TEST: Digitech RP350

 "Modeling Guitar Processor".... What do these words want to tell us? ;-) Yes, a lot has happened in terms of the virtualization of sounds in the last few years. Who would have thought that simulating classic guitar sounds would ever become such a gigantic mainstream product. What, on the one hand, relieves the artist's burden immensely means that ambitious newcomers are completely overwhelmed, be it when it comes to defining the original sounds right through to connecting them to the guitar amp (how many users have Guitar > FX > Amp in their classic circuit). Speaker simulation still switched on...). In the course of this development, the main focus, in addition to the sound, is of course to be focused on the clarity of the effect chains and user-friendly handling.

As a long-standing manufacturer of effects devices, DigiTech, which presents a typical floorboard with the RP350, has the appropriate know-how when it comes to configuring the individual components. With the RP350, I have a variant to test that was designed for both live operation and studio work.


Construction:

The device, manufactured in the USA (! nothing Asia...), comes in a solid cast housing and gives a very stable impression. Due to the associated weight, the device has enough strength on 6 small hard rubber feet so that it does not slip on the stage floor due to stiff cables or wild, sometimes confused singers performing. Three sturdy plastic switches ensure program changes (up and down) or channel changes in a previously set amp simulation. An expression pedal, also made of metal, which outputs volume, wah or modulation commands depending on the programming, is located on the right edge of the device. Rubber pads on the pedal surface make it difficult for the shoe to slip during use. The movement of the pedal can be adjusted using a screw on the right edge.

Above the footswitches there are six endless knobs which cover the entire editing range, as well as a full display and a built-in tuner. Although the display area is slightly recessed, the endless controls protrude approx. 5mm above the housing bezel, which means that depending on the "trampling use" and shoe shape (yes, they still exist, the boot-wearing guild...) you can use the controls on one Switch insert operated from above or from the front. This sometimes proves to be unfavorable, as the Tone Library control in particular is designed as a push potentiometer and unwanted switching commands can occur in the heat of the stage battle. This shortcoming would be eliminated by reversing the arrangement within the display (channel display further down, rotary control further up).

There is great joy when looking at the front of the device. All relevant connections regarding input and output of the signal are represented here, be it unbalanced mono/stereo connections, headphone output, Aux in as well as the less common symmetrical XRL males along with a USB port. Both the unbalanced and the symmetrical range can be switched independently to speaker simulation (mixer) or without speaker simulation (amp) using a small pressure switch. A very commendable handling, so you have direct visual contact with this important preselection and don't have to desperately fight your way through the menu to verify the respective setting.

When switching on the device, as with many DigiTech devices, we are greeted by a clear green display with a two-digit red memory space display. What I find to be very successful is the fact that the display briefly shows which output and in which configuration is currently being used when you insert a plug. This also minimizes incorrect assignment. The Amp / Mixer pressure switch and the cabinet simulation programmed in mixer mode are also displayed.

According to the documents, DigiTech has emulated the following amp models:

- '57 Fender Tweed Champ
- '57 Fender Tweed Deluxe
- '59 Fender Tweed Bassman
- '65 Fender Twin Reverb
- '65 Fender Deluxe Reverb
- '65 Marshall JTM-45
- '68 Marshall 100W Plexi
- '68 Marshall Jump Panel
- '77 Marshall Master Volume
- '83 Marshall JCM 800
- '93 Marshall JCM 900
- '62 Vox AC15
- '62 Vox ACF30 Top Boost
- '69 Hiwatt Custom 100
- '81 Mesa Boogie Mark II
- Mesa Boogie Rectifier
- Matchless HC30
- Soldano SLO-100

and some in-house DigiTech solutions.

The solution to be able to name the original names along with the trademarks of the original manufacturers in the manual is also very good. Other manufacturers of emulation products often suffer from the requirement to only describe or describe the original models, since, for example, for trademark protection reasons, mentioning the names "Fender" or "Mesa Boogie" is prohibited!

Several closed 4x12" simulations from Marshall, Hiwatt, VHT and Johnson are used as cabinets, as well as open combo solutions such as 1x8", 1x12", 2x12" and 4x10".

When it comes to upstream distortion pedals or ground-in chorus / flanger effects, in addition to factory devices, we also stick to familiar names such as Ibanez (TS-9 / TS-808), MXR (Distortion +, Flanger), Pro Co (Rat), Boss (DS-1, MT-2, CE-2), TC Electronic or also Arbiter Fuzz Face, Roger Mayer Octavia or the pedals of "mine original" Mike Matthews and his Electro-Harmonix hodgepodge (Big Muff, Electric Mistress ).

Of course, the whammy pedal from our own company should not be missing either, as countless guitarists are still puzzling to this day as to how, for example, Tom Morello gave his guitar a spectrum of 3 octaves per side on “Rage Against The Machine”. The Whammy Pedal makes it possible ;-)




Sound:

The old problem of late birth in amp modeling. Who of today's up-and-coming generation of guitarists has ever had the opportunity to hear the modeled amps, let alone the vast number of pre-switched distortions or even different cabinets, in the original. The percentage is probably in the per mille range. This means that as a newbie you can't say whether the Amp and a much better way is to trust your own ears and make a pre-selection based on the principle - I like it / I don't like it. If you like the sound you can look up which combination you have chosen and change it if necessary.

Which brings us to the first challenge, how do you connect the device to your amp? A modeling processor is supposed to recreate amplifier models in particular. If I connect it in front of my actual amp, isn't this actually impossible? Let's say with restrictions...

