Among the delay units most used by guitarists, the chorus is undoubtedly the top of the chart, even if the intensive use made in the eighties and nineties has currently reduced and "disciplined" its use ...
Like all delay units, it too plays on "auditory memory", that is, the ability of the human brain to spatially place sounds of different origin, frequency and intensity (think of the effect of Haas and that Doppler ). The psycho-acoustic effect of the chorus, therefore, is that of the perception of a double source, with the same events that are presented on different levels in time and in the “tune”. In short, several voices but never identical in timing and intonation and which therefore make up a choir (hence the name of the effect). In the case of the guitar, the approximation of a similarity to a twelve string is always valid.
The signal path
Imagining a block diagram, the guitar signal is fed into an input mixer which splits the source signal by sending the "dry" line directly to a second (output) mixer and the other to a signal processor whose purpose is to delay it by a few milliseconds (typically 15 to 35) and filter it through a Low Frequency Oscillator. At the end of processing, the processed signal is also routed to the output mixer: Thanks to this last mixing, the “spatial” effect perceived by our ears is generated.
The LFO it is therefore an amplifier whose purpose is to modulate a signal in amplitude and is the main “responsible” for the increases - often deprecated by guitarists - in volume with activated effect, as well as for the heavy variations on the dynamic behavior of the instrument. In fact the chorus, in spite of an apparent “timbral transparency” compared to other delay effects, is ultimately quite invasive in terms of impact on the dynamic behavior of the treated source.
This “ingenerization” of the sound determines the parameters on which as a rule one can intervene. These can be multiple based on the more or less complex architecture of the machine, but the typical values that we will usually encounter in a guitar stomp are:
Width: Amplitude of modulation.
Rate: Amplitude modulation speed.
Depth: intensity of the signal processed on the dry signal (mix).
Tone: equalization of the treated signal.
Pre Delay: intervention delay of the treatment on the direct signal.
It is not uncommon to come across the use of different terminologies by some manufacturers: "Speed" instead of "Rate" or even "Depth" to indicate the amplitude of the modulation and "Mix" or "Intensity" to indicate the proportion between the dry signal and the processed signal.
TC Electronic SCF + Chorus
Despite the increasingly inclined address to the consumer market and the dislocation of part of the production in so-called countries. emerging, the prestigious Danish company is among the few on the world scene that has managed to keep electronic products in the catalog for entire decades. Which, together with the high quality, has determined the creation of real reference standards.
It is the case of the prestigious 2290 Digital Deal, like that of the most recent G-Force and - coming to us - the legendary and well-known SCF + Stereo Chorus, a real guitar icon in production for almost thirty years.
The SCF+ is a high quality stereo digital chorus, made in a splendid extruded aluminum container, painted in satin black and with great attention to the general layout. It is powered directly by a 220V mains cable. (Fig.1)
The machine is conceived for use as a real compact outboard, even if the classic “stomp” configuration has credited it mainly among guitarists. In short: This little pedal really holds many surprises in terms of completeness and flexibility of use.
The inputs and outputs:
Input
High impedance input (1 Mohm).
External Bypass
Remote control of the effect by foot switch (optional) or other switcher system.
Outputs (monaural)
This jack (left side) is the mono output of the effect or the left channel if used in stereo. The output impedance is 500 Ohms.
Outputs (stereo)
Right exit when used in stereo.
The controls:
Speed
Adjusts the speed of the modulation with a range that varies from one modulation every ten seconds up to ten modulations per second.
Width
Adjusts the amplitude of the modulations in a parametric range from zero to six.
Mode Selector
Three-position switch for three effect modes: Chorus - Pich Modulation - Flanger.
Intensity
- In mode Chorus: mixes the effected signal with the dry one.
- In mode Pitch Modulation: mixes the chorus effect with that of a second oscillator (vibrato).
- In Flanger mode: Determines the intensity of the second oscillator (comb filter) that the SCF is equipped with.
Input gain
Input pre-amplifier with gain up to 15db
LED indicators
- In stand-by mode, it indicates that the mains power is supplied.
- When the effect is activated it flashes providing a graphic indication of the modulation speed (speed).
Led overload
Indicates the clipping threshold of the unit. Turning it on involves the need to decrease the intensity of the input signal. The optimal regulation foresees its “occasional” ignition on dynamic peaks.
Bypass
Activate the effect (on / off)
The sound proof
We initially tested the effect in the classic “guitar” configuration (monophonic and series) using Klotz cables, Strato and a Les Paul, amp Fender and a Boss overdrive for saturated sounds.
