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 | Download Example 1 Presets - VG Strat direct into Pro Tools |
| Download Example 2 With Amp - Charvel So-Cal w/DiMarzio Humbuckers, into Eleven Rack, PRS 30 & 1x12, mic'd with SM57, into Pro Tools |
The Eleven Rack can be used as a stand-alone guitar processor—without the need for a computer—for live applications. It includes incredible emulations of classic guitar amps, cabinets and stompboxes, as well as a powerful collection of studio-quality rackmount effects processors and microphone emulations. You can also incorporate your favorite stompboxes and effects into the Eleven Rack with an integrated effects loop that can be assigned and moved almost anywhere within the signal chain.
In addition, the Eleven Rack performs double duty as a high-quality interface for Digidesign Pro Tools, and it comes with Pro Tools LE 8 recording, editing and mixing software. The interface itself is dual-DSP powered, which means you won’t have to worry about latency issues when recording—and it also frees up processing power in the computer. There are eight simultaneous recording channels at 24-bit/96 kHz, with a wide array of ins and outs, including S/PDIF, AES/EBU, XLR, and 1/4" outputs, a mic input, and two 1/4" line level inputs. The Pro Tools software includes over 70 plugins, including reverb, delay, chorus, distortion, flanger, phaser, reverse, EQ and compression. It also contains powerful virtual instruments to create backing tracks, including drum machines, piano, organ, synthesizer and a synth/sample workstation with tons of instruments. Basically, it’s got everything you need to create a high-quality recording all on your own.
A Long Time in the Making
I’ve been using Pro Tools since the mid ’90s. Back then, I used it mostly for editing and mixing digital audio. MIDI sequencing wasn’t fully integrated into the software yet, so I had to use separate sequencing software and import audio from my programmed tracks into Pro Tools for mixing. There also weren’t any decent amp-simulator plug-ins at the time, so anytime I wanted to record guitar I did it the old-fashioned way, by placing a mic in front of my amp and recording into Pro Tools. I had to be fully committed in terms of guitar sound, because there was no chance of changing my guitar tone later by re-amping since I never split my guitar signal to record a separate, uneffected guitar track. Pro Tools software has grown a lot over the years, and I’ve watched each improvement with satisfaction. Creativity flowed a lot more frequently and easily as more and more plug-ins and features were created. First, MIDI sequencing became more integrated, and eventually more amp simulators and effects for guitarists became available. I’ve tried them all and found something I liked in each one of them. When Digidesign released the Eleven amp-simulator plug-in, I thought it really captured the essence and sound of some classic amps. Still, I didn’t use it exclusively because it just didn’t have the wide array of effects and amps that I found in other guitar plug-ins.
I will admit that when I first heard about the Eleven Rack, I quickly (and incorrectly) assumed it was just a hardware version of the Eleven plug-in with the same amp sounds and parameters that could be easily adjusted using the real knobs on the interface instead. When I saw that it was also an interface for Pro Tools LE, I thought, “Why do I need that? I already have Pro Tools software with an interface and the Eleven plug-in?” Well, you know what happens when you assume! After reading and learning more about the Eleven Rack and all of its features, I couldn’t have been more wrong. I really wanted to hear how the amps and effects sounded, especially since so many of them weren’t previously available in the Eleven plug-in. Also, I was curious to see if the Eleven Rack interface would work in conjunction with my existing Digidesign 002 Rack interface, or if it would actually replace it.
Plugging In
When I finally got my hands on the Eleven Rack, I decided to test out its capabilities initially as a stand-alone guitar processor. The first thing I noticed when plugging in my guitar was the True-Z input jack. This unique guitar input was created to replicate the impedance of guitar amps and stompboxes, which results in amazingly realistic sounds. Since each guitar reacts differently with every amp or effect, the True-Z input basically changes the input impedance automatically to whatever amp or effect is first in the signal chain. And the Eleven Rack isn’t using a DSP algorithm to do that—it uses actual analog switching with real capacitors and resistors.
Before hooking the unit to an amp, I wanted to hear the pure clean output, so I plugged in my headphones and began scrolling through the presets. I was instantly welcomed with lush amp sounds and effects, and each preset sounded great. One thing I noticed right away was that the Eleven Rack not only sounds like a real amp, it feels like a real amp as well— more than any other modeling unit I’ve played through before. The dynamics were terrific, and Eleven Rack really responded like an amp should. It actually sounds like a speaker pushing air, which is something you can’t always hear in other amp simulators.
Each preset had very usable tones with different combinations of amps and effects. Many presets sounded great as is, and I would only tweak them slightly to my taste. I’m a firm believer in presets. They can save you a lot of time, and they can also serve as a great foundation for customizing and tweaking your own custom sounds. There are 104 presets in the Eleven Rack, with an additional 104 user presets that you can customize and then save. With every preset, the indicator light on the knob is amber (or green for effects) but once you change a parameter, the knob changes to red. You can also swap out any amp or effect for any other— and place it anywhere in the signal chain. So if you want to move the wah effect between distortion and the amp, you can easily do so.
