Kewlpack's Head To Head MFX Shoot Out!

[Kewlpack]

Welcome to my little "head to head" comparison of several mainstream Guitar processors known as Modelers, or Multi-effects (MFX for the sake of brevity here).

During the conversion of my original article to a forum-friendly format, each main section has been split into its own post below. This should make it easy to digest and jump around to the specific sections you're most interested in.

I will continue to update this thread with new, comparable MFX units as my budget allows.

NOTE: If you would like to comment on any part of this thread, please do so in the following discussion thread:
http://forum.thestompbox.net/showthread.php?t=3063

Enjoy!

[Kewlpack]

Gimme Your Nickels
If I had a nickel for each time someone asked the question, “Which modeler/multifx is ‘the best’ and why?” I’d have enough cash flow to pony up for a couple Dumble Super Overdrives… along with a few other GAS-related items. LOL. If you’re reading this then you’re either one of the folks looking for answers to that question – or you’ve been one of the cool cats who've taken time to answer that question - over and over… and over! I feel your pain!

You know, the truth of the matter is: this is a fantastic question. I’m not sure if anyone noticed this or not yet, but when people begin asking questions like this (ad nauseum) it is an indication that the offerings from manufacturers have become viable, capable, feature-rich, and in many cases, professional level platforms for creating high quality music – both live and in the studio.

Now before I get too far into all of this let me say up front that I love the tone of a high quality tube amp through a great cabinet. For this article let’s call them “tube-based rigs”, or TBRs. There is a particular richness and harmonic content in traditional TBRs that give them a unique voice in the mix. That uniqueness is demonstrated even within the same product/model line. For example: you can have two of the same Head/Cab or Combo model yet each will have its own flavor (even if only subtle). Now go swap out some tubes and you can differentiate the voicing further. That’s part of the beauty of TBRs. If you care about your tone, you’ve probably considered getting a TBR a time or two. Maybe you currently have several as you read this (you GAS-freaks know who you are – heheh).

TBR Caveats
But (you knew there was a “but” coming), tube amps tend to be limited to a certain set of sonic chores. Granted, some are more versatile than others. The constraints are there by design. For instance, you buy a Marshall to get a Marshall tone; a Mesa for a Mesa tone; a Fender for Fender tone, etc. But if you need a variety of tones from a single rig, it can be a little tricky with just one amp. That isn’t a “bad” thing really… simple is nice and easy! You just have to understand what you want to do with your music and know which tools will get you to that tonal destination.

Other things that can be prohibitive with TBRs are: the cost, the maintenance, and the weight/bulk. Most of us out here can’t afford to diversify with several TBRs. Each one can be a substantial investment, and if you have mouths to feed…well, you can’t feed your family 12AX7’s very well (can you??)! As I said, TBRs can be very temperamental without a lot of TLC and attention. Accidental jiggles can result in a dead amp if you aren’t careful. In addtion to these issues: unless you have a large practice hall, a big house, or a storage unit, you probably don’t have the space to store, setup, or deal with multiple TBRs.

Oh yeah, one last thing: You have to crank a TBR to squeeze those amazing tones out of them properly… and we don’t always have the luxury of being able to push the volume that high (without severe fallout with neighbors, family, and even our audience). Still, if you love TBRs, you love ‘em unconditionally! You consider the above to merely be “the bonding process”.

But You Want A Modeler/MultiFX
So, now we need to talk about these Modeler/MultiFX thingies (I’ll call them MFX for this article). You won’t have to look very far before you see that the current mainstream offerings bring a virtual smorgasbord of amps, cabinets, microphones, and effects to the table in a compact, and usually affordable package. In addition to this they give us an incredibly handy way to make our own recordings without the expense of high end studio gear.

For around $150-$450 you can get setup with a wide array of popular preamp/cabinet models, tons of desirable effects, digital interfaces, stereo output, and lots of other stuff we’ll get into shortly. It’s amazing to discover just how many cool tones you can get out of one of these MFX units.

My fellow guitarists, it is a great time to be playing guitar! We have unprecedented flexibility and options to discover our own tones… without breaking the bank nor our backs.

Some enthusiasts are gonna argue, “MFXs don’t sound like real TBRs.” Frankly, I don’t believe it’s fair to make a blanket statement like this about MFXs. In part, because we don’t know what the real specimen sounded like (remember how I pointed out that two of the same model will sound different?), nor do we know exactly how the engineers studied/sampled the amp to come up with their MFX modeled version(s). I have some faith in these companies. They want to give us professional tools which produce authentic tones. The closer they can get to the real thing, the more folks around here will buy them up. It is in their best interest to produce a great product. Not to mention that I’ve heard some stinker TBRs too (so have you). So let’s not dive off into that debate. Use what sounds good to you and have fun with it!

Ah, but which MFX will work for you?

To answer that question; before you read any further… you have to sit back and decide exactly what you are looking for tonally. Heheh, you are probably thinking, “I want one product that does everything better than anything else but costs less than the other MFX!” Allow me to promptly, but gently, burst your little fantasy bubble right here and now. To be sure, MFX units from the various manufacturers can probably do everything you will need to do; but some MFX’s model of a particular preamp will (frankly) sound better than another MFX’s. It takes a little research to figure which sounds best to you, but it’s worth it.

With each MFX there are usually some trade offs. Need lots of flexibility? Well, that necessarily brings complexity of use (more or less). Need a simple, plug and play approach? Guess what, you are gonna give up some flexibility options. Need to come in at a specific price point? You probably won’t be able to have the latest and greatest. Keep in mind the axiom: you typically get what you pay for.

[Kewlpack]

Over the last few years I’ve spent a lot of time with most of the mainstream MFXs on the market. After reading countless threads in the various forums about “which is best” I figured it would be helpful to put together a head to head comparison of several popular ones. These are going to be my own opinions based on my personal experiences. You may agree or disagree with my findings… and that’s cool. Tone is very subjective and driven by a lot of passion (we love what we love!).

At the end of the day, demo the products you are looking at and go with the MFX that suits your ears and your style(s) the best. If it inspires you to play better music – then it has served its purpose. All of my opinions and analysis are based on running these modelers through a couple of different flat response, full range (FRFR) rigs, in mono and stereo. I also ran through many types of amps as well. IMHO, the tones were best to my ears (and to other musicians with whom I jam regularly) through the FRFR rigs.

Before you get too far into the Shoot Out, you must realize there are many components involved with building a quality tone with any rig. With modeling, the MFX is only part of the equation (though a significant one nonetheless). You have to consider: your guitar as a whole, the neck/fingerboard, the bridge/tremolo, pickup types, guitar woods, cables, the output rig, strings... and lets not forget - your fingers/technique. As you go through the review and perhaps choose to buy an MFX, understand that your results may vary dramatically from mine because of one or more of the above tone factors.

May I suggest a few other articles here at thestompbox.net which will help you get the best results regardless of which MFX you ultimately go with. Unlock The Potential Of Your Modeler, and Kewlpack's Tweakin' Tips For Modelers/MultiFX, and last but not least FYI: "FRFR"... What Is It?

Here’s the skinny on how the Shoot Out will work…

MFX Ratings
Each MFX has its own strengths and weaknesses. In the interest of being fair I will give an overall rating for each Key Feature: "Fair", "Good", "Great", and on occasion an "Excellent". These are subjective (admittedly), yet I will be as frank and honest as possible in each case. The ratings are based on several factors within the Key Feature segment.

For example, an MFX's Preamps/Cabinets rating is based on: variety of models, tone shaping/manipulation, characteristics, and dynamics.
At the end of this analysis I display a matrix with each of the MFX and their Key Feature ratings (for those who just wanna see the “big picture”).

Key Features
I can’t possibly go into all of the features, functionality, and permutations of every MFX. There are just too many and I actually have to eat, sleep and be social. I will deal with what I believe are the most significant (i.e. “key”) features that most people are asking about. Typically all of the MFXs in the Shoot Out will have these features. Each MFX will receive a rating for each Key Feature.

