Price paid: € 195
Purchased from: MI Music Store
Ease of Use — 4
In many ways, this is one of the feet of great toy music lovers, guitarists and vocalists who want to get a new experience with sound, but remember that this makes the whole thing better, if you do not sing quite right pitch, the only thing you got will distort. Electro-Harmonix is known for a lot of things, and portability and usefulness are definitely some of them. Their eccentric nature throughout the years has produced some of the most coveted sounds of all time. While only time will tell if the V256 Vocoder will join the ranks of their most famous pedals, it is safe to say that it certainly has the capabilities and uniqueness to do so. They've effectively taken what was considered to be a one-trick pony and squeezed out all of the prospects that it could be capable of, and crammed them into this diminutive device. However, like so many other effects, it has a time and a place, and it definitely won't get stepped on as often as a good overdrive or delay. For those who want to push their boundaries just a little further however, the V256 might be just the ticket.
Sound — 7
If you're a fan of Muse then this will be a great playthings for guitar and voice. The V256 welds your voice to your axe inspiring the twist of creativity that can make all of the difference. In general, if you can play and sing at the same time you can get a fun sounds at studio for experiments.
You can take it to any tube or transistor amplifier + PA sistem, but be careful with the overload capabilities. Operate with this pedal is quite difficult, basically you need four hands, to take full advantage of the opportunities provided. Mostly the possibilities offered by the digital sound is pretty, harmonious and robotic manipulation.
Reliability & Durability — 5
This pedal can be used mostly only studio recording. To use this pedal living you well need a backup. The pedals are made of fold, durable material and all the components are designed durable.This device should be explored thoroughly to apply in specific cases.
- Blend control
- 9 programmable memory locations
- Vocoder band adjustment from 8-256 bands
- Gender bender for male or female emphasis adjust
- Reflex Tune for articulate vocal pitch-correction
- 3 robotic voices and single, major, and minor drones - all with pitch control
- XLR microphone connector with phantom power
- Transposition for pitch-shifting
- Instrument control for monophonic pitch replacement
Overall Impression — 5
If you play electric pop music it's ok for that, but for rock it's need too be more specialized. After a few times in attempts to make clear that the use is possible in very specific times when it is really needed. Use this effect pedal for records, putting the sounds on the backside. If there were potential future connectivity to a computer, then the pedal would be much more meaningful.
One of the best things about my job is that no matter how much gear that I come across, there's always something coming down the pipe that I can learn more from. The V256 is a perfect example, as the only reference that popped up in my mind was Peter Frampton and his talkbox. I decided to dive right into exploring the V256, starting with a squeaky-clean setting from a Mesa Boogie Electra-Dyne half-stack and a 1978 set-neck Ibanez Iceman. The V256 has dual inputs and outputs, one on each side for a microphone XLR connection and a standard 1/4" TRS instrument plug. I had the option of using both a P.A. (from the XLR out) and the guitar amplifier (from the 1/4" out) in tandem, but I decided to see how well the pedal performed with both signals combined, going straight into the Electra-Dyne. I figured that this would be the most common setup for the gigging guitarist, one with minimal effort and connections.