First you have to select the clean channel of your amp, leave the tone control as neutral as possible and of course switch off the speaker simulation. However, coloring of the signal cannot be avoided with this circuit. It is better to only use the power amplifier or the speaker of the amplifier via an FX return and take the entire emulation and effects area from the RP350.

What catches your eye when looking at the presets is the unusually good reverb quality for a guitar processor; the small rooms in particular have an incredibly high level of plastic authenticity. The reverb area in particular is very computationally intensive for the CPU and is all too often treated as a half-baked compromise solution in FX processors. According to the manufacturer, these are logarithms which were licensed by the reverb expert Lexicon.

After I first listened to the most important factory presets, we come to the actual endurance test. I do the individual amp/pedal/cabinet simulations without any real FX component to test the approximation of the original sound.

To put it bluntly, the RP350 does this. a really good job! Through the above-mentioned possible combinations of pedal / amp and cabinet, we already have a theoretical variety of over 8000 possible combinations, although of course the preset factory combinations (e.g. JTM-45 + 4x12" Marshall or Fender Bassman with 4x10") sound the most authentic. I also really liked the Amp A/B switch, which did a good job of the classic channel changes of the respective amplifiers.

Very useful connection options open up, especially for musicians who need to quickly access many different sounds in a small space (e.g. cover band). The processor with speaker simulation is fed directly into the vocal system, the signal is placed on your own monitor, and you're done! Always provided that the guitarist unfortunately doesn't suffer from the usual profile neurosis and in order to be happy he has to have a full stack that is way too loud even at his work colleague's wedding...;-))

Personally, I like the RP350 best as an experienced all-rounder in the demo/home recording area, where a lot of things are played directly into the console. The USB connection can also score points here.

Conclusion:

If you are looking for a stable, good-sounding all-rounder for live and studio use, the RP350 is the perfect choice.

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Additional Informations:

Multi-FX Pedals: A Comprehensive Guide to Versatile Sound Exploration

In the ever-evolving landscape of music gear, multi-effects pedals stand out as versatile tools that offer musicians a wealth of sonic possibilities in a single unit. From guitarists seeking to expand their tonal palette to electronic musicians crafting intricate soundscapes, multi-FX pedals have become indispensable companions in the creative process. In this comprehensive guide, we delve deep into the world of multi-effects pedals, exploring their history, features, benefits, and notable examples.

### Evolution and Origins:

The concept of multi-effects processing traces its roots back to the emergence of analog effects units in the mid-20th century. Early devices, such as the Maestro Echoplex and the Roland Space Echo, paved the way for the development of more sophisticated multi-effects processors in the digital era. The introduction of digital signal processing (DSP) technology in the 1980s marked a major milestone, allowing for the creation of compact, all-in-one units capable of emulating a wide range of effects.

### Features and Functionality:

Multi-effects pedals typically combine a variety of audio processing effects into a single unit, offering users the ability to manipulate their sound in real-time. These effects may include distortion, overdrive, delay, reverb, modulation (such as chorus, flanger, and phaser), pitch shifting, and more. Additionally, many multi-FX pedals feature built-in amp modeling, cabinet simulation, and expression pedal inputs for added versatility and control.

### Benefits of Multi-FX Pedals:

1. **Versatility**: One of the primary advantages of multi-effects pedals is their versatility. Instead of purchasing multiple individual stompboxes, musicians can access a wide range of effects from a single unit, saving space, time, and money.
   
2. **Portability**: Multi-FX pedals are often compact and lightweight, making them ideal for musicians who need to travel light or perform in venues with limited space.
   
3. **Ease of Use**: With intuitive interfaces and preset functionality, multi-effects pedals are user-friendly and accessible to musicians of all skill levels. Presets allow users to save and recall their favorite sounds with ease, streamlining the creative process.
   
4. **Experimentation**: Multi-FX pedals encourage experimentation and exploration by providing access to a diverse array of effects and parameter adjustments. Musicians can easily dial in unique sounds and textures to suit their artistic vision.
   
5. **Live Performance**: For live performers, multi-effects pedals offer the convenience of having all their effects in one place, eliminating the need for complex pedalboards and cable setups. This streamlined approach enhances workflow and minimizes the risk of technical issues during performances.

### Notable Examples:

1. **Line 6 Helix**: Renowned for its amp modeling capabilities and expansive selection of effects, the Line 6 Helix has become a go-to choice for guitarists seeking studio-quality tones in a live performance setting.

2. **Boss GT-1000**: With its advanced processing power and comprehensive feature set, the Boss GT-1000 offers unparalleled flexibility and sound quality in a compact pedal format.

3. **Strymon Mobius**: Designed for the discerning guitarist, the Strymon Mobius combines premium audio quality with a wide range of modulation effects, including choruses, phasers, flangers, and more.

4. **TC Electronic Flashback 2 Delay and Looper**: Known for its pristine delay sounds and versatile looper functionality, the TC Electronic Flashback 2 has become a favorite among guitarists looking to add depth and dimension to their playing.

5. **Zoom G Series**: Zoom's G Series of multi-effects pedals offers a range of affordable options packed with features, including amp modeling, effects sequencing, and built-in drum patterns.

### Conclusion:

Multi-effects pedals represent a convergence of technology, creativity, and convenience, empowering musicians to explore new sonic territories with ease. Whether in the studio, on stage, or in the rehearsal room, these versatile devices offer a wealth of possibilities for sound shaping and experimentation. As the music industry continues to evolve, multi-FX pedals remain essential tools for musicians seeking to push the boundaries of their craft and unlock their full creative potential.