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Here, one pair of footswitches selects edit parameters while the other pair adjusts values. There’s even a terrific hands-free mode to tweak settings while standing above the board. That simple quartet of footswitches is more powerful than you might imagine, because the Gigboard’s multiple switching modes are tailored to typical tasks, from auditioning presets to controlling effects on the fly. That means you can activate/bypass multiple models and alter their settings with a single foot tap. There’s also a “scene” mode where you can access multiple setting combinations within a given rig. There’s a jack for an expression controller and another for an external footswitch (hardware not included). You can assign the onboard switches and external controllers however you like. You can toggle between two active amp/cab setups within a single rig for virtual amp switching. You can split your signal into two parallel paths and reunite them at any point in the effects chain. Still, you’ve got a lot of flexibility when constructing your rigs. Players who recoil from such extreme options may relate to HeadRush’s simplicity. This clever, intuitive, and ergonomic UI is a delight to work with.Ĭompare that to, say, a Fractal system, where there might be more than 50 adjustable parameters, from simulated mains voltage to virtual tube biasing. For example, the amp editor offers a choice of models, volume and tone controls, and a palette for choosing a representative color. The controls that appear when you double-tap a virtual component usually mirror those of the modeled device. The Gigboard’s models tend to offer fewer edit options than most rival products, and that’s not necessarily a bad thing. This clever, intuitive, and ergonomic UI is a delight to work with. Large graphics and high-contrast colors make everything easy to read when standing above the board. You add and arrange models with a fingertip. Each preset (HeadRush calls them “rigs.”) includes options for as many as 11 amp, cab, mic, and effects models and their settings, displayed via a pedalboard-style graphic. Choose values with the large rotary encoder, and then push the encoder to enter. Basic operation is straightforward: Touch the screen to select sounds and parameters to edit. It took me less than a minute to begin auditioning sounds. The control panel is disarmingly simple: two knobs, four switches (illuminated by multi-color LED strips), and a full-color 7"touchscreen.The jacks and knobs are plastic, but all other surfaces are metal. The Gigboard lives in a compact 13" x 9" x 3" steel enclosure weighing under eight pounds. The Eleven sounds may feel familiar, but the pedalboard’s hardware, interface, and user experience are decidedly new. Still, it’s easy to discern similarities to earlier Eleven sounds.
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According to HeadRush, the Eleven code has been extensively reworked.
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The Gigboard’s software descends from Eleven, a modeler HeadRush now owns after a purchase from Avid, the company behind Pro Tools. In other words, the Gigboard is to the Pedalboard what Fractal’s AX8 is to their Axe-Fx, or what Line 6’s Helix XT is to the large-format Helix. It has fewer footswitches and no built-in controller pedal, but its tones and operating system are similar. 99 85209 alexis fido 5 letras 2.The Gigboard is a scaled-down version of the Pedalboard, HeadRush’s flagship amp and effects modeler.
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