Cool Features
Some MFX have some particularly innovative or just plain cool functions/features that other MFX don’t include. Sometimes one cool feature can be the make-or-break issue on what you decide to use. Cool features are not common to all the MFX so I won’t give a rating for these (though they may affect the Key Feature rating somewhat).

Comments
These will be brief notes and opinions on the particular feature/function.

Issues
These will be comments dealing with things I don’t like with a particular MFX. Some units can be a bit frustrating (to say the least). YMMV.

Here are the MFXs we will be taking a look at (this list may be updated as new products come to market) in alphabetic order:

• Behringer V-Amp Pro “VAP”
• Boss GT-8 “GT8”
• Digitech GNX3000 “GNX3K”
• Line 6 POD XT Live (w/all Model Packs) “XTL”
• Vox ToneLab SE “TLSE”
• Zoom G9.2tt “G9”

IMPORTANT NOTE: For the finer details, technical data, and other information not included in this article be sure to check the official website for the particular MFX product. Always, always, always read the official User Manual for your product!

Without further adieu… I present the Head To Head Modeler Shoot Out!

[Kewlpack]

Each MFX in the this Shoot Out brings a cornucopia of widely diverse preamp models, cabinet models, and in some cases microphone models. Most of the classic and popular ones are covered (e.g. Marshalls, Vox, Fenders, Mesas, etc.). In a few cases, several boutique models are included (or available as add-on packs). One of the cool things you can do with an MFX is to “mix and match” the preamps and cabinets. This gives you totally new sonic palettes. In many MFXs you can also swap out various microphone models. With a few of these units you can literally come up with over 10,000 unique basic preamp tones… and that’s without any effects yet!!

For the specific preamp models available in each MFX, check the official website for the product. Things change and that will be the best place for finding that info.

A word on an MFX voice and characteristics… Each of the MFX I will cover have their own unique voice and characteristics within their preamp model offerings. The XTL has a very different voice than the GT8 or GNX3K. The TLSE has a totally different feel than the VAP or XTL… you get the idea. So some of the decision as to what’s best for you will come down to how much you like the “sonic fingerprint” of the particular MFX.

A word on dynamics… One of the tests I always try first with any MFX is to dial in an articulate, punchy, light crunch tone and then roll back the volume on my guitar to see how well the tone cleans up. If it retains definition and clarity at lower volume and then smoothly transitions to a natural breakup as I dial up the guitar volume, then it’s a winner. The reason for that sort of test is that it gives you a sense for how dynamic the preamp model can be as well as demonstrate how responsive the preamp will be to your picking techniques. It’s a great test of genuine TBRs as well. You usually want lots of dynamics and interactivity between your fingers, your guitar, and the amp… that’s the magic feeling of “being connected” to the rig. Through those dynamics you can learn to make an amp weep or roar simply by how you play. Keep this in mind when I talk about dynamics below.

Preamps/Cabinets: VAP
Preamps: 32 models
Cabinets: 15 models
Microphones: N/A
Rating: Good

Cool Feature: Price Point.
You can get the VAP for about $150. That is an amazing bang-for-buck feature. This is a budget MFX but it is very useful in some scenarios and has excellent preamp modeling quality. There are cost-cutting measures in place, but for the money… a very solid unit.

Comments: The VAP has some fantastic preamp models to choose from (some of my favorites). The tones generally have a lot of body and fullness through an FRFR rig. They have a very natural feel when overdriven into breakup. Some excellent high gain preamps here too. The dynamics are very good in that you can roll off the guitar volume a little and things will clean up nicely (obviously not so much on higher gain settings or with distortion up front). Pick attack actually makes a difference with the VAP.
I found the VAP preamp models to interact well with stompboxes up front. The preamp models feel and react pretty much as you would expect when using stomps in front of a TBR.

Some of my comments from a forum post: As I dialed in the various Fender amp types, I closed my eyes and listened for that full, fat, punchy, dynamic breakup and “breath”... it was there, in spades. I dialed in a Marshall, mid gain, classic rock type breakup... High Gain (like really heavy) Rectifier, and Soldano tones... and even the stinkin' basic Tube Preamp sounded good … as close as I've heard in a modeler and I'm talking about real Cornfords, Fenders, Marshalls, Mesas, Dr Zs, Peavey Classics, Top Hats, Soldanos, etc. Some of which my weekly jammin' buddies have.
If you really pressed me about it - it was hard for me to find a tone that I didn't like - it felt like I was hooked up to a big rig. The articulation and harmonic richness of the breakup was the most significant thing I noticed right away.

Issues: The only issue I can really say I have with the VAP is the terrible latency when switching from one preamp to another (via the dial or via patch switching). It renders the unit unusable for songs where you need to switch preamps mid-song. Note: There is no latency if you move around on patches that use the same exact preamp. I hope they address this in the next generation unit.

Preamps/Cabinets: GT8
Preamps: 46 models + 3 custom user models
Cabinets: 8 models + 2 custom user models
Microphones: 5 models + variety of tweak parameters
Rating: Great

Cool Feature: Dual L/R, Dual Mono, Dynamic modes.
The GT8 gives you the ability to run its two separate preamps in a few different ways.

• Dual L/R (stereo): Channel A preamp on the left and Channel B preamp on the right. They are completely independent of each other. Example: Marshall 1959 4x12 on left, Tri-Amp 8x12 on the right. You can set a small delay between the two for separation (very cool).
• Dual Mono: Channel A preamp is blended with Channel B preamp. The preamps are independent of each other. You can set a small delay between the two which can add some depth and complexity to the tone (or muddy it up altogether!). Example: Fender Tweed 4x10 mixed with Vox AC30 2x12.
• Dynamic: Depending on the crossover threshold you set, the GT8 will smoothly switch from Channel A to Channel B. The preamps are independent of each other as in the other modes. Example: Playing with low volume uses Clean, Chorused tone… playing harder/louder will transition into an overdriven lead tone with delay. Note: it takes a lot of practice to get this to work in a real world scenario. Sometimes there is a little lag coming back to Channel A (the lower volume tone).

Cool Feature: 3 different Gain Types for each preamp.
You can choose Low Gain, Medium Gain (default), or High Gain for every preamp model. This essentially triples the number of basic preamp models out of the box. A cool example of when to use this: Setting a clean preamp like the TWIN to High Gain type will add a nice bite and punch to an otherwise generic clean tone. You go the other way and tame the gain on a Rectifier by setting it to Low Gain.

Comments: I would have to say that the GT8 preamp models coupled with the Dual modes and the ability to choose a Gain Type makes for an incredibly flexible combination. Many of the GT8 preamp models are Boss creations based on a category of amps versus a specific model or brand. This can sometimes make it a little tricky to find the right basic preamp tone you want. I would say that the GT8 has the greatest tone shaping capabilities rivaled only by the new GNX3K.

Using the Dual L/R mode is fantastic. I love it. You can get these stadium style stereo tones going that are just huge… w00t! Dynamics on the GT8 are pretty good. Some preamps respond a lot better than others. Light Gain tones can be a challenge, but are attainable with some fiddling. Overall, I find the preamp models to sound more raw (in a good way) and have a nice overdriven musicality in most cases.

I’ve posted numerous other comments at the www.bossgtcentral.com GT8 forums as well.

Issues: The biggest issue with the GT8 preamps (and you’ll see me say this sort of thing more than once in this analysis regarding the GT8)… is the inherent complexity when it comes to tweaking the beast. Yeah, there are lots of defaults and “quick” presets to get you started – but there is a significant learning curve once you really dive in. It comes with the territory I suppose… flexibility and functionality are cousins to complexity.

I would say that the plethora of settings and parameters are not only the GT8’s greatest strength, but are also its worst fault. It doesn’t need to be this convoluted to get your tone! Don’t let it scare you too much though. Once you get the hang of it, things aren’t so tough.

