Technique: String Theory

Creative Routing for Your Multi-Effects Processor

By Jon Chappell

Most guitarists adopt multi-effects processors for some combination of these three reasons: 1) to consolidate their effects; 2) to employ programmability in their effect changes; and to eliminate clutter and extra cables. If you have complex sonic setups, and must change between them quickly, a multi-effects processor can’t be beat.

STRAP-ON SOUND

But what if you want to use a Tube Screamer instead of the multi-effects’ distortion? Or in a different scenario, what if you have a really good tube amp and want its preamp to define your sound instead of the multi-effects’ digitally modeled one? These are situations that require the flexible use of a multi-effects. Fortunately, most modern units can comply. For example, in the first scenario (where you want to mix and match your favorite pedals from different manufacturers within the multi-effects environment), you just have to make sure your multi-effects has a loop or insert point—two jacks labeled Send and Return. That allows you to patch in external effects.

Fig. 1. If you want to mix stompboxes and a multi-effects, don’t hook them up inline. Use the mfx’s loop or insert points.

Most full-featured multi-effects, such as the Roland GT-8 and Vox ToneLab have this feature. So if you have, say, a Vox wah and an Ibanez Tube Screamer, but you still want to use the more sophisticated effects of your multi-effects (stereo chorus, delay, and reverb), you would patch in your effects in the Insert point (see Fig. 1). Resist the temptation to plug into the wah, distortion, and then the multi-effects, as you would do with stompboxes. Hit the multi-effects with the best signal you have, which is straight from the guitar, and then patch in the external effects, which will enter the chain before the AD converter (and of course the modulation and ambient effects downstream).

SPLITTSVILLE

Now for the other scenario, the one where you want to essentially “split” your amp by using its preamp and power amp stage, but employ the modulation and ambient textures of your multi-effects in between the two. Here, you would employ what’s known as the “four cable method,” assuming you have an amp that also has a post-preamp effects loop.

The four-cable method allows you to use just the amp’s preamp (avoiding the multi-effects’ preamp stage). It also allows you to place the multi-effects’ modulation and ambient effects after the preamp stage, where they’re arguably best suited. Placing these effects before the preamp (as you do with stompboxes) tends to degrade the guitar’s signal before it hits the guitar amp’s input.

QUADRACORDIA

Fig. 2. The four-cable method allows you to “split” your amp, by placing your mfx in between the amp’s preamp and power-amp stages.

The four-cable method requires four cables, obviously, instead of the usual two. Here are the steps for routing the cables, also shown in Fig. 2:

Cable 1 goes from Guitar OUT to mfx IN
Cable 2 goes from the mxf SEND to the Amp IN
Cable 3 goes from the Amp SEND to the mfx RETURN
Cable 4 goes from the mfx OUT to the Amp RETURN

On the multi-effects, set the Amp and Cab simulators to off, allowing the signal to pass straight through without coloration.

With four cables, you’re asking your signal to travel long distances exposed to the outside world (i.e., through cables)—the very thing you thought your multi-effects was going to eliminate. So buy high-quality cables and take care of them! Also, buy cables of equal lengths, since the distances are all equivalent—you’re running back and forth (two times) from the multi-effects, which is presumably under your feet, to the amp in back of you. It’s probably a good idea to use the same manufacturer, as well.

BETTER SOUND THROUGH ROUTING

The four-cable method gives you the best of both worlds—the preamp and power amp stages of your guitar amp, and the modulation and ambient effects of your multi-effects. It also places the effects between the preamp and the amp stages (“splitting” your amp), instead of in front of the preamp. This is something traditional “inline” ordering of stompboxes doesn’t allow you to do. So whether you choose to employ external effects or utilize the loop features of your amp, you can be sure to maximize your sonic potential by knowing the correct routing approach for your multi-effects.

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