THE FOLKS AT SOURCE AUDIO HAVE
been turning heads with their innovative
line of Soundblox effect pedals, and with
the introduction of the SoundbloxPro series,
they’ve taken some of their most popular
devices and added depth, flexibility, and
features that go way beyond the pedal’s
original job description. The expanded
capabilities of the SoundbloxPro Bass Envelope
Filter bring it into a new realm—it’s a
full-featured envelope filter, but it’s also a
phaser, a graphic EQ, a wah-wah, and it
allows you to store six presets. This pedal
is too deep to simply plug and play—you’ll
need to read the manual to get the best results. In an hour, however, I was able
to get fluent with the unit’s multiple functions
and able to create cool sounds that
went way beyond my expectations.
MOJO FILTER
The effect knob on the Soundblox Pro
BEF selects among an astounding 22 filter
sounds: seven different 2-pole lowpass filters,
four 4-pole lowpass filters, two single-
peak filters, four triple-peak filters, two
peak and notch filters, three phaser filters,
and a filter bypass that accesses just the
7-band graphic EQ. Each filter has its own
timbral signature and reacts with the other
controls to provide a seemingly unlimited
range of variation. But the Pro BEF ups the
ante by adding a low-frequency oscillator
as an optional modulation source. While
an envelope follower modulates based on
the dynamics of the input signal, the LFO
sweep is not linked to the voltage of the
input signal, and can be assigned different
waveforms to vary the effect. The LFO
rate is controlled by the SPEED knob, or via
the TAP TEMPO function, which makes live
synchronization a simple matter. In addition,
the Pro BEF offers nine different LFO
waveforms, including a user bank where
you can download your own waveform—a
feature accessible in BACKPAGE MODE, a
stealthy set of menu options that greatly
expand the unit’s functionality.
You can plug in a passive expression
pedal and use it like a typical wah-wah or
assign it to several other parameters. Modulation
can also be controlled via Source
Audio’s super-slick Hot Hand motioncontrolled
technology. The player wears a
special motion-controller ring that transmits
even the slightest hand movement to
a sensor plugged into the unit. The Hot
Hand is a quirky controller that produces
some stunning effects—and you’ll look like
a groova-zoidal Gandalf summoning up the
spirit of the funk while doing it!
 |
You can assign the 7-band EQ either to the wet/dry blend or to the wet signal alone. Each
band has 12dB of boost or cut. |
The SWEEP RANGE control determines
the direction (up for “wah,” down for “ow”)
and depth of the filter sweep, while the FREQUENCY
KNOB sets the center frequency. The
SPEED control adjusts the attack and decay
time of the envelope filter, or the rate of
the LFO. A new edition to the Pro BEF is
the bi-directional MIX control that marks 12
o’clock as 100 percent dry signal. Turning
the knob to the right increases the blend of
wet signal, while left rotation increases the
wet signal with the addition of LO-RETAIN,
a function that speaks for itself.
Another huge plus is the inclusion of a 7-band graphic EQ assigned to either the
wet/dry blend, or the wet signal alone. Each
band has ±12dB range, and an optional
eighth band is available in BACKPAGE MODE
that extends the EQ one more octave to
8kHz. The graphic operates perfectly, though
at fi rst, I found the implementation of the
LED readout tricky to grasp. The graphic
display is also used to set various parameters
in BACKPAGE MODE relating to expression
pedals, Q depth, master volume, and
MIDI channel.
PUSHING THE ENVELOPE
To run the Pro BEF through its paces, I
decided to fi ll the six preset banks with
groovy sounds (three in envelope mode
and three in LFO mode). Using a stumpy,
downward envelope sweep on a resonant
lowpass fi lter, I was able to nail the Herbie
Hancock “Chameleon” vibe. To get a classic
auto-wah sound, I called up a single peak
filter with an upward sweep, using a fast
attack, medium decay, and a goose at 125Hz
and 250Hz with the graphic. A peak and
notch setting gave me a similar auto-wah
effect, but with a higher frequency range
selected, and a bump at 4kHz, a watery
top end appeared. In LFO mode, I took a
triple peak filter that matched nicely with
a 6-step triangle wave. By activating tap
tempo, I got cool synchronized time-based
effects that invited spacey harmonics. Dialing
in the “For the Love of Money” tone is
a true test of any phase pedal. Using one
of the phaser settings with LFO, I bottomed
out the SPEED control, put SWEEP
RANGE at 1 o’clock, FREQUENCY at 3 o’clock
and EQ’d a slight happy face in with the
graphic—and it was right on the “Money.”
Messing around with a peak-notchresonant
lowpass filter with the sweep and
frequency set to 2 o’clock, I conjured up
a deep, spacey phase suitable for a lowbudget
’70s sci-fi flick.
The Source Audio SoundbloxPro Bass
Envelope Filter is dynamite in a box. It can
call up tons of classic envelope and phase
tones, but also has the power to create new
effects you have yet to imagine.
SOURCE AUDIO SOUNDBLOXPRO
BASS ENVELOPE FILTER
Street $219
Pros Great sound quality, deep feature set
Cons Not for plug & play types
TECH SPECS
Processor 56-bit DSP, SA601, 24-bit
converters
Controls Sweep Range, Frequency,
Filter Select, Speed, Mix, three preset
footswitches, Tap Tempo
Modulation Sources Envelope, LFO
Graphic EQ ±12dB @ 62Hz, 125Hz,
250Hz, 500Hz, 1kHz, 2kHz, 4kHz, 8kHz
(option)
Waveforms Sine, Rising Saw, Rectified Sine, Square, 4-Step Saw, 4-Step
Triangle, 8-Step Triangle, Random Steps,
6-Step Triangle (user bank)
Power Supply 9-volt DC
Made in China
Warranty One year
Contact sourceaudio.net