Preamps/Cabinets: GNX3K
Preamps: 45 models (33 guitar, 2 acoustic, 10 bass)
Cabinets: 26 models (14 guitar, 2 acoustic, 10 bass)
Microphones: N/A
Rating: Excellent

Cool Feature: HyperModels (WARP between two preamps).
This feature allows you to mix the Green Channel (A) and the Red Channel (B) into a whole new preamp tone: Yellow Channel. WARP can lead to literally thousands of variations and is pretty easy to use – particularly with the software editor. These new WARP preamps can be saved as individual files for later use or sharing. Example: Mix Soldano 100 4x12 with a Matchless DC30 2x12.

Cool Feature: Cabinet Tuning
This feature allows you to dramatically change the voicing of the selected cabinet by changing its resonant frequency. You can add serious low end thump or punch up the brightness and presence in .5 “semitone” increments. It is a very powerful feature and brings a very realistic quality to the modeling. Use sparingly for best results.

Comments: Like the VAP, I’m very impressed with the quality of many of the preamp models. The preamps break up in a very musical way and move into saturation smoothly. The GNX3K's preamp modeling sounds very authentic/realistic. From dynamics to punch and articulation… from sparkling clean tones to light blues to rock to metal and beyond… some of the tones you can get are positively brutal! I feel the GNX3K raises the bar for preamp modeling quality (much like the GT8 raised the bar for tone shaping and FX chain manipulation).

When I first plugged the GNX3K in, I immediately noticed how interactive and responsive the preamps actually were. It was very easy to immediately feel totally connected. Dialing in the preamp tones is actually a piece of cake too; with or without the software editor. It is as easy as the TLSE or VAP to dial in good, usable tones. Excellent job Digitech!

Issues: The main issue I found with the GNX3K is that it could yield a somewhat hollow sounding tone through some FRFR rigs. It takes quite a bit of tweaking to dial that hollowness out (but it is related more to the FRFR rig than the GNX3K). There is also noticeable latency when switching from one patch to another. This could be a showstopper (unless you run in Stompbox Mode which yields no latency at all).

Preamps/Cabinets: XTL
Preamps: 42 models (+ 36 more with the two Model Packs)
Cabinets: 24 models
Microphones: 4 models
Rating: Good

Cool Feature: Model Packs.
For about $50 each, you can add the Classics and Metal Shop Model Packs to the XTL. This brings the preamp model selection to over 70 different choices! Of course, I like some better than others (as will you), and having all those choices is useful when you are looking for something new… and it’s a lot of fun to experiment with all the possibilities. As of May 2006, they added more amp models to the basic unit, bringing the total out of the box to 42 models. Nice!

Cool Feature: A.I.R. Technology.
This feature allows you to adjust the “placement” of the microphone model within the virtual room. You can add some depth and subtle reflections to your preamp tones by tweaking this parameter. At extremes you can get a light slap back or doubled sound quality. It is very handy for acoustic guitars (or Piezo pickups). This feature really shines for recording.

Comments: The POD series has constantly evolved to become better and better with each generation. The XTL is better than its predecessors as far as preamp choices go. Some older POD owners would say some previous versions of certain preamp models are better. As usual, it’s pretty subjective. I find several XTL preamp models to my liking personally (v2.14 firmware). The myriad of preamp model choices are VAST.

The XTL is pretty easy to use and you can get useful tones out of it quickly. This is even easier (and cooler IMHO) with the GuitarPort or Line6Edit software packages. There are so many preamps to choose from that it will take you a while to discover all the flavors this little box is capable of. Gotta love having choices! Note: With such abundance, it is inevitable that you’ll have some preamps so similar in tone that they are sort of redundant…and such is the case with the XTL.

It does seem that the XTL is aimed more at a “high gain” demographic as that’s where it seems to shine the best. That’s not to say you can’t get decent lower gain tones. They’re just not as pleasing to my ear. In fact, I like the dedicated Piezo & Acoustic preamps (they are not simulators). They are quite useful if you have an Acoustic/Electric.

The XTL’s dynamics aren’t nearly as rich and responsive as I’d really like them to be. Some preamp models just don’t clean up well when you ease up on the volume either… It is a mixed bag. Thankfully, you have a buffet of preamp models so just use what works best.

A word on output rigs: In my experimentation, I did find the XTL to work better when going into a good tube-based poweramp and traditional guitar cabinet. The tube poweramp gives you the sag, punch, and sparkle which the XTL frankly doesn't always deliver. The XTL doesn't sound as good through an FRFR rig. I think part of this might be because an FRFR rig doesn't roll off the high frequencies as much as a traditional rig. This means the offensive fizzy frequencies come through stronger. Anyway, I thought it would be helpful to point that out.

Issues: The first and foremost issue I have (as do countless other XTL owners) is the XTL’s propensity for fizz/can-of-bees/buzz. Fizz is a nasty distortion that lives in the 4.5-5.5kHz frequency range. BTW, it exists on real tube amps too, and shouldn’t be a surprise to anyone who’s into higher gain tones (perhaps the modeling is too accurate!). The problem is that the XTL can get too fizzy too fast on several preamp models - this one issue just ruins things. You can sort of mitigate it with alternative cabinet/microphone combinations, but only to a degree. Many people use an external post-EQ or “de-fizzing” device (like Radley's Harmonic Converger) to notch out the problem frequencies. Some products work better than others for this purpose. It would be nice to see Line 6 issue an update that allows users an optional switch to cancel out the fizzies if so desired (in whatever way seems best according to their development platform).

Another issue I find bothersome is that most of the clean preamp models just don’t feel very lively or responsive… "Dynamically plunky" is how I’d characterize it. To be sure, I’ve played some plunky, dead amps in the past - but I’d rather not have those models showing up in my XTL please.

Lastly, the XTL tones do tend to feel compressed, processed (?) and at times too “in your face”. Some preamps just don’t breathe very well… which is something I like because it adds to that feeling of being connected to the rig.

Preamps/Cabinets: TLSE
Preamps: 16 models
Cabinets: 10 models
Microphones: N/A
Rating: Excellent (quality)

Cool Feature: Valve Reactor Technology (VR).
The TLSE incorporates a 12AX7 tube in the power amp stage (not the preamp stage). This allows the TLSE to better simulate the sag and dynamics that you would hear/feel in a genuine TBR. The preamp modeling is still digital simulation and doesn’t benefit from the tube until the signal hits the VR power amp stage. In most clean, light gain and moderate crunch tones the tube brings an excellent, punchy feel and sparkle to the table. It isn’t as noticeable when you raise the gain into heavy metal territory however (at that point it isn't about subtle harmonics or dynamics as much as it is about blowing your ears off).

Still, the high gain tones are definitely still in here. In a nutshell, what it lacks in variety, the TLSE (and Valvetronix technology as a whole) makes up for with rich tubey quality!

Comments: Pedalboard MFX don’t get much simpler to use than the TLSE. It’s easy and effective. The TLSE’s VR Tube technology does bring a lot of fatness; and sweet, blooming tone to the table. Clean tones through blues and classic rock sound great. In fact, the TLSE has some of the best low-to-mid gain tones (IMHO). You can get close to them with other MFX but it takes a little more tweaking - sometimes.

Dynamics are excellent and there is a nice range of responsiveness in most tones. Again, the VR circuit is chiefly responsible for some of this feel. However once you get into higher gain territory the VR advantage is not as discernable, but the preamps still have a lot of character - as long as you don't push the gain too high (that's true with most TBRs though).

Issues: The main issue I’ve found with the TLSE is that it can get too bright/shrill too quickly (it depends a lot on your output rig). A post-EQ could help here. I have found that some flat response, full range (FRFR) rigs enhance the issue because of an overly-strong tweeter/horn in the unit (this holds true for all of the MFXs in this article). Also, the TLSE's output is quite hot, so you have to set the output level knob so it isn't sending too much to your amp(s).

The tube definitely makes a difference in how the preamps feel and respond to dynamic picking. The preamp modeling also provides a nice range as you vary guitar input volume (i.e. roll back the guitar volume pot and the preamps clean up as they would in an authentic TBR).

