Tone Report Weekly Issue 115 - Page 28

Never mind headroom, talk about overhead cost. One lives in hope. Reverbs and Processors: Penthouse Placement Picking up where we left off in the previous section, I will detail a practice I have discussed before: penthouse placement. Basically, if I am using an effects loop-equipped amp, of which I particularly like the drive sound, I will run a rack unit or one or two post-preamp pedals sitting atop the amp. This frees up pedalboard space, minimizes cable mess and stops me from tap dancing when I am trying to play and sing. One of my favorite current rigs is a tuner, boost, fuzz and analog delay on the board out front and an Eventide H9 connected with short cables in the loop sitting right next to my amp head. The H9 is almost always on and preprogrammed to the set with custom ‘verbs, delays, trems and ADT 28 TONE TALK // effects. It processes the board on the floor beautifully. It also acts as a bailout in case my board loses power or a cable breaks mid-set. I can get by with the core effect on the H9 for each song and it even has a tuner. If I am feeling like a minimalist, I will actually Velcro my Strymon El Capistan or Keeley 30ms ADT to the top of my head, patch them into the effects loop and act like they are setit-and-forget-it built in amp effects. They both love effects loops and have delay, random pitch modulation and reverb on offer—my staple effects diet. If postpreamp effects are coming from a rack— such as my trusty old analog-sounding Alesis Midiverb II—it has to sit up top anyway. Reverbs are fine for this, because they are typically static throughout a track and most units have a switchable bypass option. However, for the fearless sonic adventurer, go ahead and run those verbs into the front end of a distorted amp. It might just blow your mind, just ask Kevin Shields. Effects Routing 101: Pre and Post Processing