOTE 3X & EFNOTE 7
Readers’ Tracks
Fade Out: New (Year’s) Studio Resolutions
RECORDING January 2023 - Intro
RECORDING January 2023 - Cover1
RECORDING January 2023 - Cover2
RECORDING January 2023 - 1
RECORDING January 2023 - 2
RECORDING January 2023 - 3
RECORDING January 2023 - Fade In
RECORDING January 2023 - 5
RECORDING January 2023 - 6
RECORDING January 2023 - 7
RECORDING January 2023 - Fast Forward
RECORDING January 2023 - 9
RECORDING January 2023 - Roland SPD-SX PRO Sampling Pad
RECORDING January 2023 - 11
RECORDING January 2023 - 12
RECORDING January 2023 - 13
RECORDING January 2023 - Session Log with Marc Urselli: Trasfrontera Japan, taiko drums, Kaoru Watanabe and Anna Sato
RECORDING January 2023 - 15
RECORDING January 2023 - 16
RECORDING January 2023 - 17
RECORDING January 2023 - 18
RECORDING January 2023 - 19
RECORDING January 2023 - Soundware Showcase: Toontrack Hitmaker SDX
RECORDING January 2023 - 21
RECORDING January 2023 - 22
RECORDING January 2023 - 23
RECORDING January 2023 - PreSonus Studio One Version 6
RECORDING January 2023 - 25
RECORDING January 2023 - 26
RECORDING January 2023 - 27
RECORDING January 2023 - Hugh Padgham: Behind the Gates of the Hitmaker
RECORDING January 2023 - 29
RECORDING January 2023 - 30
RECORDING January 2023 - 31
RECORDING January 2023 - 32
RECORDING January 2023 - 33
RECORDING January 2023 - LEWITT BEATKIT PRO
RECORDING January 2023 - 35
RECORDING January 2023 - 36
RECORDING January 2023 - 37
RECORDING January 2023 - Soundware Showcase: Spitfire Audio Abbey Road Orchestra: Low Percussion
RECORDING January 2023 - 39
RECORDING January 2023 - Studio 101 with Joe Albano: An Intro to Drum Recording
RECORDING January 2023 - 41
RECORDING January 2023 - 42
RECORDING January 2023 - 43
RECORDING January 2023 - sE Electronics T2
RECORDING January 2023 - 45
RECORDING January 2023 - Solid State Logic SSL CONNEX
RECORDING January 2023 - 47
RECORDING January 2023 - API 3122V
RECORDING January 2023 - 49
RECORDING January 2023 - Inside the Studio with Mark Hornsby: Steve Gadd
RECORDING January 2023 - 51
RECORDING January 2023 - 52
RECORDING January 2023 - 53
RECORDING January 2023 - 54
RECORDING January 2023 - 55
RECORDING January 2023 - Plugin Outlet: Strymon BigSky Plugin
RECORDING January 2023 - 57
RECORDING January 2023 - Panda Audio Future Impact v3
RECORDING January 2023 - 59
RECORDING January 2023 - EFNOTE 3X & EFNOTE 7
RECORDING January 2023 - 61
RECORDING January 2023 - 62
RECORDING January 2023 - 63
RECORDING January 2023 - Readers’ Tracks
RECORDING January 2023 - 65
RECORDING January 2023 - 66
RECORDING January 2023 - 67
RECORDING January 2023 - 68
RECORDING January 2023 - 69
RECORDING January 2023 - 70
RECORDING January 2023 - 71
RECORDING January 2023 - Fade Out: New (Year’s) Studio Resolutions
RECORDING January 2023 - Cover3
RECORDING January 2023 - Cover4
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