Yes, the TLSE is limited in the preamp choices it offers. Of all the MFX it has the fewest preamp models. It could be argued that Vox chose to do this to make the MFX more marketable to a certain demographic that wants a simpler, straightforward approach. However, with all of the intense competition from other mainstream MFX units (all of which offer twice as many preamp models or more), Vox would do well to consider a wider selection of choices in the next generation. The TLSE is also one of the most expensive units… but offers the least in terms of choice and features. A lot can be said for the fundamental quality of the tone nevertheless.

Preamps/Cabinets: G9.2tt
Preamps: 43 models* (26 amp, 14 OD/Dist, 3 OD/Amp)
Cabinets: 1 model
Microphones: 2 models
Rating: Great

Cool Feature: Two 12AX7 preamp tube, analog circuits
This feature lets you dial in the Accelerator tube (pre-MFX circuit) and/or the Energizer tube (post-MFX circuit) in any amount desired. Each tube circuit has two controls. The Accelerator: Tube and Solid State; The Energizer: Tube and Boost. You can dial in as much of each control as you like. Theoretically these circuits are provided to give you the ability to warm up your tone via the real tubes' effect on the digital modeling tone.

I found I liked a mix of both controls for each circuit, but you don't want to boost either tube beyond 3:00 on the dial unless you want a mushy, overly compressed effect. Somewhere around 10:00-1:00 for all controls sounded best. The Boost control is an excellent way to bring your tone front and center without adding distortion or changing the fundamental character of the tone.

Comments: I found the high gain preamp models to be the best part of this unit. The cleans and lower gain tones left me "flat". They didn't have enough character to my ears. The high gain preamps also have a fairly narrow range of basic tone (though there are several models to pick from). Even when you dial the gain back to "0" (where there should be nothing), you still get a highly saturated crunch. So really, you should only need to raise the gain to about 9:00 on many of the high gain amps and you're well into thrashin' territory. The high gain preamps are on par with the XTL, and perhaps a bit better because you don't run into the fizz issue much.

*About half of the "preamp" models are actually Zoom's renditions of popular stompbox models. Some might say it doesn't matter because these could be considered just another set of preamp models... But IMHO - it would've been much nicer to see these OD/Dist models in a separate pre- preamp module. You'd get a lot more flexibility out of the unit that way. As it is, I didn't find many of these pseudo-preamp models to my liking. I really dug on the BigMuff Fuzz model!

The 6-band EQ does give you a very effective tool to sculpt the preamp modeling too. It's quite good. There is also a master tone control for each preamp model; outside of the 6-band EQ. It lets you brighten or darken the fundamental preamp pretty easily.

Issues: I know some people will debate this opinion, but I honestly found the tube implementation to be very disappointing. Zoom could've done a lot more with it. In reality, what Zoom appears to have done is hang a garden-variety tube preamp on either side of the digital guts of the MFX and call it done. The resulting effect on the tone is nominal at best (except for the Boost feature which I love!). Some people have reported replacing the tubes with higher end 12AX7's (a painful process) improves the effect to some degree. It should be noted that it is NOTHING like the TLSE's VR Circuit - which does a fantastic job.

The single cab/mic simulation has parameters which give you about 18 permutations to play with. Some work pretty good, but these days I would expect many more models to be available. The cab sim just isn't enough here.

[Kewlpack]

An MFX wouldn’t be what it is without a big library of effects to plop into your FX chain at will. If you’ve ever shopped around for individual stompboxes you know that it can get real expensive, real quick. Particularly so if you are looking at boutique or vintage effects.

As with preamps, today’s MFX bring a wide variety of these coveted pedals to your tappin’ little toes. Some are kinda cheesy while others sound almost identical to the real thing. Let me be straight up and confess that I haven’t found a use for every single effect on each MFX. Some are just whacky to me! To go through every individual effect in every use case would be nearly impossible for one man. So these opinions are based on my use of the most common effects with a few notable exceptions here and there (e.g. Chorus, Flanger, Phaser, Delay, Reverb, Wah, etc.).

I recommend you demo the products that include the effects you will need for your music. Set them up similar to the way you would with the real thing and find out for yourself how authentic they sound. You will find new favorites along the way – without a doubt!

For the specific effect models in each MFX, check the official website for the product. Things change and that will be the best place for finding that info.

So let’s take a look at the effects…

Effects Modeling: VAP
Effects: 19
Simultaneous FX: 6
FX Chain Manipulation: No
Rating: Fair

Comments: It should come as no surprise that the VAP is pretty stripped down as far as the available effects and where you can arrange them. You have the typical pre- and post- effects including a Wah (only useful with an external pedal), overdrive, chorus, delays, etc. There isn’t a lot compared to some of the other MFX, but maybe you don’t need all of the extras.

Many of the effects are stereo by default and actually sound quite good. The ping pong delay is one of my favorite types of delay and the VAP does well here. The choruses are fine. Nothing “wow”, but totally usable. The overdrive pedal is pretty generic yet gets the job done. The reverbs are worth mentioning. Several simple but very usable reverbs here. Short, simple and sweet are the staples of the VAP.

Effects Modeling: GT8
Effects: 44 “categories” (over 70 effects)
Simultaneous FX: 13
FX Chain Manipulation: Yes – unparalleled flexibility.
Rating: Excellent

Cool Feature: Total FX chain manipulation.
This has to be one of the best features within the GT8 bar none: The ability to move any and every component in the FX chain wherever you want to. Would you like to have a Phaser right up front and put a Flanger right at the end after a stereo Delay (not that you should, but you could)? No problem. It’s as simple as a few pushes of a button. This feature is particularly handy for placement of the Tone Modify effect and Equalizer component. Truly innovative and practical.

Cool Feature: Tone Modify.
This effect is remarkable in that it allows you to add complex EQ modifications to your tones easily. It offers several types of modification like Fat, Mild, and three different Resonator models which add a highly tweakable, rich low end to your tones. And like all of the other effects in the GT8, you can put up to two Tone Modify effects anywhere in the FX Chain you want… anywhere! It is just way cool and useful.

Cool Feature: Multiple EQs.
There are a total of four simultaneous equalizers (1 global EQ, 1 Patch parametric EQ, and 2 parametric EQs in the FX1/FX2 banks). This makes it possible to completely customize your tones at just about any level. I would only ask that they give us a little more control over the Q in the parametric EQs so as to notch/boost a little more precisely.

Comments: The GT8 is the Ultimate in effects both in sheer number as well as the ways you can manipulate the FX chain. It’s truly a thing to behold. No other MFX can touch the GT8 in this area. It is without a doubt the best in class. Too much hype? Not if you get your noggin’ around what this thing can do.

Most (if not all) of the 44 “categories” of effects actually contain several popular models or variations underneath the surface… so you are actually getting a vast library of effects that go far beyond 44 (as if that alone wasn’t enough to make effects junkies jubilant!). For example in the “Adv. Comp” category alone there are 8 completely different compressor models, most of which are modeled after actual pedals.

Most of the effects are high quality and very useful. This is Boss we're talking about! Many of the effects appear in two separate pedal banks so it is conceivable that you could run two Phasers in series, or two Flangers in series… it’s up to you!

I could go on and on and on about the GT8 effects system. Suffice to say – if you need a big, totally flexible effect toolset – the GT8 might be just the ticket. Mind blowing.

Issues: Yeah, it comes back to that whole complexity thing. The combination of deep editing and the whole FX chain manipulation capability can be the source of much frustration and hair pulling… particularly if you don’t know how or where you’d actually use the real world effect in the first place. Perhaps 100% FX chain manipulation is a two edged sword… I’ve even given up a time or two because I just got lost in the deep editing. Maybe we shouldn’t be allowed to go that deep?!!?

