Pedalboards / Pedalcases

Used to shelter the 3 Strymon (Timeline, Bigsky and Mobius), an Origin Effect Cali76 Compact Deluxe, the Xotic Wah and SL Drive, the TC Electronic mini Spark, polytune mini and Ditto looper, the Boss DS-2 and TC Electronic Spark (both used for vocals), plus the huge Boss ES-8 footswitch and two supplies, the Strymon Zuma (under the pedalboard) and Ojai. So yes, the Trio offers plenty of room, and that’s exactly what I expected from it. Looking closely at the PB reveals lightweight yet high-quality materials. The two handles (one on each side) allow moving it easily, which is all the more appreciated considering its weight once fully loaded. Underneath it is a reinforcement bar. A power supply can be put between it and the pedalboard. On the sides, spaces allow welcoming various modules. The concept behind the Trio28 is that of an extremely modular PB able to adapt to every musician’s needs. - one or several plates of various sizes (small, medium or large) are to be put under each pedal. Each plate has an adhesive side (to be fixed under the pedal) and another side with a notch in each corner that fit the pedalboard’s small holes, plus a screw in the middle that will allow to secure the plate to the pedalboard. Please note that the plates are to be bought separately (pr approximately $/€4 to $/€5 each), and you may need several of them for a single pedal, for instance 3 large plates for the Es-8, 2 mediums for the Wah, one large and one medium for each Strymon, one small for each mini-format pedal etc. Once fixed, it’s reliable and won’t fail, plus it’s very easy – once set in place it won’t move. I turned the entirely loaded pedalboard around and nothing moved, even considering the ES-8 alone weighs in at a solid 6½ lbs. There’s also a kit with a cleaning product which is available to unglue the plates easily. - running the cables: the pedalboard has holes all over, allowing to run the cables as you like. Please note that the smaller hole aimed at fixing the plates can also be used to run some small cables, eg Disasterplug Cable Kit, so again it’s very modular. - the side modules: various screwable modules can be bought separately for use in the dedicated space sides. I put two 4-jack modules which allows to plug easily all of my cables (guitar input, pedalboard output to amp, the loop’s send and return, the vocal mic’s input and output and the amp’s channel control output). I also use a very practical module which allows to plug the power supply directly, but several other models are available such as USB, MIDI and so on. - reinforcement bars can also be added under the pedalboard to make it a bit more rigid In the end: Well-built, easy to use, sturdy once everything is fixed, nothing moves: the Trio28 is much, much better than Velcro-based PBs, and yet in case you need to move anything just unscrew the plates and here you go! Of course, it is terriblt heavy once everything is installed on it, but this is the logical consequence of a PB with so much gear on it. Everyone can do exactly what he wants with it, which is great. To me, it’s the best you can get, so I have no hesitation giving it a 5 stars rating. Now, the only fault I can find with it is its price. Granted, 133€ for the basic pedalboard is more than acceptable in itself, but once you add the 89€ softcase, all the plates you need (consider a total 50 to 100€), the (50€ each) modules if you want everything arranged cleanly, a 20€ reinforcement bar and so on... Taking only the basic pedalboard makes it less interesting, so I mostly advise it to experienced users who are after a reliable and customizable pedalboard and are willing to make a real investment. PS: I’m adding a few pics to make the concept more explicit

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The flight case seems very sturdy and well-finished, and so does the aluminium pedalboard: that’s the main reason behind my choice. The hard case’s sides are made of plywood birch over 5mm-thick. The hardware seems reliable too. The price is far from low, hopefully it’ll last a lifetime – at least that’s what I hoped when I decided to spend that much, unlike my Rockcase which only lasted for approximately 3 years and had cost me €139. After these 3 years, my Rockcase was completely washed out, the aluminium rail under the handle was beginning to fail everytime while it was being carried due to the important weight (25kg more or less), leaving all the weight to rest on the sole wing nuts – which ended up failing too after I’d changed the rail. The Pedaltrain would “only” have to last 2.5 times as long to be a profitable purchase. I’ve fille dit with a TC Electronic G-System, 2 Boss FV500L expression pedals, 3 standard-sized MXR and Jam Pedals stompboxes, an ISP Decimator and a Boss AC3 as well as a Voodoo Lab pedal power 2+ supply and an RJM Miniamp Gizmo MIDI box. Cramming it all within the 80x40cm space was like playing Tetris (my previous pedalboard was 80x50), but I managed to do it thanks to the supply and MIDI RJM that fill under the pedalboard. I didn’t want to buy the upper model ,the Pedaltrain Terra 42 which is over 1m wide and costs an extra €120. The Classic Pro is a bit lighter than the old PT-pro-HC which it has replaced in the brand’s catalogue (the flightcase is 35% lighter according to Pedaltrain’s website). It’s more or less the same board, but the flight case features no wheels on the side or the small additional compartment. So, it can only contain the board, but it’s also lighter and less cumbersome than the old version. It’s not a lightweight though, as the 1.47kg advertised by the online seller I got it from (against 2.72kg on Pedaltrain’s website) don’t include the hard case. This weight (while diminished compared with the previous version) translate the absence of compromise in terms of sturdiness and reliability. Effect pedals can be velcroed, screwed or cable-tied – a wide array. In case you want to use screws, you’ll have to drill a small hole in the aluminium structure, so you could end up with a pedalboard full of holes if you often change your pedals – which makes the Velcro and cable tie options all the more preferable. 