by Jerry Vigil
It's been a while since we've put an effects box to the test, and it looks like technology in this area has improved greatly over the past couple of years. It wasn't long ago that the ability to perform multiple simultaneous effects was the big thing. Before you knew it, there were dozens of boxes available with three, four, six, eight effects at once. Along with all these simultaneous multiple effects came lots more parameters to fool with, and this helped to make the boxes a little more difficult to use in terms of fine tuning a program and creating new effects programs. And it seemed many of these boxes sacrificed quality effects for quantity of simultaneous effects. Fortunately, advancing technology brought larger and faster processors into this arena, enabling the effects boxes to perform multiple tasks while maintaining high quality. And with a box like the DigiTech TSR-24S, not only do you get scads of great effects, but editing effects programs is easy, and creating your own effects algorithms and programs from scratch is possible without too great of a strain on the brain.
The TSR-24S is a "true stereo" effects box with two 1/4-inch inputs and outputs, plus two more "auxiliary" outputs for a total of two ins and four outs. And all four of these outputs function independently of each other, as do the inputs. With this I/O setup, the TSR-24S can be used in a number of different configurations. It can serve as two completely independent mono in/stereo out processors. Or a single mono input can be the source with up to four outputs, each with its own effect. Other configurations include mono in/mono out, stereo in/stereo out, mono in/stereo out, and stereo in/quad out, as well as several three output configurations. Of course, you don't have to concern yourself with these options if you're the type that just wants to plug the box in, dial up an effect, and go to work. The TSR-24S comes with over 100 factory programs ready to use. But its easy to use programming abilities make the TSR-24S a great effects box to program your own effects from scratch with. In radio, this is often the best route to go because the TSR-24S, like most every other effects box, is loaded with programs more suited to music production rather than the type of work we do in radio. So, if you can do it with relative ease, it's nice to be able to create your own programs from scratch, designed to do what you want them to do.
To understand how to program the TSR-24S, you must first understand the architecture of the effects programs. You've heard the word algorithm used with reference to effects programs. Effects "programs" are built with single "algorithms." These algorithms are a combination of one or more effect "modules." There might be an algorithm that uses a delay module plus a reverb module to create a program called "Canyon Echoes," or an EQ+delay+reverb algorithm might be used to create a program called "Stadium Megaphone." Many effects boxes, especially those we've reviewed in the past, have a set number of algorithms, or module combinations, which are used to create the effects "programs." The TSR-24S is different in that you aren't limited to working with a handful of "factory" algorithms. With the TSR-24S, you can create your own algorithms, built with any combination of effects modules available. The parameters of the modules can then be adjusted to whatever settings you desire. Then the new effect can be stored to user memory as a "program." If you simply choose one of the 32 factory algorithms as the basis for your new program, you can create custom programs even faster.
Programming an effects box isn't going to be easy if the user interface is not friendly. The TSR-24S's is straightforward enough that it is possible to use the unit right out of the box and adjust program parameters without even a glance at the manual. And although programming the TSR-24S does require some education from the manual, the whole process of creating your own programs from scratch can be grasped in a relatively short period of time, thanks to a front panel that is quick to learn.
At the far left of the front panel is the power on/off button. The unit powers up in "Performance" mode, so effects are active immediately, and as soon as you dial up a new effect program with the data wheel or with the Program + and - buttons, that program is immediately active. Four knobs at the far right adjust left input level, right input level, the main output level and the output level at the auxiliary outputs.
There is a bank of twelve buttons which access the "FX Modules" in the TSR-24S. Whether you're creating new programs or editing existing ones, the FX Modules and their respective buttons will get a lot of use. There are ten categories of effects modules with a button for each: Reverb, Delay, Chorus, Pitch, Sampler, EQ, Flange, Modulation, Mixers, and a category called More. The other two buttons in this group, the < and > buttons, are used to move to the first parameter of each effect in the selected algorithm.