Effects Modeling: GNX3K
Effects: 57
Simultaneous FX: 11
FX Chain Manipulation: Yes, very limited.
Score: Great

Cool Feature: Stereo Panning
Most of the effects within the GNX3K are stereo by default. Even the reverbs are stereo. The reason this is cool is because you can pan any stereo effect to the left or the right in any amount you desire. This allows you to create very spacious soundscapes relatively easily. An example of using this sort of technique is the reverb on Eddie's guitar in many old Van Halen tunes; it is hard panned to one side. Stereo panning is independent for Modulations, Delays and Reverbs. Very slick.

Comments: The effect setup on the GNX3K is pretty much static with only three specific effects able to be pre- or post- in the FX chain. However, the rest of the effects are all in the most traditional FX chain locations so it probably won’t be an issue. The effects that are included are quite capable and cover all of the popular models. Plenty for the typical guitarist.

A noteworthy effect is the Digitech Whammy effect which is very, very cool. No surprise the GNX3K is the only one to have this particular effect. Another is the Intelligent Pitch Shifter (IPS) which tracks along with your playing and harmonizes with the notes diatonically (within the scale/key). Love it.

Dialing in effects is pretty straightforward – but the easiest way is to use the software editor. I’d like to have seen more variants of the Chorus and a few others (though what is offered is already useful for most musical applications).

Not as bloated with effects as the XTL or GT8, the GNX3K still holds its own very well, and in some cases, much more simply.

Effects Modeling: XTL
Effects: Over 70
Simultaneous FX: 13
FX Chain Manipulation: Yes, limited.
Rating: Excellent

Cool Feature: FX Junkie Model Pack.
The XTL actually ships with this Model Pack by default. It adds a number of new variations on Choruses, Flangers, and Synth type effects among others. It makes a large palette of effects even bigger and includes some really useful Line 6 original models.

Comments: The XTL has a super collection effect models. Most of which are modeled after very specific, very coveted, real world pedals. Their ping pong delay is one of my absolute favorite delays in any MFX. In general, the effects are as good as those in the GT8. Several effects (from FX Junkie mostly) are admittedly outside of the scope of what I would probably use (like the nuttier Synth effects). Most of the effects are very easy to dial in; even easier with the software editors.

While not as totally mutable as the GT8, the XTL still provides plenty of FX chain routing for modulations, delays and other components. It is easier to use because of the simpler paradigm. I appreciate that.

Effects Modeling: TLSE
Effects: Over 40
Simultaneous FX: 5
FX Chain Manipulation: No.
Rating: Good

Comments: The TLSE takes the same type of approach with the effects as it does with preamp/cabinet models… simple with few frills. The majority of effects are average with no particular effect captivating my attention more than any other MFX. That’s not to say there aren’t good effects. There are some nice ones... just fewer offerings comparatively speaking. It’s time for a new, more advanced MFX from Vox. The exceptions would be the Delays and Reverbs which are very good and very useful.

It does have more flexibility and effects options than the VAP, but retains the simplistic sort of approach. Since it is getting a little long in the tooth, the effects offering no longer compete strongly with the other MFXs on the market.

Issues: I’m not exactly sure why, but the engineers at Vox decided to put several effects in the “stomp” section under a single pedal, including the Wah (!?!?). What that means is that you cannot have both an overdrive/distortion or compressor ready to tap on separately as needed… you have to use one or the other. Need to use the Wah? Well, you have to sacrifice any other “stomp” option. I personally don’t like this limitation because I like to have that extra stomp, and/or compressor up front. The only option is to use an external compressor or wah.

Effects Modeling: G9.2tt
Effects: 45-50 (some duplication)*
Simultaneous FX: 5 (or 7 with EQ and Cabinet modules)
FX Chain Manipulation: Yes (basic).
Rating: Great

Comments: The G9 offers a wide range of effects and, coupled with the assignable Z-Pedal, makes for some highly flexible enhancements for your patches. The quality of the effects are good all around. I like having some of the same effects available pre- or post- preamp (like the GT8's FX1 and FX2 provide). There are a number of delays available which you can stack (up to 3 I believe) for some really spaced out effects. The AIR effect (not the same as XTL's A.I.R. II technology) is effective and gives you that "in the studio room", early reflections feel. As I mentioned, there are several effects designed specifically for use with the Z-Pedal (so you can dynamically control: depth and mix, rate and stereo balance, and many other parameters). Pretty cool.

Of special note, the Ensemble Chorus is gorgeous. Drop the rate and raise the depth - super lush, classic chorus. Nicely done.

Issues: As with every MFX, not all is perfect. My pet peeve shows up again... the Wah/Booster/Mods are all in one pre- module (just like TLSE). They did separate the compressor module, and I appreciate it... but come on - Give us the wah in a separate module so we can still use the other pre- effects. Please! I don't like the OD/Dist all being stuck in the Preamp module either. It would be so much more useful to have those flavors to add to the preamp models.

I should also mention that the three wah models were weak; the Multi-Wah being the better of the trio. The wah sweep is too narrow and doesn't feel right. The Booster effect (not to be confused with the Energizer/Boost module) is essentially a treble booster of a sort, with a fair bit of dirt to add to your preamp tone. It's pretty basic like the Drive booster in the VAP (a couple more parameters though).

*Note: The User Manual counts 106 effect types and 10 simultaneous modules - however I believe they're counting preamps, cabinets, and other modules outside of modulations, comps, wahs, delays, and reverbs.

[Kewlpack]

One of the things a lot of folks overlook when they are out buying tools (of any sort) is the “ease of use” factor. Do you have to turn fifteen different tiny dials in order to get the silly thing to turn on? Is there one great big wheel that controls ten components? How hard is it to tweak on the fly? Can you read the display from a distance (like standing over it)? Is it hard to avoid hitting the wrong buttons?

All of these questions apply to MFXs too. Usability is a huge factor to me. If it’s a pain in the neck to work with, chances are I won’t. Some of our MFX are very easy to use right out of the box while others are frankly an exercise in futility sometimes. So here we go… how easy are these MFX to work with (without a PC)?

Hardware/User Interface: VAP
Patch Display & Info: Very Limited
Intuitive Knobs & Buttons: Easy enough
Manual Mode Pedals: None out of the box
Rating: Fair

Comments: The VAP isn’t too difficult to work with really. Everything is quite simple and easy to access. For studio/recording work, this is a fine unit to use (allowing for the preamp changing latency I mentioned). However, this being a rack mount MFX means that to really get the “on the fly” features you’d need for a gig means springing for the $150 FCB1010 controller/pedalboard (which is a bit of a nightmare to program).

You’ll only need to read the User Manual a couple of times to get a handle on all of the major operational details. I don’t like that it doesn’t have a decent LED display that you can read various settings on. I like to have more information visible when I tap into a patch. It will be nice to see Behringer roll out a full blown pedalboard version of their V-Amp product… maybe next time.

Hardware/User Interface: GT8
Patch Display & Info: Good LED readout with lots of menus
Intuitive Knobs & Buttons: Yes, but deep editing can be dizzying
Manual Mode Pedals: Yes (Channel Select, Stomp, Chorus, Delay, CTL, FX1, FX2)
Rating: Good

Comments: Getting to the basic preamps and functions are pretty easy with the hardware dials and buttons. The big selector wheel does make several things easy to get to. Basic edits are a breeze. But if you want to tweak or deep edit something (ugh)… prepare yourself. In fact, several preamps and effects aren’t even accessible using their dedicated dials. You have to use the selector wheel or navigation buttons to get to them. Bleh.
Oh and let’s say you want to assign several parameters to the expression pedal or CTL pedal – WOOF… Gimme some painkillers!

The LED display is good and contains lots of information. The pedal layout is very good. It’s easy to tap into manual mode (once you go set that option up!)… and each pedal clearly indicates whether it is active or not. The thing you don’t know is which effects are assigned in FX1 and FX2 (there’s a ton in there).

Here we go again – the GT8 is so complex at times that you really do have to keep the User Manual and www.bossgtcentral.com handy as you attempt to navigate all of the parameters and menus. I’m not kidding; you can get pretty lost and forget what is set where in a patch.