2 velcro rolls (1 hook and 1 loops) and a dozen cable ties are included. The Velcro works very well, just pay attention to the fact that the surface has to be clean and dry for it to adhere. Pedaltrain’s typical “spaced-rail” design board is very practical to make the various (jack and supply) cables go under the board and to keep things tidy between the pedals themselves. A bit of organization and time spent, and all is clean. It also makes setup changes less easy as you’ll have to cut the cable ties and put new ones for any change in your pedals. The board is held within the hardcase thanks to the thick foam which is stuck to the lid. I had to cut in it because of my G-System which was a bit too big for the hard case (and for the soft case too): this way, it just comes in. Fitting the supply underneath the board requires a separate kit which gets screwed into the board and is offered in two different options - BRKT-2 for Voodoo Lab supplies and a universal Mount Kit version for all others. I’ve used both kits – the Vodoo Lab and the universal one – for my MIDI box and they work well. The Velcro that came with the universal wouldn’t adhere, though, and the included screws are low quality (the metal is too fragile) and one of the screw heads broke when I screwed it into the pedalboard (the hole I had drilled in wasn’t wide enough). Saving small money on such a cheap thing as screws seems almost shabby to me… There are many videos, tutorials and so on on the web on how to set your Pedaltrain up, don’t hesitate to have a look, some are very instructive. To screw things into the board, all you’ll need is a drilling machine, a metal drill slightly (but not too much) smaller than the screw thread and as shown on videos you only drill into the beginning of the board, screw in and it works – no need for dowels or nuts. In the end, this is a very high quality pedalboard which is quite pricey – but quality induces a cost. I’ve only had it for a short period of time, so no long-term opinion yet as to its sturdiness. I’ll give it a 5-star rating for the flawless finish and quality, and that rating is to stand provided it lasts long enough.

I was looking for a new pedalboard for my home studio, something that would be functional, yet appealing visually for recording gear demo videos. This pedalboard had to be something more than metal framing or a basic structure, but of higher quality (and not something built in a foreign country with a North American logo added to it). My search began with a list of Canadian companies, although I have nothing against American brands (FYI, for Americans and the current exchange rate of 1.3 USD to 1 Canadian dollar, and with free shipping on orders over $250, you may want to check out Maple Rock Pedalboards!). Of those I investigated, the standards and hand-constructed quality of Maple Rock Pedalboards was an obvious choice. Maple Rock Pedalboards is a young, yet strong company out of Acton Ontario (it could take a few weeks to get your build based on demand) that also makes flight cases, road cases, pedalboards with lids and certainly custom pedalboards, cabling and installs to fit very specific needs. The company has various styles or models on its site, but I liked the ‘Standard Series’ design best. Available in various sizes, from 9x20 inches and up to 16x30 inches, I choose the largest model, since I have so many pedals and tend to do a lot of arranging of the board while filming demos. The specs for this board include: • Built with 5/8" Baltic Birch frame • 21 Tolex Finishes from which to choose (I went with classic Tweed) • Cable Access Slotted for all ¼-inch and power cables • Velcro carpet top • IEC power input plug • 2 Locking IN/OUT jacks wired with leads (I went with Stereo outputs, since some pedals I demo have a stereo option) • Choice of nickel or black hardware (I went with nickel) • Choice of nickel or black rack mount handles (nickel) • The underside is painted flat black • Non slip rubber feet • 1 YEAR - Limited Warranty There were other options as well, including having a built-in FX-Loop, MIDI input/output, Power Wire Harness to keep the underside wiring organized and from dragging on the floor, a built-in Signal Buffer, and also Voodoo Lab power units. The quality of construction is fantastic; you can feel it when lifting the board (solid, but not overly heavy) or touching any of the features. The locking input/outputs are a great feature (for those with careless feet), as well as the ability to run all cables from under the board. The attention to detail certainly produces a feeling of pride in owning a Maple Rock Pedalboard; and it doesn’t hurt that it’s a Canadian company. I also should add that the quality of service was unbelievable, from regular email updates and speed of service (both in construction and shipping).