I only had one minor issue with the presets: once you scroll to the very end of the user presets, it doesn’t circle back to the very first factory preset. You have to scroll back through all banks to get to the first one again.
This One Goes to Eleven
I then connected the unit to an amp. The Eleven Rack offers two 1/4" amplifier output jacks. Output 1 is on the front panel, which can easily be connected to the input of an amplifier. Output 2 is on the back, and it can be used to connect either to one amp or to an additional amp for stereo output. I connected it to an amp and set it to a clean, neutral sound. With this setup, I can choose any emulated amp head from within Eleven Rack and my external amp is transformed instantly. I had a nice variety of tones from the 16 amp heads I had to choose from—from a ’59 Fender Bassman to a ’92 Mesa/Boogie Dual Rectifier. All of them sounded great, and none felt like emulations. The True-Z input is a big part of that, because those analog components make it feel like a real amp. Also, the developers painstakingly inspected every component of many amps and incorporated nuances that other amp-modeling developers overlook, like power-amp sag, cabinet resonance, and ghost notes.
Another nice feature about Eleven Rack is that you can send whatever you want out to the amp, whether it’s the entire sound of the rig with effects and amp simulator, effects only, or any point in between. So for example, if you want to include all of the effects and the amp from Eleven Rack without the speaker simulator, you would choose “Rig Out – No Cab.”
I love the fact that I can have so many options for whatever part of Eleven Rack I want to use. An effects loop is built in as well, so you can still include your favorite stompboxes and effects. Also, if you have a favorite amp that you prefer to use live, you can choose to only use the Eleven Rack’s effects. But if you want to leave your amp at home, you can simply use the entire Eleven Rack rig live and connect it directly to the PA with the XLR outputs.
Backward Compatibility
I was able to use Eleven Rack with my existing Digidesign 002 Rack interface easily. After updating Pro Tools to version 8.0.1, I connected the digital ins and outs of the Eleven Rack to the 002 Rack and connected the Eleven Rack to my computer via USB. Pro Tools recognizes the unit immediately after launching the software, and an Eleven Rack control window comes up. I actually preferred to control the Eleven Rack with this window, because adjusting certain parameters was a lot easier. You can click and drag effects anywhere within the graphic representation of the signal chain. Also, the label for each effect has a pull-down menu so you can quickly choose and swap out different effects with one click. Selecting presets was also a breeze, because one window comes up with all presets listed, instead of requiring endless scrolling with the knob on the unit itself.
You can record the guitar signal into three different tracks of Pro Tools. The first is the clean, uneffected signal that you can use to reamp the guitar later. The second track is the output of Eleven Rig with any and all effects or amps. The third is what really makes the Eleven Rack unique: you can embed the audio file with any of the Eleven Rack settings that were used to record the track. So if you need to call up the session at a later time to replace one line of a guitar solo, you can instantly recall the settings with the exact same sound as when you recorded the original track. This is pretty much a lifesaver for me, since I hardly ever write down my settings or make detailed notes for every parameter I tweak.
The Final Mojo
There are so many features on the Eleven Rack that make life easier for the recording guitarist. Some may think that 16 amp models aren’t enough, but with so many combinations of the 16 amps, 7 cabinet emulations, and 8 microphone emulations within the unit—as well as all of the effects—I had more than enough tonal variety to work with. Also, some guitarists may not use Pro Tools out of fear that the software would be too intimidating to learn. You would definitely have to use Pro Tools to take advantage of all the Eleven Rack features, but the software is easy to learn and use. I love the fact that Eleven Rack enables you to be as simple or complex as you want, too. If you want to quickly call up a sound and jam, you can do that. If you’re an endless tweaker who is meticulous about every aspect of your signal chain, you have complete control over every amp, cabinet, effect and mic emulation. As a stand-alone unit without Pro Tools or a computer, guitarists will love using the Eleven Rack live and in the studio. As a complete recording and effects-processing system, the Digidesign Eleven Rack makes recording guitar easier and more efficient than ever before.
Buy if...
you’re looking for an all-in-one solution for performing and recording.
Skip if...
you don’t want to use or learn Pro Tools recording software.
Rating...
Street $899 - Digidesign - digidesign.com |
Resistance to digital amps might just be futile at this point. Many tunes you hear—and an increasing number of live gigs—feature a bit of faux-tube tone somewhere in the mix. But while the sound of pro-level modelers can be nearly indistinguishable from their analog counterparts in a mix, the feel and simplicity of a real amplifiers remain appealing and even indispensable to many players. That said, modelers that make usability, convenience, and price priorities can convince even die-hard tube users to see what’s on the other side of the fence. IK Multimedia’s TONEX ONE is one modeling device that might make the cut. It’s likely the smallest, most portable modeler out there. And at $179, it’s easily the most affordable.
Big Tones, Tiny Controls
The TONEX ONE isn’t designed to put a million different options at your feet, and that economy may be the unit’s strongest feature. It features several different modes, but the primary operating mode allows you to either switch between two different models, or simply use the unit as a stompbox. Each model can be an amp, an amp and cab, a pedal, or a pedal driving an amp and cab. Judging by how deep the online repository tone.net is for user-created presets, the options are nearly endless, which speaks to the already sizable user base. It’s a little strange to consider a modeler in a package this small with so few controls. There’s a large main knob that controls volume and gain (when you’re in ALT mode), and above that are three illuminated mini knobs that control the 3-band EQ, gate, compression, and reverb. You can also plug your headphones directly into the pedal, which makes it a dynamite silent practice amp.
