I’ve spent a ton of time trying to structure a massive all-in-one article on Logic 9′s new Pedalboard plugin.  But honestly, its all new, and I want to really spend some time breaking down some of the awesome features. So today I’m going to do a little rundown on the Pedalboard’s internal mixer module.

If you’ve haven’t already heard, the Pedalboard plugin is a new guitar tone tool in your Logic Pro Studio toolbox.  It consists of a board space, routing space and module list.  You can drag modules (pedals) from the list on the right into the empty board space and they instantly link with the other pedals, which is shown in the routing space above your pedals.

You can move pedals left and right by dragging them around your board.  But things get really interesting when you start creating multiple signal-chains.

To split your signal and run it through multiple FX chains, you can either

1) drag a mixer module onto your board or

2) click on the name of a pedal in the routing space.  This will move the pedal to another signal chain and automatically insert a mixer module.

Once you’ve got a mixer module loaded, you can click the name of pedals in the routing area and they will automatically hop onto the other signal chain.

Finally, you can blend between the two signal chains with the cross fader.  Blending the tones of the A and B signals can create some cool options when trying to find the right distortion or combination of modulation FX.  Last, you can quickly switch between “All A,” “All B,” and “Mix” with the three-way switch at the bottom of the mixer module. I found this extrememly useful when I trying to decide between two tones, as opposed to blending them.  It also made it really easy to come up with two completely different sounds for a lead guitar part which I could present to the band in separate bounces.

Let me give you some small samples of blending tones in action.

Hi Drive Plugin – a lot more crispy top end.

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Vintage Drive Plugin – a bit darker, and a rounder low end.

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Two Overdrives Mixed together – maintained some crispy transients but with more emphasis on the low end.

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