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External FX from Stereo Output


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Have you ever wanted to use an external box to spice a few patches from a synth but keep others without the changes?

How to do this from a 'single' stereo output (example: Roland FA)?

I"m thinking about building a control box to enable the FX signal to be activated and disabled from a footswitchâ¦.

DIY experts around?

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Unless your controller has an effects loop then all external effects added would be post output. some mixers offer an effects loop with a latching switch so that you can turn the effects on/off by toggling the switch. Others offer an effects return slider to turn the effects on and off. You may not want to invest in a mixer that has this functionality but for me if I needed to do what you are looking to do I would look for a mixer who already has this functionality incorporated. One less thing to hook up/carry/disassemble.

57 Hammond B3; 69 Hammond L100P; 68 Leslie 122; Kurzweil Forte7 & PC3; M-Audio Code 61; Voce V5+; Neo Vent; EV ELX112P; GSI Gemini & Burn

Delaware Dave

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Some stompbox effects will have an on/switch. Some rack/desktop effects will have a wet/dry mix you can control with midi cc. If none of those are what you have, our guitar brethren have signal switchers ranging from simple to very complex in their pedalboard world. Check out the rig doctor /vertex on youtube for a taste of that world.
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The phositicated way of the keyboard master would be to control all via midi with an fx pedal like the Eventide H9 or a comparable rack fx unit. Unless you have your heart set on a particular guitar pedal. Even then there are loop switchers like the decibel 11 switch doctor.

FunMachine.

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Eventide H9 or if you use a mixer and AUXs some Strymons.

 

Any external FX will really add to your sound, especially if you can use MIDI PrgmChng and CC#"s per keyboard preset.

 

I cured my lust with the Strymon TriFecta. MOBIUS, TimeLine and Big Sky.

 

 

 

 

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Jeez, I went down this road some time back, and it didn't end well. Cost and complexity killed the idea. I had a full stereo signal chain: Vent II, shimmery chorus/phase, lush reverb. It sounded GREAT, I just struggled actually doing a gig with it.

 

Needless to say, lots of cables, power supplies, etc. that require your undivided attention when setting up. Bunch of pedals, I had to hit the right one(s) at the right time. Really fussy stuff that I could have eventually figured out, but I asked myself -- why am I doing this?

 

Once I started using inboard effects, all of that disappeared. They're associated with the program itself, not the rig. No, it's not the ultimate killer effect chain I had put together, but it was 95% of it. And we'll save that last 5% for the recording studio.

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CP, I've known a lot of guitarists who took a long time to play a single note, too. Well said. Ha ha. :cheers:

 

The helix/fractal audio/kemper units weaned several of them away from the massive pedalboards though. At least for gigs.

 

Dalpozlead, it might help if you described the musical purpose you are trying to achieve. For example, if you are playing in an atmospheric group the above mentioned eventides and strymons will give smoother reverbs and delays than a workstation would. Though you can do quite a lot with on-board delays these days. If you are looking for an assertive voice in a rock/band a small desktop analog can sometimes be more "present" and devices like the Roland SE-02 and Dreadbox Typhon/Nymphes com with enough basic effects that you don't need to add pedals. In any event if using the sub-out on your FA is an option, that would trump the hardware switchers for easy of use and reliability when using external processing. It's a very helpful technique for separately amplifying bass, or effecting a lead voice. We all go through cycles of adding complexity and discarding it. It may well be that after awhile you don't think the outboard gear is worth the hassle. Only you can decide. And sometimes you don't know unless you try.

 

Hope this helps.

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