The LCD display is a 2-line by 16-character display. Many screens offer menu choices that are selected by pressing any one of four "Access" buttons to the right of the display. These Access buttons act much like "function" keys on a computer; their function varies from screen to screen. Furthermore, the Access buttons are user programmable. For example, let's say one of your favorite programs is a delay program with reverb, and you constantly need to adjust the delay time for whatever reason. Rather than press the Delay FX Module button then scroll to the delay time parameter, one of the Access buttons can be programmed so that one press of the Access button takes you immediately to the desired parameter. And programming the Access buttons is a piece of cake. Locate the parameter you want to assign an Access button to, then press the Access button (any one of the four) for two seconds. That's it. Store the edited program, and next time the program is recalled, pressing that Access button instantly takes you to the parameter assigned to it.
To the right of these Access buttons are four "Program" buttons. They are +, -, Compare, and Store. The + and - buttons are used to step through the programs in memory. If you're editing a program in any way, the Compare button lets you compare the edited program with the original. The Store button saves your edited work to memory. To the right of these buttons are four "Parameter" buttons labeled +, -, Previous, and Next. The Previous and Next buttons scroll through the parameters in the program. The + and - buttons are used to alter the selected parameter's value. If you're in a delay program and want to shorten the delay time, simply press the Delay FX Module button and the LCD display switches to the first parameter screen for the delay. Press the Parameter Next button to locate the delay time parameter, then use the + and - buttons to alter the delay time. If you change a parameter and want to store that setting with the program, simply press the Store button.
There is another bank of six buttons called the "Edit" buttons. These are only used to edit existing algorithms or to create new ones. More on these later. Finally, there are four more buttons used to access the TSR-24S's MIDI capabilities, program and algorithm naming function, various utilities such as display contrast setting and factory program initialization, and the fourth is the effects Bypass button.
To the right of the LCD display is a large red LED display that shows the current program number, and you get a couple of LED input level meters, one for each channel. There are several small LEDs that indicate current operating status. The Store LED lights to show that changes have been made to the current program; the program must be stored to memory if the changes are to be kept. The Bypass LED lights to show that all effects have been bypassed. The Overload LED indicates digital information overflow in the microprocessor and is a warning that levels should be adjusted to avoid distortion. The Mono LED lights to show that the currently selected program is configured to be used with a mono input. The MIDI LED lights to indicate MIDI information is being sent or received. The Edit LED lights when the unit is in the Edit mode (as opposed to the Performance mode). The Edit mode is where algorithms are edited or created. Finally, the Link LED lights when in the Algorithm Link mode.
The basic building blocks of the algorithms and programs in the TSR-24S are the effects modules. A single one of these modules can be used as an algorithm by itself, or any combination of these modules can be "linked" together. How many modules you link together is only limited by the amount of "algorithm memory" available. This memory is different than the "user" memory used for storing programs, and different modules will use up different amounts of algorithm memory.
There are nine different reverb modules in the Reverb FX Module category. You get ExaVerb, VeraVerb, GigaVerb, GigaVerb+, BigVerb, MFX Reverb, Stereo GigaVerb, Stereo Big Reverb, and Gated Reverb. Some of these reverbs are of higher quality than others, and the best quality reverbs take up most of the "algorithm" memory available. So, if you just want to build a good reverb program, use the best reverb module. If you're building a multi-effect algorithm, select a lesser quality reverb in order to have enough algorithm memory left for other modules. The TSR-24S uses 24-bit processing, and the reverbs sound great. You get the usual multitude of parameters you'd expect from a high quality digital reverb box.
There are seventeen Delay FX Modules. Four Mono Delay modules provide a Mono in/out 1-tap delay with delay ranges of .5, 1, 2, and 5 seconds. Again, the greater delay range used, the more algorithm memory used; so, when creating an algorithm, select the module that most efficiently uses memory while providing the desired effect. There are three Stereo Delay modules with delay ranges of .5, 1, and 2 seconds. Four 2-tap Delay modules and four 4-tap Delay modules provide delay ranges of .5, 1, 2, and 5 seconds. There is a Modulated Delay - Mono input/output 1-tap delay, and a Stereo Modulated Delay - stereo input/output 1-tap delay.
