Roger Linn Design AdrenaLinn III Guitar Effects Processor
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- 40 Amp models all enhanced for accuracy, presence and improved tube distortion
- A superb amp modeler 40 superb models of vintage and modern guitar amps from Fender, Marshall, VOX, Mesa Boogie and more
- And AdrenaLinn III's filters are warm and very analog-sounding with emulations of classic Moog and Oberheim synthesizer filter designs
- Arpeggio Sequences: Looped 2-measure sequences of tuned resonances, as used in John Mayer's "Bigger Than My Body"
- 200 User presets & 200 drumbeats filled with great sounds & beats.
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AdrenaLinn III from Roger Linn Design is a beat-synced multi-effects processor for guitar, keyboard or bass that combines 3 products in one:1) A beat-synched multi-effects processor with exclusive Filter SequencerWhat are beat-synched filter effects? Examples include tremolo, auto-pan, filter tremolo, flanger, chorus, rotary, vibrato and more, all in perfect synch to the internal drumbeats or to MIDI clock. That out-of-synch tremolo on your guitar amp won't seem as useful anymore. Plus you get innovative new effects including: • Random filtering, flanging or tremolo—like a wah pedal that instantly switches to a new random position on every 1/8 or 1/16 note in sync to the beat. Or a flanger that switches to a new random frequency every 1/8 or 1/16 note. Or a tremolo in which each pulse level is randomly chosen, adding a syncopated rhythm to even simple chords. • Filter sequences: Looped 2-measure rhythmic sequences of filter tones in sync to the beat or to MIDI. Chosen one of the preset sequences or program your own. A great idea generator. • Tremolo sequences: Looped 2-measure sequences of programmed volume pulses. Like that used in Green Day's "Boulevard of Broken Dreams". • Arpeggio Sequences: Looped 2-measure sequences of tuned resonances, as used in John Mayer's "Bigger than My Body". • Delay Loops: Set the beat-synced delay to 1 full measure, then jam with yourself by playing chords over the first bar and solo over them on the next. You also get note-triggered filter effects like Auto-Wah, Talk Box simulator, Guitar Synth sounds, plus stereo reverb, compression, tuner and a completely transparent noise gate. And AdrenaLinn III's filters are warm and very analog-sounding with emulations of classic Moog and Oberheim synthesizer filter designs. 2) A superb amp modeler40 superb models of vintage and modern guitar amps from Fender, Marshall, Vox, Mesa Boogie and more, including 4 classic bass amps. Plus distortion boxes and a warm tube
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Pros: The amp sims are really good, distinctively recognizable, and tweakable with EQ, gain, and a "boost" that you can not only save per preset, but control dynamically with MIDI or the built-in switches. My favorite is the JC-120 for cleans, the Vox AC30 for mild rock, the Twin for blues/funk and of course the JCM800 for harder stuff. Huge range of sounds, just the amp sims alone would be worth the price of admission. Also has bass amps.
Even more pros: The modulation effects can be synced to tap tempo, or external MIDI clock (which is what I'm doing). Step filters, LFO's, sequencing, tremolos, it does everything from warm chorus to wacked-out sci-fi sounds. Delay is great, the flanger/chorus sounds great in stereo, you can even select filter/trem envelope profiles and patterns. John Meyer uses this pedal filter on several songs, it's very recognizable.
Still more: The drum machine is really good. It has a limited set of sounds, but what's there is really good, very usable for a simple one-man cover band, or practicing. Can be split off of the main guitar output. Also has a tuner/bypass function.
Meh: It has pretty good digital delay and reverb, not as good as a studio rack unit, but as good as any analog pedal you'll find. Doesn't have as many tricks as a Strymon, but is perfectly usable. I like the delay better than the reverb. You can rearrange the order of amp/mod/rev/del/comp, which is nice. Would be nice if it had an assignable effect loop, too, but that's asking a bit much.
Cons: The compressor is honestly a bit weak and digital, not very transparent. It also has a built-in limiter, which I don't really use, for the same reason. It's also pretty tedious to program in filter and drum sequences on the actual pedal. (You can buy a $40 computer program to control everything on the pedal and save presets to a library, totally worth the money if you're going to actually use the pedal, but would be nice if you didn't need it). Also, with only 2 buttons, you're limited to what you can actually control on it during a performance. You can reassign them to 4 things (both tap and hold can be programmed) but you really won't get the most out of it unless you have a secondary controller to unlock its potential.
Finally: The pedal is amazing, but understand, to maximize all the things it can do you're going to need a few more things. Even a small 4-button MIDI controller would double what you can do with it live, not to mention expression pedals! It will be a while before I'll be able to utilize everything it does.
Final verdict is: I could replace my whole setup with this one pedal, but it really works best as the central part of an already well-rounded pedalboard.
I highly recommend you get some kind of midi pedal with it because it really expands the possibilities.
Not just selecting patches but actually driving it while you play. The sounds are phenomenal and the drums are crisp and driving at the same time. Hard to explain but it is great.
Don't need many other effects because this thing had great ones built in.
The pedal I recommend is this Behringer one because it has 2 expression pedals that all work with the Adrennalinn Behringer FCB1010 MIDI Foot Controller with Two Expression Pedals