Electro-Harmonix Tri Parallel Mixer
By Kevin Young
T
he success of any piece of equipment isn’t solely based on
what it does and how well it does it, but how (and if ) it will
inspire music-making and creativity. By that measure, the
Electro-Harmonix Tri Parallel Mixer is a rousing success that
offers significant possibilities for creating unique sounds and
a wealth of control for various performance and recording applications.
Unsurprisingly, like other EHX offerings, the unit is compact, simple
to use, and built to stand up to the rigors of the road. And although
stompboxes are typically in the wheelhouse of guitarists and bassists,
the possibilities this unit offers in terms of sound creation and control
should be of interest to other instrumentalists and vocalists wanting to
expand on their sound using FX, multiple sound generation sources,
and/or amp configurations; subsequently, it’s also a valuable tool for
recording studios or live audio pros.
Functionality
In a nutshell, the Tri Parallel Mixer provides users with the ability to run
three discrete FX loops in parallel and switch between, or combine,
those loops, combine or switch between three separate amp rigs, or
send three instruments to one output and mix those.
Control
The Tri Parallel Mixer has three footswitches to switch/combine the
aforementioned FX loops, amplifier setups, or sources. The pedal has
two modes: XOR and AND. In AND, the switches are used to activate
or deactivate individual channels. In XOR, when one switch is hit, the
remaining two channels turn off automatically.
Next, there are two global controls (Master Volume and Dry Vol-
ume). A single Master Status LED lights when the pedal is active and
in/out jacks are located on the right and left of the unit, respectively.
On the rear of the box are three pairs of 1/4-in. send and return jacks
corresponding to each channel.
Like other EHX products, the mixer provides substantial control
without being overly complex to set up or use. Each channel has an
identical set of control knobs – send, return, phase, and EQ – that
provide obvious functionality for tweaking FX in parallel and the other
aforementioned configurations. Each channel also sports a dedicated
LED indicator to display which is active at any given time.
Usage
The global Dry Volume and individual send/return knobs provide
powerful options for sculpting custom sounds while allowing you to
maintain as much of the tone and character of the original sound as
you’d like. While that’s a plus for any user, vocalists and instrumentalists
looking to preserve the bottom end and clarity of specific sounds will
find it particularly helpful and more powerful than any single pedal
with on/off and nothing in between, so to speak.
I typically run FX in series, preferring to establish my FX chain,
plug in whatever device I’m playing, and then tweak each car in the
train as necessary. Granted, I’m describing a recording workflow – still,
in that application, time may be at a premium and if there’s less of it
spent fussing and more just switching and blending via a single unit,
everybody wins. As a result, I’ve re-evaluated my go-to approach.
Generally speaking, running FX in series works fine, but some
persnickety devices – octavers and harmonizers, for example – are
easier to stack and more predictable when they’re exclusively receiving
an instrument’s dry signal. With these and others like them, adding
a pinch of this or that to your sound by setting up parallel FX is defi-
nitely preferable. Additionally, the phase control ensures everything
plays well together.
The live benefits of the Tri Parallel Mixer, regardless of your usage
and control configuration (i.e. for FX, amp rigs, instruments), are also
substantial. True, during a gig, you can depend on the audio engineer
to handle mixing/switching between various amp configurations;
however, this gives players the power to exercise more control on
the fly.
Bear in mind, too, that the Tri Parallel Mixer doesn’t necessarily
mean you’ll do away with FX chains. It’s more accurate to say that
it allows for three discrete chains, or combinations of amplifiers and
instruments. So, if you already have expertise in the area of construct-
ing sounds that tend to make animals scream and birds fall from the
sky, this device will dramatically up your game.
That said, if you prefer to use your newfound power for good,
the combination of control and sonic possibilities can be inspiring.
Beyond having the power to craft sounds that aren’t easily achievable
or, frankly, possible running FX in series, there’s a core benefit to the
Tri Parallel Mixer in any situation where the speed and clarity with
which you can perform or present your ideas is often critical – like
recording sessions.
Inspiration vs. Perspiration
The ability to comply with “Let’s hear it that way” without switching
cables or configurations means less likelihood of losing perspective
as a listener by mucking about. Again, the ability to quickly access the
XOR and AND modes is extremely helpful.
Beyond that, for comparison sound shopping at the start or end
of the signal chain, i.e. A/B-ing (or, in this case, A/B/C-ing) sources and
output options and combinations, this is a powerful and flexible tool.
Summary
The Electro-Harmonix Tri Parallel Mixer is a small but mighty tool that,
in my experience, is the musical equivalent of having a multi-tool close
at hand rather than having to dig through your toolbox to find just
what you need. It’s a solid workhorse that will come in handy in the
jam space, recording studio, or on stage.
Kevin Young is a Toronto-based musician and freelance writer.
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