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Without discussion, an Axe-Fx III, FC controller, FR monitor and guitar, provide a portable, cost-effective and state-of-the-art multifunctional package.
But us boys like our toys, don’t we? So I fool around with other stuff too, combining it with the III.
This is also inspired by the fact that the III makes integrating outboard gear so easy, and so much fun, while fully preserving the integrity and transparency of the direct signal. Its audio loops let me keep everything near the rack and keep the stage / floor free.
It's been a while since I messed with pedalboards and stuff, rather than managing virtual cables (aka shunts). Made a few discoveries on the way:
- Small pedalboards are more fun.
- Fractal Audio's implementation of audio loops in the III is near perfect. Loops I/O 3 and I/O 4 are extremely easy to setup. The corresponding blocks on the grid allow avoiding noise, routing the signal any way I want, and enabling a loop by using a switch, preset, scene or exp.pedal.
- MIDI control is a blast. The Scene MIDI block is a powerful tool which transmits MIDI PCs or CCs via any MIDI channel, just by switching scenes. Control Switches on the FC perform the same as buttons on generic MIDI controllers, such as my RJM GT/22.
- Holding on for years to my stack of George L’s and solderless Lava cables and plugs has paid off.
- The Pedaltrain Spark is an awesome, tiny (though expensive) power supply.
- Many pedals these days have a built-in "Dry Kill" feature, which allow easy and transparent integration without the need for extra gear.
So here’s what I do with all this.
In the I/O 3 loop, I run a Meris Enzo pedal. It's a smart polyphonic synth, pitch shifter and arpeggiator.
It supports MIDI through a separate MIDI box. To switch between its 16 presets remotely, I can use either the Scene MIDI block on the III (two presets with 8 scenes allow acces to all 16 Enzo presets), switches on my RJM GT controller, or a Control switch on the FC-6/12.
I primarily use the RJM GT. I have buttons configured to send Program Changes on a separate MIDI channel (ch.2). The Axe-Fx III passes these through its MIDI THRU port to the Enzo's MIDI module, set to MIDI ch.2.
To pass sound from the Enzo to the grid, I simply press a button to engage block IN 3. To mute, I press it again. OUT 3 and IN 3 do not have to be connected. Preset example:
(OUT 2 is used only to send signal to the Powerstage 170, see below).
Since I use the IN block to mute the Enzo’s incoming signal, trails are cut off. This doesn’t bother me, but if it did, I would use OUT 3 instead (with IN 3 always engaged). The reason I don’t do this is that this approach adds some floor noise.
The Enzo is set to Dry Kill, so it won't pass dry signal through the I/O 3 loop. It's 100% wet. Its signal gets added to the existing routing (parallel) instead of inserted (series). A button on my RJM GT allows me to mute the direct signal on the grid, in order to "solo" the sound of the Enzo when desired.
The Enzo sits on a small Pedaltrain Nano pedalboard, together with an EHX C9, which is another pedal I really like, although my "organ" preset on the III performs just fine.
I never run the Enzo and C9 together (not even possible because the Enzo's Dry Kill is still in effect when bypassing the pedal). So I just switch cables and power between the Enzo en C9 when needed. The C9 too is set to output only wet signal, so its signal enters the grid in the same way as the Enzo's. When using the C9, I usually engage a Compressor on the grid to improve tracking and volume leveling.
The Enzo (and C9) are powered by a Pedaltrain Spark, mounted underneath another pedalboard, as described below. The Enzo requires between 100 and 200 mA, so I use a doubler cable from T-Rex, to double the current from two (100 mA) outputs on the Spark.
I use the pedalboard with Enzo and C9 at home only.
Next, in the I/O 4 loop, I run a FreqOut and Helicon Talkbox Synth. AS guitar effects, they are never used simultaneously.
The FreqOut is an excellent pedal, extremely good at what it does (simulated feedback). I don't need to have it at my feet. I control it remotely with a switch on my RJM which engages block IN 4. Works seamlessly.
The FreqOut has its Dry Kill switch activated. So, like the above mentioned pedals, its sound is added in parallel, which works well. My favorite feedback setting is Natural Low.
The FreqOut is mounted on a small Metro 16 pedalboard that sits on top of my 3U rack containing my III. I take this pedalboard with me to gigs.
The Metro pedalboard also carries the Talkbox Synth, Seymour Duncan Powerstage 170, power strip with USB power ports, and phantom power box for my RJM GT. Making it all fit on the Metro 16 was a challenge, but I succeeded. Soon I'll be able to retire the phantom power box and have more space on that board.
The Talkbox Synth is used only sparingly for talkbox simulation. Its main task is to enhance my vocals (a great side feature of this pedal). On the picture above, the microphone cables are not connected.
The Powerstage feeds a Port City 1x12 or 2x12, when I don’t use FR monitoring.
Even though the Pedaltrain Metro 16 is small and low, Pedaltrain's Spark power supply can be mounted underneath. It provides two 9v 500 mA outputs, and three 9v 100 mA outputs. I'm very impressed with it. Its dimensions and capabilities really set it apart from the rest.
I perform all switching with my RJM GT/22. The FC-6 and 12 can perform most of these functions too. Here's what the pages on my RJM look like. On the 1st picture you'll see red buttons for loops 3 and 4 (green when engaged). The 2nd picture shows the page that lets me select presets on the Enzo, kill the direct signal and bypass the Enzo.
For unity gain, the OUT 3 and OUT 4 knobs on the front panel need to be cranked. Finetuning the level through the loops can be accomplished in the OUT blocks.
My only wish is that all Output blocks would support the Global Block feature.
I'll make a video soon, or not.
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