SOUND: The electronics and electrical supply of the PB100 are of sufficient quality to maintain sound integrity. I did not notice a sound quality difference whether connecting with an expensive power supply (the Carl Martin Pro Power v2) or the integrating electronics supplied with the PB1000. However, I found the ¼-inch TS cables lacking in quality and the sound was thinner, tinnier or with added treble. Below is a YouTube demonstration video showing the features of the PB1000 and how to put it together for quick usage: OVERALL IMPRESSION: Behringer is known for producing decent products at a good price, and this pedal board is no exception. At $129 USD you’re getting quite a bit, considering it’s a hard-shell case with plenty of protective dense foam padding inside… that the unit comes with a power adapter that produces 1.7 A of power… and that you get all the TS cables required (I would rate this product higher if the TS cables were of higher quality... then again, the price would have to increase). Many pedal boards will cost at least half as much at a minimum, and many are definitely more expensive and necessitate a carry case or gig bag, a power supply, and all the TS cables to get things connected. There are other aspects that make the PB1000 a good buy and design, such as being able to cut the inside foam to fit larger pedals and that when in use or when transporting the pedals stay in place without any glue, Velcro or strapping. Also, the PB1000 can store vertically against a wall and you can add small locks for added security (both from theft of the pedals inside, but also to prevent the case from popping open if the sliding latches happen to work open from handing or road vibrations). EASE OF USE: It takes about 15-minutes to set up the PB1000 (perhaps a bit longer if you are anal about how tight and organized all the cables fit). The most difficult part is to know what pedals you want, particularly if you use more than 12, which is how many normal sized pedals the PB1000 will house (the PB600 is a six-pedal sized pedal board, and so perhaps having another smaller unit may be required for some gear hounds and all their toys). I then found connecting all the power cabling best, as later adding the thicker ¼-inch TS cables over top kept the power cables lying down and out of the way. The power cabling works from the top left corner over to the top right, and then down (to the bottom layer of pedals) and back to the left. The ¼-inch TS cables work in the opposite manner, starting from the top right while connecting all the bottom pedals (from right to left), then swinging around to the top right and working to the left. The last pedal (top left) then plugs into the ‘From Effects’ either in mono or stereo (depending on your setup); likewise, the cables going out to your speakers/PA can be in mono or stereo. Once set up you can interchange pedals easily since they are not glued or strapped down. And any smaller pedals remain in place fairly well, sitting on dense foam, and remain in place when transporting since the top half of the casing’s shell is lined with thick foam. RELIABILITY & DURABILITY: The Behringer PB1000 is lightweight, but made of a heavy plastic similar to modern-day guitar cases. When fully loaded with pedals it weighs approximately 15-pounds or 7kg. The foam inside is of high quality – fairly dense with a slight give to keep the pedals in place, but also to provide a good shock absorber. All power and cable plugs (ins and outs) are firm and solid feeling when inserting and removing. The power adapter (with daisy-chain plugs), as well as the TS cables, are standard, so that if any become damaged they can be replaced inexpensively. The PB1000 is solid enough that the only concern could be the one ‘working’ part – the two sliding latches to close the unit. Initially they seem firm and fit well (so long as you close the top and bottom halves squarely and don’t force them), and so they should last if not abused with other equipment slamming up against the case.