I know there is a give and take with features/complexity and the two are mutually inclusive. I’d prefer to see a simpler hardware user interface and sacrifice some features here and there… well, maybe.

Also, I’d like to see an included second expression pedal… for a dedicated Wah or volume, etc.

Hardware/User Interface: GNX3K
Patch Display & Info: Good LED though limited info
Intuitive Knobs & Buttons: Yes
Manual Mode Pedals: Yes (Channel Select, Stomp, Chorus, Delay, CTL, Tap, Bank up, Bank Down - pedals have 3 global modes)
Rating: Great

Comments: The hardware interface is easy to work with. Pedals are all sufficiently spaced and easy to tap on/off. The main configuration section of the board is simple and each function is printed next to the corresponding button/dial in a matrix paradigm. Tweaking on the fly isn’t too bad and just about all of the major controls you’d need are immediately accessible.

The three main modes (Stomp, Bank, and Record) are easy to get into and work within. One of the cool things you can setup is a “jump back” feature which will let you jump back and forth between two patches in two different banks (i.e. 1-3 and 60-4).

You can assign up to three parameters to the expression pedal. The drum machine (yeah it has a good one) is easy to setup and work with. Nothing too fancy here, but still useful in some scenarios.

Like I mentioned with the GT8, I’d like to see an included second expression pedal… for a dedicated Wah or volume, etc.

Hardware/User Interface: XTL
Patch Display & Info: Tiny LED readout (hard to read at distance), very good menu system
Intuitive Knobs & Buttons: Yes
Manual Mode Pedals: Yes (Dedicated Bank/Patch pedals as well as Amp, Stomp, Mod, Delay, and Tap)
Rating: Great

Comments: For all the things it’s capable of and the myriad of models the XTL is actually pretty easy to use. You’ll spend a lot of time in the User Manual learning about the many models of preamps and effects – but once you get the gist of how the small menu works it’s pretty consistent across the board.

The LED is quite small, and when standing over it, the tiny text could prove to be an issue for folks who have less than ideal vision. Pedals are adequately separated and easy to hit individually. I love the dedicated “manual mode” pedals. There aren’t any assignment options for the expression pedal (unless I missed something somewhere).

The one issue that bugs me is the expression/Wah pedal. You have to really press on the toe hard (too hard) to get it to engage the Wah. Oh yeah, several users are reporting very squeaky expression pedals… I’m included. Some of the users at the www.line6.com user forums have come up with a do-it-yourself fix. Maybe Line 6 will issue a recall to fix the offending squeakers.

Like I mentioned with the GT8, I’d like to see an included second expression pedal… for a dedicated Wah or volume, etc.

Hardware/User Interface: TLSE
Patch Display & Info: Good readout (simplistic)
Intuitive Knobs & Buttons: Yes
Manual Mode Pedals: Yes (Dedicated Bank/Patch pedals as well as Amp, Stomp, Mod, Delay, and Tap)
Rating: Great

Comments: The appeal of the TLSE lies in its completely simplistic design. The board is laid out very simply with vintage-looking chicken head knobs and a few dials. Every setting is printed on the board, with the various effect parameters printed in a matrix fashion, like the GNX3K. Dialing things in is almost a no-brainer… practically fool proof. Tapping into manual mode is easy via a dedicated button.

Instead of pedals, the TLSE incorporates metal stomp buttons (like you’d see on typical stompboxes). They are spaced well and should be easy enough to navigate. I’d like them to be larger, but that’s just a preference. I like a pedal to feel like a pedal, not a teeny post.

One note about the 12AX7 tube: If you ever decide to change it out or try other brands of tube in there… it’s a real pain to get the stock tube out of that tight little socket – and even worse to put the replacement tube in there. Too much of a hassle considering how simple everything else is on the box. Note: Lots of folks have tried swapping out various types of tubes but have reported only slight improvements overall versus the stock tube. So maybe it ain’t worth doin’… ya know?

Ah… the one thing the TLSE has over almost all the other guys … it has two expression pedals which you can use as you see fit. Nice!

Hardware/User Interface: G9.2tt
Patch Display & Info: Good readout
Intuitive Knobs & Buttons: Yes
Manual Mode Pedals: Yes (similar to GNX3K, dedicated pedals which have different functions depending on mode)
Rating: Good

Comments: For the most part, the G9 has a nice, logical layout. You'll definitely want to read up on everything in the User Manual because there are settings that make a big difference. Cab sim on/off being one in particular. For example, the patch bank naming scheme is a little different. Banks A0-A9 are intended for live use (no cabinet sim), while banks b0-b9 (yes, lowercase "b") are for direct applications (FoH, Headphones, PC recording). If you don't know this up front, you'll be dialing up patches that sound WAY off most likely. The user banks are a little less enigmatic, being U0-U9 and u0-u9. You can set these banks up any way you like (with or without cab simulations, etc.).

The metal stomp buttons are similar to the TLSE in form. Some users have started reporting intermittent issues with some buttons.

Zoom chose to stick with MIDI for patch manipulation and basic software maintenance. The G9 uses USB to manage actual audio output (in recording scenarios) though. It would've been better (maybe "cleaner") to see everything use the USB and not force a user to have to buy yet another cable.

Issues: You must engage a module to manipulate its settings. I really don't like the way this works. Let me dial around and see what's available whether I have that module turned on or not.

The bigger issue is a small, but significant design flaw that may or may not affect you (depending on how heavy your foot is). The problem has to do with both expression pedals and the way their posts do not make contact with the switches underneath the pedals when you press them 100% toe-down. There is a very small gap that prevents switch activation. You might be able to stomp hard enough to trigger it, but I'd rather not break the whole unit just to turn on my wah!! Zoom acknowledged this problem and recommends using a small piece of thin "gaffers" tape over the switch. I found a thin self-adhesive felt pad was just enough to make the connection to the switch feel right. I'd venture someone got fired for this one.

[Kewlpack]

One of the “sleeper” features showing up in these MFX is the ability (more or less) to assign multiple preamp/effect parameters to an expression pedal. Not all MFX provide the same level of functionality, but a few are top notch and might be just the thing you’re looking for.

A really simple example of an assignment in a real world scenario: Let’s say you have this huge crunch tone dialed in and you want to easily/smoothly move into a solo boost with a thick delay without switching patches; and to be able to control just how much of a boost and delay get added to your tone.

In order to do this you just have to setup a few parameters. On toe-up, you set the minimums (the basic tone is normal) – then on toe-down you set the maximums (the boost and delay are at the “max” setting you want). In this case, you set the assigns for Volume, Mids, and Delay (normal at toe-down, bumped up a bit at toe-down). Now, whenever you want a little more oomph and echo – all you have to do is work the expression pedal a little or a lot depending on what you want to hear.

The semantics for setting up assigns are different for each MFX. Some are very easy while others are complicated. Also, some MFX do support additional, external expression pedals (beyond the one on the unit).
With some MFX, you can do this type of transition with many effects. In other words, if you find yourself doing a lot of tap dancing during songs as you enable/disable various effects – Assigns are your friends! In fact, a couple MFX will allow you to go from one amp to another (and anywhere in between the two)! Very cool. Not all MFX are created equal in this area – so let’s take a look and the good, the bad, and the…

Assigns & Expression Pedals: VAP
External Exp. Pedal Support: Limited
Rating: Fair

Comments: The VAP and its little brother, the V-Amp 2, don’t really have much (if any) support for Assignments. While not “technically an assignment”, you can add a Wah pedal via the external FCB1010 pedalboard. Outside of that, there isn’t much more functionality to be had here.

Assigns & Expression Pedals: GT8
External Exp. Pedal Support: Yes
Rating: Excellent

Comments: The GT8 cannot be touched by any other MFX currently on the market when it comes to assignments. Not only can you assign to the expression pedal, but you can also set up assignments for several other pedals! You won’t run out of options here. It’s insane how many different recipes you can come up with through assignments and the GT8. It has the typical Volume and Wah assignments. The caveat is that configuring the numerous assigns without the visual aid of a software editor ends up being a lot more tedious than it should be. Still, if you are looking for the ability to transform your entire rig with the tap of a pedal (in many ways) then this might be the ticket.