There are five Chorus FX Modules: 1) Mono Chorus - 1-input/1-out chorus; 2) Dual Chorus - 1-input/2-output dual chorus; 3) 4 Phase Chorus - 1-input/4-output 4-phase chorus; 4) Stereo Chorus - Stereo input/output chorus; and 5) Stereo Dual Chorus - Stereo input/quad output dual chorus.
There are twelve Pitch Shifter FX Modules. You get a 1-voice pitch shifter, a dual-voice pitch shifter, and a stereo 1-voice pitch shifter. There are five "detune" modules more useable as effects for a musical instrument. You get a mono and stereo arpeggiator which is nothing more than a pitch shifter in the feedback loop of a delay. Finally, there are two "Whammy" modules. These offer pitch shifting with the pitch being controlled in real time using a pedal, modulation wheel on a synthesizer, or some other controller. In radio production, it seems the pitch shifters in effects boxes are used most to pitch a voice either up or down to create a variety of character voices and voice effects. The pitch shift range on the TSR-24S is plus or minus two octaves and is as clean a pitch shifter as I've heard.
There are five Sampler FX Modules providing a variety of mono and stereo configurations with sampling times ranging from one second to five seconds.
There are ten Equalizer FX Modules. You get a high-pass filter and a low-pass filter, a 6-band, 10-band, and 15-band graphic equalizer, a 1-band and 3-band parametric equalizer, a 5-band parametric equalizer with shelving high and low EQ, a band-pass filter, and a notch filter. This is really all the EQ you could ask for in a multi-effects box!
There are four Flange FX Modules. Mono Flange is 1-input/1-output. Dual Flange is 1-input/2-output. 4 Phase Flange is 1-input/4-output, and Stereo Flange is stereo input/stereo output.
The seven Modulation FX Modules include a Mono Tremolo, Stereo Tremolo, Auto Panner, Mono Phaser, Stereo Phaser, 4-voice Phaser, and the 4-Way Auto Panner which is a 1-in/4-out panner.
The "More" FX Modules category provides mono and stereo noise gates, mono and stereo "S-DISC Silencer" noise reduction modules, mono and stereo "ducker" modules, two "wah-wah" effect modules, and a phase invertor module.
Finally, we come to the Mixer category of FX Modules. These mixer modules aren't effects, but are actually digital mixers used to link the modules with each other in a variety of configurations. There are "mono" mixers that are multiple-input/mono-output mixers ranging from 2-in/1-out to 10-in/1-out. There are eleven stereo mixers ranging from 2-in/2-out to 16-in/2-out. And there are six "3-out" mixers ranging from 2-in/3-out to 7-in/3-out.
There are essentially four levels at which one could use the TSR-24S. The first, most basic level, is to simply use the existing programs as they are, never needing to adjust a single parameter with the exception, maybe, of the Master Effects mix level. The second level would be to modify the existing programs by adjusting parameters such as delay times, reverb decay times, etc.. This is very easy. Let's say an existing delay program would be more useful with a longer delay. Simply press the Delay FX Module button, scroll to the delay time parameter, make the adjustment, and store the modified program if you want to keep the new setting.
The third level of usage of the TSR-24S would be to edit any of the 32 factory algorithms. At this level, you can plan on spending a little more time with your nose in the manual, and a little more time pressing buttons. Fortunately, the manual provides block diagrams of each of the 32 factory algorithms. So, once you've studied the block diagram and have learned how to edit the algorithm from the front panel, minor changes to an algorithm can be fairly simple. However, more complex changes, particularly changes to a complex algorithm, can be a challenge to anyone not familiar with block diagrams and following signal paths on such diagrams.