The Pedaltrain PT-Pro is a super sturdy and durable pedalboard. I haven't had any worries of it breaking on me and it can take a lot of abuse. I've had a few different production pedalboards. The SKB PS-45 and PS-25, a Gator pedal board or two. The powering on those just isn't good enough to justify needing it. If you want a rock solid platform to stomp on your pedals, pedaltrain is where it's at. The velcro that comes with it is pretty nice. I ended up putting loop velcro on the board and using smaller industrial velcro for my pedals. It's sized is really nice, I think the dimensions are really mapped out well. I have no problems fitting everything on my board. My tuner perfectly fits over my volume pedal and I never find myself looking for space. And with the power supply mounts it makes for a super convenient board. Pedaltrain just made universal ones which I use for my wireless unit. That's really cool. I like putting my cables and stuff under the board. It's super nice. Works really well. The soft case is super durable. I've had no problems with the zippers or anything. It protects everything nicely and it leaves plenty of space for all the cables you would need and everything. It's a great board. The price point isn't so bad. The quality is definitely worth it and it beats the hell out of the weight of a wooden board. If something were to happen to this pedalboard I would probably get another one. I was actually considering getting a PT-1 or PT-2 for a slightly smaller gigboard. I use the PT-Pro with all my pedals. But I don't always need everything to gig. If you're considering one of these, just do yourself a favour and go for it. You won't be disappointed. It's truly a fantastic pedalboard.

The SKB Stage 5 is a top notch pedal board for guitar players. While it is quite expensive, it does provide all sorts of amenities and options that make this a great pedal board. For starters, it has a built in power strip for all of your pedals and will give you options to ensure that you can power everything that you need to on the same power strip and within the confines of the board. There is a lot of room on the SKB Stage 5 pedal board, enough to fit about ten pedals, of course depending on the size. If you have a lot of Boss size pedals then you can probably fit more than that, but if you have pedals that are larger like the Line 6 DL4, you won't be able to fit as many obviously. This pedal board is definitely designed for professionals because of all of these features, but mostly because of the price for the reason that they know they will be able to get because it is indeed moslty professionals buying this pedal board. Even if you are not a professional and are looking for one of the best pedal boards out there, the SKB Stage 5 is a great investment especially for touring musicians or for those playing a lot of shows as it really makes set up incredibly easy as you can have everything ready to go and powered up before hand. If this was just a bit cheaper I think it would be a lot more popular, but despite the price the SKB Stage 5 is a great option for guitarists looking to make the most of their pedal boards. All in all I would recommend checking out a few different pedal boards as there are a lot out there, but the SKB Stage 5 is definitely one of the best and needs to be considered.

(Originally written by jacqn/translated from Audiofanzine FR) I thought about building my own pedalboard for a long time. It would look like... a home-made solution. Then I planned to buy a Rockcase, but the user reviews on this website made me choose a Pedaltrain model and I don't regret my choice. It was expensive but it's very sturdy and well-designed. It provides me enough space for all my effect pedals, the fixation system works great, the wiring is very clean (all cables run under the pedals), and the soft case allows me to transport everything I need. To warp it up: I recommend this product!

I’ve been enjoying LiberaToe dual-channel pedals for a few years now, as well as their 4-pedal platform (which houses 4 modules). Recently, I reached out to the company to review the 6-pedal platform, and they obliged. Not only two extra pedal inserts, but with added features not found on the smaller platform that attracted me. https://www.youtube.com/watch?v=3jQeYMUGZ_k Now, as I proceed through this review, bear in mind that the LiberaToe-6 platform should not be compared to digital multi-effects processors, as with Line 6, Fractal Audio, etc. This is an all-analog pedal platform that should be compared to a traditional pedal platform (and a switcher). On that note, fully loaded with six pedals, the total weight is under 8-pounds (3.6 kg), and the cost per module is quite less than most quality pedal brands (and you can purchase any module as a full dual-channel pedal). Each module/pedal is controlled by a single footswitch, whereby a fast click turns the module on/off and a brief 0.5 second hold will switch channels. Various pedals can have very different functions on each channel (fuzz vs. envelop filter) or it has the same circuit on both (e.g., overdrive) that allows you to set each channel individually and for different uses. Onto the LiberaToe-6 platform itself, it takes modules, but also other company pedals, and in various ways. Obviously, you can run pedals in front of or after the platform, which means hooking up a single pedal all the way up to another pedalboard. And since there are programming capabilities with the LiberaToe-6, you can connect another four pedals via the LiberaToe-4 platform and while controlling the channels of those additional four pedals. Another option for adding pedals is via the FX Loop, which location is half-way between modules 3 & 4 (modules 1-3 run before the FX Loop, whereas modules 4-6 run after). The way I used this feature was to run an outside preamp with clean and dirty channels while including effects pedals via the platform (e.g., overdrives/distortions before the preamp and reverb/delay after the preamp). One other way to operate other pedals is via Pedal Connectors (each having two sets of in/out ), thus allowing six controllable and external pedals. Before getting into the operation of the LiberaToe-6, I’ll first cover some of the features. First, the platform has a built-in Cab Sim (British 4 x 12) and it sounds good! This is not an IR and does not sound boxy, nasal or flat, as I’ve experienced in the past. This Cab Sim is on par with LiberaToe’s Tweedle Deux ‘ampless solution’ Cab Sim, and ideal for direct recording or going to a PA. There is a built-in