TEST: Eventide Modfactor

 Eventide goes stompbox! One more time! In the spirit of the foot pedal, Eventide has come up with a triumvirate, all in the same outfit with slightly different colored applications. While to this day the name has mainly echoed through the rooms of the 19 inch outgear racks of various studio complexes, Eventide is now preparing to conquer the floors of various pedalboards.

In addition to a harmonizer and room effect counterpart, the American manufacturer also offers a protagonist for the modulation area called “ModFactor”.


construction

Like its two brothers, the ModFactor comes in the same solid steel housing with dimensions of 12.2 cm x 19 cm x 5.4 cm and a weight of just under one kilogram. Conceptually, we once again find the philosophy “Designed in the USA, assembled in China” at Eventide.

Conceptually, you can already see from the stereo signal routing listed on the back that it is not just a stompbox in the classic guitarist style, but rather a studio-suitable device, packaged in a stompbox concept. Components such as MIDI control and USB ports for software updates are very rare in pure modulation effect devices and immediately convey the urge to achieve something higher than a comparatively spartan Phase 90 within the Van Halen solo.

The sales figures of the product will show whether this is not ultimately intended to be a bit unattainable for both target groups. For my part, I am afraid that stompboxes in studio outgear will not be able to conceptually assert themselves against the established 19-inch range in terms of cable routing and room placement, regardless of the effect quality, and that high-quality stereo signal routing can only be implemented within complex guitar systems . But anyone who doesn't shy away from the expense of Robert Fripp or David Gilmour will definitely enjoy the ModFactor's signal routing.

In order to optimally adapt the signal to its intended use in terms of signal strength, two mini switches regulate the input and output levels between a guitar or a studio setup. As an additional interaction option, the connections for an expression pedal and aux switch are available.

In total, the ModFactor has 10 different effect modes, including Chorus, Phaser, Q-Wah, Flanger, Modfilter, Tremolo/Pan, Rotor Cabinet, Vibrato, Undulator and Ring Modulator. The individual effects are divided into up to four basic types, which can then be adjusted using a total of 11 controls on the front of the device. Nobody can really complain about the lack of setting and control options here, especially since the management via MIDI and expression pedal allows interaction with the parameters in real time.



The ModFactor has two LFOs to manage its effects. Said 11 controls are divided into two rows, with the top row managing the more common parameters such as effect amount, effect intensity, modulation stroke and speed, while the bottom row manages the second modulator in terms of speed and effect depth.

The product is switched via three very high-quality, top-class switches, which, among other things, provide a real bypass. You can also navigate through the banks using the switches or activate different effect speeds within the memory locations.


Practice

According to a floor pedal, the ModFactor does not have a real power switch. So when we place the very massive power supply from the “Brettwanze De Luxe” brand, we are greeted with a funny luminous punk retro look, which, due to its design, has its problems when it comes to displaying curves within the font. A “D” inevitably turns into a rectangle, but you get used to the font relatively quickly.

To put it bluntly, anyone who needs a simple chorus for a U2 tribute band will almost find the ModFactor's variation options a threat. However, anyone who is looking for unusual, sometimes crazy sounds in addition to the standard equipment in terms of modulation and wants to give free rein to their instinct to play in the spirit of the seventies (remember Keith Emerson, jumping around wildly live in front of his oscillator cable wall). are in good hands with this product.

Whether as a “refiner” of an inconsequential basic sound, whether as the icing on the cake of a “catchy hookline” or as a tool for a sound designer of the interdisciplinary species, once you start working here, you lose all sense of time. However, you should always consider the source material before arranging the final product. It makes little sense to overload the individual instruments with heavily wobbling and excessive modulation effects within a highly complex, rhythmically intricate arrangement. When it comes to sound design, film music or even ambient passages, the product can show its full strength, once again “playing” with the emphasis on the syllables.



Conclusion

The ModFactor from Eventide is very neat, provided you as an artist know exactly what you want. This refers in particular to the sound to be created, which is put together in the head of the respective musician.

I will be careful not to start the fundamental discussion of digital versus analogue here, as quite a few others have already gone overboard without ever coming to an even remotely satisfactory result, but one should never forget that a digital one The product can only reproduce the “digital” sound really well.

Even if the manufacturer sometimes makes an effort to push the “clean” signal into the retro corner with various presets, the ModFactor is and remains a digital tool with all its advantages and disadvantages. So don't start crying afterwards if the range of effects is clear and bright and doesn't have the flair of the slightly grumpy vintage boom.

Excellent in terms of sound, concept and processing technology, the ModFactor offers the complete range of all common modulation effects, from subtle to exalted, from soft to rock-hard in real studio quality. Whoever has been able to bring creativity and joy of playing into the sometimes bleak world of the music industry or whoever lets the heat of innovation germinate within them, the ModFactor is the right choice for them.

