ALM’s signature multi-effects module gets packaged in a new pedal format, suitable for guitarists or producers. Greg Scarth puts it to the test.
The new ALM MFX Pedal is a simple offering: repackaging the excellent MFX Eurorack module into a new anodised aluminium enclosure, this marks ALM’s first foray into pedals. So far, all straightforward, but the key consideration here is how ALM have tweaked the MFX formula to suit the needs of guitarists, synth players and others who don’t want the modular-centric features of the Eurorack version.
Aside from the obvious change of format, the physical specifications of the MFX Pedal differ in a number of ways to the Eurorack module, both in terms of control and connections. The distinction between the Euro and pedal versions is quite clearly defined: the MFX Pedal benefits from MIDI control and slightly more in terms of hands-on knob control, plus the option to hook up an expression pedal. The module, on the other hand, is much more focussed around CV modulation, especially with the optional AXON-1 or AXON-2 expander modules. If you’re already committed to Eurorack, the module is almost certainly the better choice, whereas the MFX Pedal will appeal to guitarists, synth players who aren’t into modular, and generally to producers who want to process sounds out of the box.
Sonically, the MFX Pedal shares its algorithms with the module version, but there are a couple of small differences to make things more suited to a broader range of sound sources. It’s still a stereo setup, but the inputs are now suitable for guitar, synth or ‘pro’ level instruments (note that you’d need to use something like ALM’s SBG module to match the levels if you wanted to process Eurorack signals through the pedal). The Pedal also benefits from an optional analogue gain stage with up to 10 dB of gain to boost quieter signals, plus a choice of relay-based true bypass or buffered DSP bypass. It’s worth noting that the Pedal can sync to MIDI clock or run on its internal clock with tap tempo, but there’s no option to sync to an analogue clock as you can with the module.
Much like the module, the MFX Pedal features 18 effects programs, only one of which can be used at any given time. There are nine varieties of reverb/echo program, dynamics, distortion, bit corruption, panning, ring and frequency modulation, chorus/ensemble, phaser, resonator and ‘utilities’ (oscilloscope, spectrum analyser, etc). The sheer depth of the programs on offer is hugely impressive, but what’s even more important is that the sound of the algorithms is top notch. ALM have clearly prioritised character, as evidenced by the emphasis on old-school digital reverb algorithms. Most of the programs are loosely based on specific pieces of vintage hardware. Highlights include the Alesis QuadraVerb-inspired Quaidra program, which offers infinite reverb tails and heaps of 90s character. The 2051 Bit Corrupter program, designed to replicate the sound of malfunctioning digital hardware, proves capable of adding glitchy effects in a surprisingly musical, controllable fashion. The TY-50 Dynamics engine is also noteworthy for its versatility, with stereo compression, mono side chain compression and stereo transient shaper modes.
Converting an existing piece of hardware to a slightly different format can sometimes feel like a slightly underwhelming process, but there’s clearly been a lot of care taken here to ensure that the MFX Pedal is a distinctly different offering to the module, with assignable hands-on controls and the option to get even more creative with an expression pedal. While the tweaks to the formula of the original Eurorack module are relatively small in terms of sound and features, there are plenty of nice touches which make the MFX more user-friendly for this new pedal format. Ultimately though, what’s most pleasing about the MFX Pedal is how it retains the usability of the original module but puts a new perspective on how it interacts with other equipment and the user themselves. The option to set clock speed via MIDI sync or tap tempo and then tweak it using Pamela’s Workout-style clock multipliers, for instance, proves excellent fun on delay and reverb programs. The original MFX module no doubt remains the better choice for committed modular enthusiasts, but the Pedal is a much better option for everyone else. If you use both modular and non-modular instruments, one of each would make a brilliantly versatile multi-effects setup to cover all bases.
Greg Scarth
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