Enhancer (like adjusting presence and resonance), which sounds amazing, and I can’t imagine not using this feature. There are three built-in buffers, with one located in the middle of the chain (where the FX Loop is), whereas the other two (front end and back end) can be turned on/off. There are two Controls for outside gear, with four types of control – latch closed, latch open, momentary closed, and momentary open (handing for controlling amp gain and reverb, etc.). And there’s a Tap Tempo switch (also used to select Mode, which I’ll get into soon), ideal for time-based modules. At the front end of LiberaToe-6 are various extensions and features, including a USB jack that connects a LiberaToe-4 platform and its modules, which allows for communication and the controlling of those four modules via the LiberaToe-6 unit. I’ll address that soon. There are two power outputs to connect external 18V and 9V pedals (meant for typical 100-200mA consumption pedals), along with a Custom socket and USB for future extension purposes. There’s even an External Switch Jack, to connect an outside external switch – this optional piece of gear has the same foot switch controls as the LiberaToe-6, which comes in handy if you wanted the LiberaToe-6 near your hands for knob tweaking and not on the floor. Onto the Modes, the first of which is the Independent Mode. Think of this as a standard pedalboard setup, whereby you select whatever pedals you want on/off, and in the case of LiberaToe, what channel (Green or Red) you want on/off. You can set up the platform so that only one channel may be selected, to be turned on/off, or you can arm a module so that you can switch between channels. All this is done live or on the fly, as you bring in or remove pedals. (NOTE: LiberaToe’s latest pedal/module collaborations with Vogart Audio stacks both channels, as is possible with LiberaToe’s dual drive Lost Gerbil.) The Program Mode is where you can save Presets, with four Presets per Bank, and with Banks 00-99 (400 in total). This Mode recalls what pedals and channels you want on and what you want off, although it does not store exact pedal settings. This means you can tweak knobs in real time, even after selecting a Preset. Now, although you can tell what Bank you’re on (e.g., #23), as well as what Preset, pedals, channels are activated (all indicated by LEDs), for live use you would have remember the Bank number and select the right Preset footswitch that coordinates with what song or group of songs. This is different from modelers, in that you often can create a name, e.g., “Hotel California Lead.” With LiberaToe-6 being an all-analog system, you don’t have that luxury, but I don’t think it’s that confusing. In fact, having access to 400 Presets is overkill, but they are there if you need them. For example, one Bank could have the following Presets: Clean, Crunch, Heavy Crunch, and Lead, and those four could serve several songs in a set. Further note that when saving a Preset, you also save when the front-end buffer is on, as well as the Cab Sim, Enhancer and External Controllers. If those items are turned off, then they are not saved. And this brings us to the Ambidextrous Mode, which combines the Independent and Program Modes. This Mode has only four presets, which doesn’t sound like much, but this is what you can do for example. You can create a clean Preset, which turns on certain pedals/channels, and then you can stomp other effects on/off as required. Then the second Preset may be for crunch, with certain pedals activated initially and while you stomp on the other pedals as needed. And so, you can have dozens of stomping possibilities while working within the context of a single Preset. This Mode gives you the greatest flexibility. Even with all the above, there are a few more cool features. The first is the Split & Merge function, e.g., serial vs. parallel, which is located at Modules (or external pedals) 4 & 5. In serial or ‘merge’ position, one pedal runs into the next, e.g., reverb into delay, or chorus into delay, etc. The LiberaToe-6 platform allows you to split the two signals to run them parallel, which produces a very different audible effect. The other feature is the Signal Route Reversal, located at Modules (or external pedals) 2 & 3, and this allows you to flip the order of those two pedals, e.g., Module 3 is in #2 position, and Module 2 is in #3 position. I find this feature useful for drive and distortion stacking, as running one into the other then reversing order, sounds very different and with more tone options available (particularly if changing channels in those Modules at the time of signal route reversal). The included Demo video covers all the above, and there is a lot of functionality in the platform. It may not be as flexible as some higher-end modelers, but what you’re dealing with are analog sounds that can be integrated with other hardware and in various ways. In other words, you may only want a few LiberaToe modules while keeping your other pedal favorites, and these can be merged by way of Pedal Connectors, via the FX Loop, or at the front or back end of the platform, and all the while having control via the footswitches of the LiberaToe-6 platform. And then we get to price. The LiberaToe-6 (without any modules) is $298, which is an advanced switcher and controller with a great sounding Cab Sim, Enhancer (I never have this off!), superb expansion capabilities, and three program modes with the ability to select channels across the platform. Most programmable switchers cost this much, and even more, without offering the same flexibility and hardware integration. Individual modules retail for $57-69 USD (full pedals are $119 and a Pedal Connector, to connect two of your favorite external pedals, is only $59). This makes it highly cost effective and when compared to outfitting a regular pedalboard with the same number of pedals, plus the board and a switcher (not to mention the purchase of buffers, patch cables, etc.). Do the math and you likely will discover it costs twice as much, even if avoiding those top tier boutique pedal companies. And one other honorable mention: You can remove and plug in a different module in seconds, without concern for trying to fit a large pedal on a board with limited space, messing around with patch cables, etc. This may be a tough sale for those with a board and choice pedals, but once you factor in the space saving design, weight, easy-of-use, flexibility and features, and the ability to integrate your favorite pedals, it’s difficult to go back to a regular board.