Assigns & Expression Pedals: GNX3K
External Exp. Pedal Support: Yes
Rating: Good

Comments: The GNX3K is not quite as assignable as the GT8, but it does provide several very good, practical assignments. You can assign up to three different parameters to the expression pedal (preamp/effects/levels/warp and many others). Of course, there are the standard Volume and Wah assignments. You can also attach the optional “hands-free” recording control pedal board which has preset assignments to help with recording features.

Assigns & Expression Pedals: XTL
External Exp. Pedal Support: Yes
Rating: Good

Comments: Assignments are much more limited on the XTL versus some of the other MFX here. Yes, there are Volume and Wah assignments. But there is only one assignment available at a time via the “Effect Tweak” function. Essentially you can set the expression pedal to control a single parameter for an effect. You can also add an external expression pedal and use it for the Effect Tweak or Volume functionality.

Assigns & Expression Pedals: TLSE
External Exp. Pedal Support: No
Rating: Good

Comments: Its two dedicated expression pedals give the TLSE a nice position within the Shoot Out. Only one other MFX gives you this built in, out of the box feature. The Zoom G9.2tt also has this two pedal paradigm. Still, you can only assign one parameter to each pedal. You do get more than the XTL here, but it’s still quite limited compared to the GT8 and GNX3K - and definitely not as sweet as the G9.

Assigns & Expression Pedals: G9.2tt
External Exp. Pedal Support: No
Rating: Excellent

Comments: Like the TLSE, the G9 has two expression pedals. The second pedal is called the "Z-Pedal". What makes the Z-Pedal so cool is its two axis functionality. You can set each axis to control a completely different module and parameter (i.e. Delay mix and Wah frequency; Chorus rate and Univibe depth, etc.). It's a very innovative feature that proved to be more useful and creative than I'd expected.

You can also assign several functions to a variety of stomp buttons, as you see fit. There's a lot of flexibility on tap.

[Kewlpack]

I’ve been a fan of incorporating computers into everything I do for a long, long time. With the advent of MFXs, it just makes sense for manufacturers to develop a free, intuitive software interface for working with their product(s). This is an era when people expect software to support their stuff. So another important feature to consider when looking at the different MFX products is their Patch Editing software. Some of these applications are totally cool… but there is at least one company who’s pretty late (shame, shame) to the software party.

A good patch editing software can save you hours of tweaking and, if you’re getting old like me, it’ll save your knees and back!

Be sure to check the MFX official website to see if their software editor and other tools are available for your computer platform. Most support Microsoft Windows 2000/XP or later. Support for Vista is still a little dodgy.

Let’s take a look at the software tools…

Software, Editing & Tools: VAP
Computer Interface: MIDI only
Software Complexity: Low
Developer: Behringer
Rating: Good

Comments: The software editor for the VAP is actually pretty good. The product is so streamlined that the interfaces for the functions are all easily manipulated. It’s nothing amazing, but it gets the job done.

Uploading/Downloading patches is cake.

Software, Editing & Tools: GT8
Computer Interface: MIDI only
Software Complexity: Medium to High
Developer: Third Party Only*
Rating: Fair (no Boss software; good 3rd party tools)

Comments: There is currently no official software editor for the GT8 MFX. Doh!! Boss actually did develop a very nice patch editor and librarian package for the big brother MFX, the GTPRO… but to date have not made a port of it available for the GT8. From the screenshots I've seen, it's pretty nice software... as far as screenshots go.

In lieu of a good software editing package for the GT8, a few guys at www.bossgtcentral.com have bravely taken on the task to develop their own versions of patch editing software. Each one is at a different stage of capability, but they can get the job done. These editors certainly make dealing with the deep editing functionality of the GT8 a LOT easier. I would’ve given up on the GT8 a long time ago if not for MrSleepy’s GT8Editor in particular. You can alternatively purchase Partheus Software's GT Manager, another great, fully supported editor/librarian for the GT-3, GT-5, GT-6, and GT-8.

Software, Editing & Tools: GNX3K
Computer Interface: USB or MIDI
Software Complexity: Medium
Developer: Digitech
Rating: Great

Comments: Digitech has done a good job with their XEdit patch editor/librarian software. It is fully featured and allows you to build patches rapidly. It also has an innovative way for creating the HyperModel custom preamps via the WARP technology. I like the way they’ve laid things out. The two primary windows are the main interface: one for preamps/cabinets and the other for the effects and other functions. Overall, intuitive and functional.

Uploading/Downloading patches and saving off HyperModels (and even custom versions of the original preamps) are as simple as point and click. Everything is handled via the included USB interface cable.

Software, Editing & Tools: XTL
Computer Interface: USB or MIDI
Software Complexity: Medium
Developer: Line 6
Rating: Excellent

Comments: Line 6 has taken a page from the Book of COOL when it comes to their Patch Editing software package, GuitarPort (now called GearBox I believe). It is the absolute coolest way to work with patches. I would liken it to how cool a Mac PC is compared to a standard Windows PC. There is a definite intuitive, innovative, cool factor at play. I love it. You can also use Line6Edit, but I don’t know that you will gain anything by doing so - maybe an "I'm not as cool as you" sticker (LOL).

There is also a the Line 6 Monkey which is an application that helps maintain your software and firmware updates as well as all licensing, including Model Pack purchases. It’s pretty slick. Everything is done via the included USB interface cable.

Excellent job Line 6 d00ds.

Software, Editing & Tools: TLSE
Computer Interface: MIDI
Software Complexity: Low
Developer: Manufacturer
Rating: Good

Comments: I know I sound like a broken record… but simplicity is the name of the game again. Vox’ Patch Editing software is like the VAP software: simple, straight forward and no frills. That said; it does what it does just great! For lots of folks, simple is good, very good.

Uploads/Downloads work just like they’re supposed to.

Software, Editing & Tools: G9.2tt
Computer Interface: MIDI
Software Complexity: Medium
Developer: Manufacturer
Rating: Good

Comments: The software works well and gets the job done - but it is a little immature still. Patch building is simple enough but uploading/downloading to the MFX is a little clunky. I would like to see a better synchronization between the software editor and MFX in this case. Hopefully Zoom will issue an update at some point to fix the minor issues.
The G9 comes with Cubase LE, which is another strong DAW software to get you started recording your own chops. Thanks Zoom!

[Kewlpack]

I may expand this head to head comparison if there is a good reason to do so – later on. These MFX units are capable of tones and effects that most of us could only dream of just a few years ago. I’ve only covered the most important features so far: Preamp/Cabinet/Microphone models; Effect Models & Manipulation; Hardware User Interface; and Software Editors & Tools. These are the aspects that most of you will care about first and foremost.

Note: Be wary of taking the Ratings Matrix as the whole story. An MFX may be very strong in one Key Feature, but be terribly lacking in another Key Feature. Be sure to check out the ratings and comments within each Key Feature that matters to you and see which MFXs meet your requirements. That way you won't have any bad surprises once you decide on one.

Here’s a brief snippet of closing remarks on each of the MFXs I’ve covered along with their final scores…

Behringer V-Amp Pro
There are lots of things I like about the VAP. It has some of the nicest feeling/sounding preamps I’ve come across in my MFX experience. For the $, you would be hard pressed to beat it.It does have all of the PRO-level output features (tons of them) including SPDIF for direct, digital recording (via an audio interface), and balanced XLRs for the Ultra-G cab simulation. It has several output options and routing options as well.

It has 125 patch presets. All patches can be overwritten.

Though they’ve cut a few corners… it’s a great, inexpensive option.

Boss GT-8
The GT8 has been one of my favorite MFX even though I’ve been through the “I hate it; I love it,” phase more than a time or two. It is so feature-rich, it’s not even funny. There are so many possible variations; you could literally spend a week just exploring them.