My experience with modelers is that high-gain tones and clean tones are relatively easy to achieve and typically very good. After unboxing the TONEX ONE, I loaded up a slightly dirty Vox-style amp to evaluate the edge-of-breakup tones. I paired the pedal with humbuckers (with a coil split option), Stratocaster single coils, and P-90s in a T-style solidbody. With each one, the Vox-style amp was punchy and clear but could also range to very nice higher-gain sounds. Naturally, each version of a modeled amp offers different gain structures, so it pays to experiment. Combining the humbuckers in a PRS SE DGT with a few hot-rodded Marshall emulations and the growl offered tones nearly as good as those from much more expensive modelers. In a blind test, I’m not sure I could hear—or feel—much of a difference. As I explored further and fine-tuned things a bit more, the ToneX One felt more alive in my hand,s and sounded much less shrill in the top end than other digital solutions I’ve encountered.
One of the most obvious tone fixers in a modeler—and maybe one of the most underutilized—is the EQ section, and kudos are due to IK for placing those controls at the fore. Being able to adjust the most immediate tone-shaping options without having to dig through menus or touchscreens is a pleasure.
There are many possible uses for the TONEX ONE. It can serve as a high-quality direct solution on your pedalboard, a portable recording interface, and a plug-and-play practice solution when high volume is a no-go. One handy setup I tried was disabling the cabinet emulation in the pedal and then plugging into the effects return of a combo amp, in this case, a Fender Hot Rod Deluxe. I immediately imagined many backline amp headaches being a thing of the past. You can always plug directly into a flat-response cabinet or PA system too.
Because it has such a small footprint and streamlined controls, harnessing the unit’s full potential, and accessing all the different modes, takes a bit of effort. You can store 20 different presets within the pedal and assign them to any of the three active slots (two for dual mode and one for stomp mode). And although doing this on the fly is handy, I found it much easier to program the presets via the easy-to-use desktop editor.
The Verdict
TONEX ONE benefits from a rather singular focus and its biggest advantage is that it’s not shrouded in unnecessary layers of tweakable options. You can simply load up a base sound or two, drop it at the end of your pedalboard, and go.The included software allows you create your own models and makes swapping presets easy. I did find the multitude of modes, and their color-coded indicators, a bit confusing at times, but IK’s documentation was very clear and got me through any trouble spots. The TONEX ONE would serve well to those who want to explore digital modeling but still hold on to their analog pedalboards, and at $179 it’s a steal.
If 3 Were 6
With six times the controls found on the 1 and 2 versions (if you discount the original’s on/off slider switch,) the LPB-3’s control complement offers pre-gain, boost, mid freq, bass, treble, and mid knobs, with a center detent on the latter three so you can find the midpoint easily. A mini-toggle labeled “max” selects between 20 dB and 33 dB of maximum gain, and another labeled “Q” flips the resonance of the mid EQ between high and low. Obviously, this represents a significant expansion of the LPB’s capabilities.
More than just a booster with a passive tone, the LPB-3 boasts a genuine active EQ stage plus parametric midrange section, comprising the two knobs with shaded legends, mid freq and mid level. The gain stages have also been reimagined to include a pre-gain stage before the EQ, which enables up to 20 dB of input gain. The boost stage that follows the EQ is essentially a level control with gain to allow for up to 33 dB of gain through the LPB-3 when the “max” mini toggle is set to 33dB
A slider switch accessible inside the pedal selects between buffered or true bypass for the hard-latch footswitch. An AC adapter is included, which supplies 200mA of DC at 9.6 volts to the center-negative power input, and EHX specifies that nothing supplying less than 120mA or more than 12 volts should be used. There’s no space for an internal battery.
Power-Boosted
The LPB-3 reveals boatloads of range that betters many linear boosts on the market. There’s lots of tone-shaping power here. Uncolored boost is available when you want it, and the preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.
“The preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.”
I found the two mid controls work best when used judiciously, and my guitars and amps preferred subtle changes pretty close to the midpoint on each. However, there are still tremendous variations in your mid boost (or scoop, for that matter) within just 15 or 20 percent range in either direction from the center detent. Pushing the boost and pre-gain too far, particularly with the 33 dB setting engaged, can lead to some harsh sounds, but they are easy to avoid and might even be desirable for some users that like to work at more creative extremes.
The Verdict
The new LPB-3 has much, much more range than its predecessors, providing flexible preamp, boost, and overdrive sounds that can be reshaped in significant ways via the powerful EQ. It gives precise tone-tuning flexibility to sticklers that like to match a guitar and amp to a song in a very precise way, but also opens up more radical paths for experimentalists. That it does all this at a $129 price is beyond reasonable.
Electro-Harmonix Lpb-3 Linear Power Booster & Eq Effect Pedal Silver And Blue