Late 2022, I saw an advertisement, likely in my Hotmail feed, for a ‘system’ that involved pedals, a pedalboard-type concept, as well as a switcher. I was intrigued immediately and looked into the LiberaToe-4. The LiberaToe-6 is an expanded version (six integrated units/pedals vs. four), along with more features, e.g., built-in amp/cab sims. I highly recommend you look into the larger unit if you think the 4-module unit is not large enough. Then again, you can link more than one of these units (via a USB cable) for future expansion. There’s a lot of technology in the LiberaToe-4, and so, I’ll cover the basic functions and offerings. I suggest watching the accompanying video for a clearer visual on what this system offers. The LiberaToe-4 is a highly versatile pedalboard and it works in a few different ways. You can plug-in modules, which are proprietary pedals direct from LiberaToe. Before talking about the convenience and quality of these pedals, be aware that you can buy these modules separately for your own pedalboard. A module plugs into a ‘shell,’ which permits typical pedal functioning, power requirements, etc. In other words, they look and function like regular pedals. What is cool about these pedals (and the switch system that’s part of the shell) is that they are dual-channel. When the pedal is on, you can click between green and red channels (hold the footswitch down for a half-second and it turns off completely, then resumes on the channel you last left and when turned back on). This permits you to set two different channels, such as a modest drive for crunch rhythm and then a higher-gain setting for lead soloing being an obvious example. Different gain, volume and EQ controls. Very cool. The pedals/modules are excellent and some of the best I’ve tried. I’ll be reviewing each one that’s in my LiberaToe-4 system (an OD, a distortion, a spring reverb and a warm tape-echo). All these pedals are analog, and you can hear it. I really don’t mind digital effects, and some of my favorites are digital, but there’s something very real with these pedals and the company (Canadian-based and manufactured in S. Korea) did a great job on their development. And, as stated, these are dual channel, meaning you don’t have to bend down to adjust settings if you’re working with two different flavors that need no further adjustment. Obviously, you can make knob adjustments and if you prefer the LiberaToe-4 system on top of your amp or another location for easy access, there is an optional switcher, which includes a global tap-tempo switch (great for coordinating delays with tremolo or other time-based effects). I also should mention that LiberaToe has a very wide range of pedals in several different categories, e.g., gain, time-spacial, dynamic and bass. The LiberaToe-4 unit itself, is of very solid metal construction. Fully loaded, it weighs about 2kg or just over 4lbs. Because you can pull out and insert modules quickly (unless you screw the units in with the accompanying thumbscrews) it takes far less time to rearrange your board. The modules do fit in rather snugly, and screwing them in likely is unnecessary with little to no travel. As well, there is no cabling, which saves time, money and space. And for pedal purists, you can run regular pedals with this system. There’s a Pedal Connection that LiberaToe offers, which has two loops or in-outs that integrate two outside pedals ‘somewhere’ within the chain of LiberaToe modules. The footswitch on the optional Pedal Connection is dual channel, which means switching between the two external pedals or shutting them off altogether. The LiberaToe-4 has a built-in Buffer, that you can switch on or off. As well, there is a quick two-button function for the last two pedals in the chain, to operate in serial or parallel. This means running a delay into a reverb, or having each run parallel individually, or the same can be done with stacking dirt pedals. Serial vs. parallel produces a big difference in sound, making this a great feature. The other a most prominent benefit of the LiberaToe-4 is the switching system, offering three modes of operation. The Improvisation Mode functions like a typical pedalboard. You can switch any pedal on/off without it affecting the other pedals, and each footswitch changes between channels, as explained. Exclusive Mode means exactly that, only one pedal is on (and you can switch channels of that pedal). However, once you click on a different pedal, the previous pedal shuts off. This means not having to click one off then click one on, thus making it fast and convenient if using only one effect at a time. The Ambidextrous Mode is where the switching capabilities really shine and it combines the typical ability to control each pedal individually, but also to create patches or presets for multiple-pedal control. In effect, there are four footswitches, and each footswitch controls one or more pedals and their channels (FYI, the optional external foot switch has the same functionality as the switches on the LiberaToe-4 system). For example, you can create one preset to turn on a crunch drive with modest delay and a hint of chorus. Another