Like all TC Electronic outboards, this SCF + is also characterized by a remarkable transparency and non-invasive timbre to the point that - except for extreme adjustments - after some time of use it is doubtful whether the effect is on or has been inadvertently deactivated. The timbre is crystal clear, elegant and with measured and never excessive modulations.
In my set up this stomp showed a very slight "hum" probably deriving from a ground loop due to the mixed 9volt / 220volt power supply. In any case we are talking about a negligible noise, noticed in the total silence of a completely soundproofed recording room. A starting point for the adjustments can be represented by the "dots" marked next to the "speed"and "width"And that the TC defines"golden ratio". These are simple combinations between the two parameters that the house considers to be "the best proportion". Personally I have deviated a little from the suggested “golden ratio” as I prefer a chorus effect (which I use very rarely and in very “ambient” arpeggios contexts) with very low speed values and more generous amplitudes.
Speaking of modulation amplitude, my personal (and very pragmatic) experience makes me distinguish choruses into two families: those that accentuate "flat" pitch variations and those that emphasize "increasing" peaks (exasperate the "width or “depth” of your chorus and pay attention to it). Here too psychoacoustic effects come into play which in fact are normally used in musical harmony.
Just think of the - typically jazz - rule according to which it is always possible to arrive at a note or a chord coming from the previous or next semitone. This use of "delays" results in a movement experience that broadens the musical language and eliminates feelings of static. The arrival at a precise rising note is (generally) harder on the ear than the approach from falling notes. This simplification of the concepts would distinguish - as mentioned - the two chorus families and ascribes the SCF + to the (personally more pleasant) one of the chorus “with waning modulations”.
In this machine the sensation of "floating" of the notes is however mitigated by the extreme transparency and precision of the BFO which ensures an always measured and elegant sound treatment. What has been said becomes macroscopic with the use of distortions which are the real test of choruses.
The preamplification of the input signal by a distortion device highlights all the strengths and weaknesses of this type of effect. Many cheap stomp, in fact, collapse in this test highlighting tonal distortions of the signal or “flanging” effects that are really too invasive. On this ground the SCF + is an unbeatable machine, capable of maintaining the original timbre unchanged and adding an absolutely balanced “chorushing”. In summary, we can say that the sensation of lightness and transparency in clean sounds - among other things typical of outboards of Northern European production - pays off amply in the use of distortions that become fully exploitable both in rhythms and in solos, without interference. of overtones and confused oscillations.
Test in stereo
Let's move on to the stereo test. The stereo test was "distorted" by the use of two different amplifiers (a Twin Reverb and a Deluxe Reverb both reissue). The different voices of the amps further expanded the stereo landscape but our SCF + has once again proved its belonging to a higher class of pedals. The stereo outputs of this unit alternate the modulation phase between left and right channels, with an excellent movement of images that go to occupy the entire physical listening space. For those who can, we strongly recommend the use in stereo that really exploits the full potential of the machine. What must certainly be said is that this effect never allows extreme adjustments and always remains contained within a measured range of timbral invasiveness. The general feeling is that even with very high “Intensity” levels, the treated signal is in the background compared to the dry one.
The other two effect modes (flangers e pitch+modulation) are affected, in my opinion, by their "derivative" nature with respect to the chorus.
Il flangers -in particular- it is excessively cautious and cold in spite of a type of effect which, in principle, should intervene massively on the signal. Instead, we are faced with a modest and raucous modulation with a "wah" type of voice that we consider not very musical and not very usable: We would have hoped for a nice "Jet" effect from a turboprop jet engine ...
More pleasantly we have welcomed the modality pich + modulation (central position of the selector) which overshadows the delay effect (chorushing) and enhances a “tremolo” type movement made available by the second oscillator of the machine. But even this mode never allows extreme modulations.
In conclusion:
Lovers of choruses "fit and sboroni" abandon the idea of buying this pedal, they will find it transparent and cold to the limit of impersonality. Lovers of "little appearances" who instead want a pedal in their set up that "never exceeds" and guarantees a touch of frugal elegance, will find a serious and reliable machine, usable in many contexts without ever running the risk of inflating the 'use.
For construction, quality and completeness, this TC Electronic “SCF + Stereo Chorus” can therefore well represent the “definitive chorus”, especially if we intend to use it in stereo; if anything, picking up a Gibson 335 and piloting a pair of Fender Twin Reverbs… to conquer the world.
Pro:
-Professional construction
- Mains power supply
-Great dynamics
- Respect of the input signal
cons:
-Extreme "measure" of intervention
-Price
USEFUL INFORMATION:
Producer: TC Electronic
Country of Production: Denmark
Model: Stereo Chorus + Pitch Modulator & Flanger
Distributor: TC Electronic Italy
Price: Eur 290 approx.