The GT8 has a very handy SPDIF out for direct, digital recording (via an audio interface). It also has a very rich Assigns functionality.

Another unique feature of the GT8 is the independent FX Loop (which is moveable within the FX chain just like everything else). This allows the user to integrate their own external core tones (via TBR, SS, or even another MFX) by using what is commonly referred to as the Four Cable Method (4CM). No other MFX gives you this capability. There are numerous, tweakable output setting options (cabinet modeling is only active on Line/Phones).

There are 340 patch presets (!). 200 are factory patches. 140 patches can be overwritten.

The GT8 offers a wide array of pickup converter simulations including: SC, HB, Hollow (I like this one!), Piezo, and Acoustic. Which reminds me - there is also a great, full featured, acoustic tone shaping effect (intended to be used with an Acoustic/Electric or Piezo axe) for when you just wanna sound... acoustic.

Great tool! Just wish the thing was easier to tweak overall.

Digitech GNX3000
Keep in mind that the GNX3K was designed (and is marketed) as a replacement for the GNX2, which isn't as full featured as the GNX4 (still the flagship MFX from Digitech). Still, everything it does is very, very good. It’s easy to use. The WARP technology allows you to find practically any tone you can conceive. The effects models could be a bit more diversified, but hey... I'm not complaining. One of the strongest features of the GNX3K is the variety of output options. It provides PRO-level, rack mount quality routing configurability. It supports microphone input too. So the GNX3K is actually a "gig-in-a-box". All you need is the PA.

It also has a very good pickup simulator (though not as rich as the GT8 pickup sim)!

It uses USB for direct digital recording, straight to your PC. The GNX3K also includes Pro Tracks Plus, a full blown recording application! That’s groovy value right there. It has several routing options as well as a configurable Speaker Compensation setting for the various output options (which I recommend using!).

There are 195 patch presets. 130 are factory patches. 65 patches can be overwritten.

The one "fly in the ointment" is the slight patch switching lag (yes, it's there). It isn't a show stopper for me, but some users won't like it. That said, you can get about six different preamp tones in a single patch (combinations of red, green, yellow channels plus a stompbox effect); and there's no delay switching channels within a single patch. Of course that won't work if you need to go from a flanger with long delay to, say, a tremolo with slapback in a single tap. Anyway, there it is.

I can’t say enough about how much I like the preamp models on this particular MFX. They sound great!

Line 6 POD XT Live
The cool factor is very high with the XTL. The numerous preamp and effect models are unrivaled yet some models suffer from some annoying characteristics. The software is superb – all the other guys need to take notice on that point.It uses USB for direct digital recording, straight to your PC. It has numerous output options including one for the Bose PAS1 FRFR system (AIR simulation is only enabled on the Studio Direct mode).

Also, if you own a Line 6 Variax Modeling guitar then the XTL is a very attractive MFX choice. You can save your preferred Variax model right along with the XTL patch. For example: you can switch from a Les Paul/Rectifier crunch to a Strat/Tweed clean with just a tap of your toe. Also, you can use the XTL as a USB interface for your Variax and take advantage of the WorkBench software which allows you to create your own custom Variax guitar models - super cool!

It has 128 patch presets. All patches can be overwritten.

It’s a very good unit with a huge user base and patch community.

FWIW: Line 6 also has a vast line of combo amps and heads that incorporate the same modeling technology as the XTL (though they don't have all of the models or features unless you get the very nice Vetta II).

Vox ToneLab SE
Beauty need not be elaborate nor tedious to deal with. The fact that the TLSE is simple or has fewer features than the other MFX here does not necessarily mean that it isn’t as good as another unit. In fact, the TLSE handles clean through medium gain tones a bit better than a few other MFXs. The VR technology does make a difference in dynamics and harmonics - it feels like you're playing a tube amp. However, the fact that it has limited features yet is still selling for more than all of the other MFXs here puzzles me. It has 96 patch presets. All patches can be overwritten.

FWIW: Like Line 6, Vox has a whole line of combo amps (and a head) that are built around the same technology. They go by the name "Valvetronix Series" and come in a huge array of sizes and prices - from the tiny AD15VT practice amp to the pro-level AD60VTX and AD120VTX. These combos are great all-in-one solutions for those "grab and go" jams. The higher end combos use better cabinet materials and better speakers which do make a big difference. It's nice that you don't have to wrestle with finding a matching output rig - gotta like that.

You know, the TLSE is based on a technology that is getting a little long in the tooth (that doesn't necessarily equate to "bad" though - I quite like what we have here!). I would expect we are about to see the next generation of the ToneLab series. If that’s the case, I can’t wait to see what Vox will wow us with this time! After all, the VR tube technology was quite impressive back in the day (in many ways it still is today!).

Zoom G9.2tt
Zoom has pushed the envelope of innovation with the G9.2tt. This MFX brings us two analog tube circuits which you can dial in any way you like. The fantastic Z-Pedal which opens up a floodgate of creativity, limited only to how flexible you and your foot can be! It also takes a little different spin on a few other traditions (i.e. OD/Dist pedals in the preamp module, multiple delays in more than one module, etc.).

The G9 also sports a flashy new FX Loop, but it is hardwired before the preamp module! It would've been as good as the GT8's FX Loop if you had the ability to move it around in the signal chain wherever you wanted it (specifically either before or after the preamp). This does let you use the G9 in a pseudo-4CM, much like the GT8. If the FX Loop was behind the preamp module, at least you could take advantage of all those cool G9 stomp models in front of your regular amp. Rats!

There are 200 presets, 100 are overwritable.

The G9.2tt has a very high sampling frequency and 32-bit processing. It has no latency on patch switching, and is very capable.

There is a growing Zoom community here at TSB - so if you are a user, stop by and join in.

It would've been great to see the tube implementation turn out to be much more effective than it is. There are a few drawbacks (as there are with any MFXs out there), and it didn't wow me on the clean or low gain tones... but if you're looking for a range of high gain preamp models without fizz and need the added creative coolness of a two-axis expression pedal, then the G9.2tt may be just what you're looking for.

[Kewlpack]

Head To Head Summary
Note: Be sure to check out the various sections for details on each Key Feature. The Rating Summary doesn't tell the whole story.

VAP ($150)
Preamp/Cab: Good
Effects: Fair
Hardware: Fair
Assigns: Fair
Software: Good

GT8 ($445)
Preamp/Cab: Great
Effects: Excellent
Hardware: Good
Assigns: Excellent
Software: Fair

GNX3K ($399)
Preamp/Cab: Excellent
Effects: Great
Hardware: Great
Assigns: Good
Software: Great

XTL ($399 + $100 w/Model Packs)
Preamp/Cab: Good
Effects: Excellent
Hardware: Great
Assigns: Good
Software: Excellent

TLSE ($499)
Preamp/Cab: Excellent
Effects: Good
Hardware: Great
Assigns: Good
Software: Good

G9.2tt ($399)
Preamp/Cab: Great
Effects: Great
Hardware: Good
Assigns: Excellent
Software: Good

Well, there you have it… as exhaustive of a comparison as I can muster.

Remember that all of these notes and details are coming from my first hand experience with each product which I have owned and spent considerable time with. That doesn’t make me an expert. It just means I have been exposed to these MFXs and can give my honest feedback about them to you. The goal is to help the person who’s out here looking for information on which MFX does which things good and not so good.

I’ve tried not to give hard-line opinions on any certain point unless there was some excellent quality that deserved a note. I know some folks will probably disagree with some of my opinions. No worry. It is a very subjective and passionate thing… this tone quest we are on.

If there are errors or errata, I’ll fix ‘em right up as I find them (or you find them and send me a note).

Ultimately, I hope these notes will help you find the right tools which allow you to create the most personal musical expression possible. We are blessed with a gift that makes others move with emotion and rhythm. The more inspired we become (even through our tools), the more inspiring our songs will be to those who hear them.

Keep rockin’!