footswitch/preset (which turns off the previous preset) may be a high-gain distortion with more delay and a touch of reverb. And since each pedal is dual channel, once you are on one preset, you still can move between the green and red channels via each pedal’s channel buttons, or click between external pedals with a Pedal Connection module, since it connects two pedals under one footswitch. If you’re looking for maximum flexibility, the LiberaToe-6 offers 100 banks x 4 patches, or 400 presets. The LiberaToe-4 has more limitations, but still a lot of ‘live’ flexibility, as James from LiberaToe explains in this example: “Let's set up just two presets – set 4th foot switch (from the right) to turn on our Brever Reverb (enhancer funcion only at this moment) as a clean preset, and set the 2nd foot switch for Distortion, Delay and Reverb (reverb only) as a solo preset. When the clean preset is engaged, you can control Delay, Overdrive individually. If you set ‘double-clicked’ Overdrive button as part of this preset, whenever you push the 1st foot switch, it can switch between the two channels under this preset. When you load the solo preset by pushing the 2nd foot switch, you also can control Overdrive, Delay individually since those two slots are not assigned a foot switch/preset. Thus, while playing the solo preset, you can turn off the delay, or otherwise turn on the overdrive (maybe red channel with minimized gain) as a gain boost.” Overall, there should be some obvious advantages to this technology. There is a reduction in cost and time, fundamentally, and there is a reduction in overall weight when compared to traditional pedalboards with all their pedals, cables, and a switching system. Time-wise, unplugging and plugging modules without the cable hassle is fast (you do have to unplug the unit first). Cost-wise, equipping yourself with a LiberaToe-4 (or the larger LiberaToe-6) is far more cost effective. Now, this does not preclude those expensive boutique pedals or those that can do multiple things, although typically digital in nature, but when comparing a set of analog pedals, together with the pedalboard platform and a switching system, the LiberaToe-4 is about 60% of the cost and weight; and you’re getting dual channel capability (4 pedals = 8 different sounds/functions). Heading out to a gig means easier and lighter transportation, and all the amazing features under one hood makes it ideal for home studios wanting to save on space. Again, the quality of the pedals is excellent, and I’m blown away by the Fire Sword (distortion) and Darwin (overdrive). When people claim ‘amp-like,’ LiberaToe fits the bill – robust, dynamic and with wonderful sounding grainy growls. Watch for those reviews/demos. And if concerned about the power connection/adapter, it’s 2.5m or a little over 8ft long.

Pedaltrain have made a name for themselves in recent years as the go-to brand for basic, un-powered pedalboards that serve as the platform for guitarists building their own self-contained pedal arsenal. The Pedaltrain Pro is made of a durable, matte-black painted Aluminum alloy skeletal frame that fits into a custom, heavy-duty ATA case with an additional accessory compartment. The Pedaltrain Pro also includes mounting brackets and screws for mounting your Pedal Power or similar sized AC/DC multi-power source solution to the under side of the Pedaltrain. At 32in x 16in surface area, you may have to add a second power supply before you run out of room for pedals! Pedaltrain's slanted design also makes pedal access an easier and more comfortable endeavor than simple flat boards. The top surface is smooth and bare, allowing the builder to supply their own fastening medium when attaching their pedals to the board. Pedaltrain was generous enough to supply a couple of yards of velcro for those who would be satisfied with it, but I found 3M's Dual-Lock to be a much more viable solution. Velcro cowers in the presence of Dual-Lock the way a casual weightlifter cowers in the presences of a pro bodybuilder. A recent trend in pedalboards has been to hard-wire the board with mounted locking Neutrik Jacks and Male AC power receptacle so that all the guitar player has to do is connect up their pedal snake and they're ready to rock. Unfortunately, the Pedaltrain's skeletal design makes clean installation of these things rather difficult, so going with a different brand or design may be the best route if that's what you want. The hard case is indeed ATA quality, with ball corners, recessed butterfly latches, and foam rubber lining, although don't expect it to match up to the quality of, say, Anvil(what does? Anvil rocks!), but it's certainly freight-worthy. The entire thing gets heavy, especially with a fully-loaded pedalboard, so Pedaltrain thoughtfully put low-profile wheels on one end. The price of the Pedaltrain Pro is somewhat steep when you consider it is merely a board and a case (as opposed to other similarly priced boards which sport built-in power and patch paths) but what you are paying for is durability and versatility that, in most cases, surpasses those other boards and their wimpy soft cases by a wide margin.