However, everyone has to decide for themselves whether they are willing to pay the understandable but still comparatively high price. Even if the quality of the effects offered is of very high quality across the entire range, in my opinion a street price of just under €500 could be explained by production in the USA and not in the low-wage country of China.

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Additional Informations:

Modulation effects pedals have played a pivotal role in shaping the sonic landscape of music, from the psychedelic sounds of the 1960s to the contemporary tones of modern music genres. These versatile pedals, capable of imparting a wide range of dynamic and textured effects to electric guitar and other musical instruments, have a rich and storied history. This article traces the origins, technological advancements, and enduring impact of modulation effects pedals on the world of music.

Origins:
The roots of modulation effects pedals can be traced back to the mid-20th century, a time of rapid innovation and experimentation in the realm of electric guitar technology. Guitarists sought new ways to expand their sonic palette, leading to the development of various effects pedals designed to alter the timbre, pitch, and spatial characteristics of the guitar signal. Among these effects, modulation effects stood out for their ability to impart movement and dimension to the sound.

Early Innovations:
The advent of transistor technology in the 1960s marked a significant milestone in the development of modulation effects pedals. Manufacturers began incorporating transistors into pedal designs, replacing bulky vacuum tubes and paving the way for smaller, more portable effects units. The first commercially available modulation effects pedals, such as the Univox Uni-Vibe and the Electro-Harmonix Small Stone, introduced guitarists to iconic effects like vibrato, chorus, and phasing.

Psychedelic Era and Experimental Music:
The late 1960s and early 1970s witnessed a surge in psychedelic rock and experimental music, characterized by bold experimentation with sound and studio effects. Modulation effects pedals played a central role in shaping the otherworldly soundscape of this era, with artists like Jimi Hendrix, Pink Floyd, and The Beatles incorporating effects such as flanging, phasing, and rotary speaker simulation into their music. These pioneering musicians pushed the boundaries of sonic exploration, inspiring generations of guitarists and electronic musicians to come.

Analog vs. Digital:
Throughout the 1970s and 1980s, the debate between analog and digital signal processing raged on in the world of audio effects. Analog modulation effects pedals, characterized by their warm, organic sound and simple circuitry, remained popular among purists and vintage enthusiasts. Meanwhile, digital modulation effects pedals began to gain traction, offering greater versatility, programmability, and precision in effect parameters. This dichotomy between analog warmth and digital precision continues to shape the design and engineering of modulation effects pedals to this day.

Technological Advancements:
The turn of the 21st century brought about a new wave of innovation in modulation effects pedal design, fueled by advancements in digital signal processing, microelectronics, and software algorithms. Manufacturers began integrating digital modeling technology into effects pedals, allowing users to emulate a wide range of classic and contemporary modulation effects with unprecedented accuracy and fidelity. This digital revolution expanded the sonic possibilities of modulation effects pedals, enabling musicians to explore new sonic territories and creative possibilities.

Diversification and Specialization:
As the market for modulation effects pedals grew increasingly saturated, manufacturers began diversifying their product offerings to cater to specific genres, playing styles, and sonic preferences. Boutique pedal builders emerged, offering handcrafted, custom-designed effects pedals tailored to the unique needs of individual musicians. Specialized modulation effects pedals, such as tremolo, rotary speaker simulation, and envelope filters, found favor among discerning players seeking to craft their signature sound.

Integration with Multi-Effects Units:
In recent years, the rise of multi-effects units and digital modeling platforms has reshaped the landscape of modulation effects pedal design and usage. Modern multi-effects units offer a comprehensive suite of modulation effects, alongside other essential effects such as distortion, delay, and reverb, in a compact and user-friendly package. These all-in-one solutions appeal to gigging musicians, studio engineers, and home recording enthusiasts seeking versatility and convenience in their effects setup.

Future Prospects:
As technology continues to evolve, the future of modulation effects pedals holds boundless potential for innovation and creativity. Manufacturers are exploring new frontiers in digital modeling, artificial intelligence, and connectivity, enabling musicians to access a vast universe of modulation effects and sound-shaping tools with unprecedented ease and flexibility. Furthermore, the integration of wireless technology, mobile app control, and cloud-based presets heralds a new era of interconnectedness and customization in the world of effects pedals.

Conclusion:
The evolution of modulation effects pedals mirrors the dynamic interplay between technological innovation, artistic expression, and cultural trends in the world of music. From their humble beginnings as experimental studio tools to their ubiquitous presence on stages and in studios around the world, modulation effects pedals have left an indelible mark on the sonic landscape of music. As they continue to evolve and adapt to the changing needs of musicians and audio enthusiasts, modulation effects pedals stand as enduring symbols of creativity, experimentation, and sonic exploration in the realm of musical expression.