This brings us to the fourth, and most difficult level of using the TSR-24S, and that is to create your own algorithms from scratch. Now don't get me wrong; "most difficult" is a relative description. If you're going to create a simple algorithm, you might not have any difficulty at all. On the other hand, if you plan to create a complex algorithm utilizing a half-dozen or so effect modules, you could be in for more than you can chew unless you're very experienced at creating algorithms in the TSR-24S. For example, after spending less than an hour with the manual and the TSR-24S, I was able to create my first algorithm. It was easy, and I made no mistakes. It worked like a charm and was exactly what I wanted. However, it was simply an equalizer patched into a mono-in/stereo-out pitch shifter. I wanted a program that would take my voice, cut the low end and boost the mids and highs, and pitch it down just slightly in the left channel, and slightly more in the right channel, enough to give the effect a stereo "spread." The result was an effect that jumped out of a mix from both speakers and added a little "balls" to the voice -- perfect for that "grab you by the collar" delivery.
What makes the process of linking a couple of modules like this together an easy process is the unit's "Auto Linking" feature. Each module has inputs and outputs that need to be assigned to their proper destination. You can manually do this, but the TSR-24S is smart enough to figure out what you're trying to do based upon the order in which you selected the modules that make up your algorithm. Using the Auto Link feature, manual linking may not be necessary. And, if the Auto Link incorrectly assigns any input or output, it's easier to go in and look at the graphic display of the "links" on the LCD display and manually change the wrong link, rather than manually do all the linking yourself. The LCD display on the TSR-24S is most helpful in this process because it actually provides some "graphics" capabilities that display the links in an easy to read fashion.
At its most difficult level, programming the TSR-24S can get hairy when you introduce the mixer modules into the algorithms. The mixer modules are not necessary in all algorithms, but they are in quite a few. For example, in the sample algorithm described above, there was no need for a mixer module. I wanted the dry input signal to go into the EQ, come out 100% wet from the EQ into the pitch shifter, and come out 100% wet from there to the stereo outputs of the box -- no mixer necessary. But let's say you wanted to create an algorithm that adds flange to your voice first, then passes the flanged signal into a one-second delay module. You want your input to be "hello," and your output to be "hello...hello" with both "hellos" flanged. If you simply sent your voice into the flanger then into the delay, the output would be heard one second later, and you'd only hear one flanged "hello." The output of the flanger needs to go AROUND the delay and MIXED with the output of the delay to get both "hellos" at the output. This requires a 2-input/1-output mixer. One input is the output of the flanger, and the other input is the delay output. Confused yet? If not, good for you. If so, then you can imagine how complex programming the TSR-24S can get. But, once you get the hang of things, the TSR-24S makes creating algorithms from scratch -- a complex undertaking anyway - about as easy as it can get.
This is the first effects box I've come across that enables me to create digital effect algorithms from scratch, suited to my needs in radio production, without getting completely lost in a jungle of technical jargon. It's the kind of equipment that lets you work with it right off the bat, but opens the doors, WHEN YOU'RE READY, to unlimited possibilities. Take this package and make it complete with super specs and a nice $799 price tag, and the TSR-24S looks like a complete effects box that won't become outdated right away. For many, the need to upgrade has been a result of having an effects box that only offers a limited number of algorithms, thus limiting the number of effects programs in the unit. With the TSR-24S, there no longer is a limit. Your imagination becomes the only limiter outside of your ability to use the machine. The TSR-24S is not the effects box for the "non-technical" type that's looking for effects without the fuss. Granted, there are plenty of factory programs in the TSR-24S, but you might do better to get a box at half this price with the same number of factory programs or more. The TSR-24S is definitely the box for the producer who is technically inclined and has the desire to create his or her own high quality effects programs.
Specs include an 18-bit, 128x oversampled A/D converter, and 18-bit PCM D/A converter. The Sampling Frequency is 48kHz, Frequency Response is 20Hz-20kHz, THD is less than 0.03%, and the S/N Ratio is >90dB. Ins and outs on this single rack space unit are 1/4-inch balanced TRS.
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