This offering from Lyt Pedalboards measures 24' x 16' x 1/2' and weighs only 4 lbs. 7 oz. (board only). I'm a professional guitarist/instructor with 31 years playing experience and 18 years teaching experience. I perform a variety of styles in the 3 Hour Tour band. I acquired this board from Daniel at Lyt Pedalboards. The board with case lists for $219.95 USD. I use this as part of my main rig at all my performances with the 3 Hour Tour Band. <a href="http://www.lytpedalboards.com">http://www.lytpedalboards.com</a> This board will not change the way your pedals feel under foot. The Lyt 24 sits less than a 1/2' off the ground so the pedals feel very close to the ground when activating them. The board also features a second tier with room underneath to store your power supply and any miscellaneous cables. The good folks at Lyt will also position this tier on the left, right or center of the board at no extra charge! If you're wondering how many pedals you can fit on the Lyt 24 - I currently have 12 pedals housed on my '24' of varying sizes. This is enough for me! The case is also very nice and an important piece when it comes to setting up at my gigs. What I really like about the case is that I can unlatch the top and leave the Lyt 24 in the bottom half of the case. All I have to do is plug a cable in my amp and another cable into my guitar and I'm good to go! The case makes for a very efficient set up. It also features recessed butterfly latches, a heavy-duty handle, aluminum channel and is constructed of 1/4' plywood w/hard black laminate and steel reinforced corners. The inside of the case lid is fully carpeted. I use this to my advantage by placing velcro straps around my cables and sticking them to the inside of the lid so my cables are always where I need them. Finally, the board comes with black velcro to cover the whole surface of the board plus the tier. I can't find anything on the Lyt 24 I would change. It's really a great piece that offers me exactly what I need. The Lytcase feels very solid from the spring activated handle to the recessed butterfly latches that turn and lock with conviction. The board itself is very sturdy and remarkably light and the folks at Lyt managed to provide this kind of strength with a low profile, which any guitarist can appreciate. The Lyt 24 + lytcase is a solid piece of gear that offers great protection for my pedals. The ease of setup and weight of the board and case makes it perfect for any gigging situation. The price is also VERY reasonable for a product of this quality and well worth it if you have investments sitting in that case. https://www.youtube.com/watch?v=YoM_2HEK8nU This review was originally published on http://www.musicgearreview.com

I bought this bag for my Boss GT-6 multi effects processor thinking what better way to protect my investment than with a bag specifically designed for the unit. Well, much to my dismay, with just shy of 2 light gigs this bag has bite the dust! I ordered this from Guitar Center's website. It set me back $50 + shipping + sales tax. I thought hey, may as well go all out. The description on the website made me feel like I could comfortably and safely store a newborn in there and not fret. It was a snug fit for the Boss GT-6 effects unit. There is a nice pocket on top to store a small cable, maybe some picks, strings etc. There are two different handles. The first handle is close to the bag where you can carry it as if it were a briefcase. Next there is the padded shoulder strap which is similar to a laptop bag. The strap broke as I was carrying this from my car into the gig. Yes that's right. I would not have been as ticked off except that expecting the bag to work I had my guitar and amp in my hands walking across a busy parking lot to get to my gig. Luckily, unlike the bag I did not die. Poor. I didn't even get one full night's use out of this bag! I'd look elsewhere. There are plenty of companies like SKB and Gator that specialize in these sort of bags. Heck, go to your local thrift shop. Anything will be better than this bag! This review was originally published on http://www.musicgearreview.com