They just keep on getting cheaper, and keep on sounding better. Christopher Holder invites you to be part of the budget effects revolution.

Cut price digital effects have been getting better and better over the last few years, and even the cheapest units can practically be guaranteed not to sound like a bowl of digital Rice Crispies. No longer confined to the studio, decent digital reverb emulations and clean delays are now to be found in the racks of many a performing musician or small PA rig operator. We put an upper limit of around £400 on this roundup.

The Boss SX700 has taken over the mantle from the earlier Boss SE-50 and SE-70, supplying reasonably priced, high quality effects with the odd welcome surprise to boot. For the live performer, the SX700 features three foot control sockets (assignable control pedal, an expression pedal, and a bypass switch), bright backlit display and illuminated buttons, but on the downside, why isn't there a dedicated wet/dry mix knob? The SX700 is even more adept in the studio, with the notable inclusion of RSS 3D panning algorithms, previously unheard of in such a low cost unit. Guitar players should also investigate the GX700 guitar effects processor, which offers similar features for the guitarist, albeit at a somewhat higher price.

Roland UK Limited — (Contact Details).

Zoom made their reputation bringing good sounding, distinctively styled multi-effects units to the lower cost end of the market. The 1204 certainly maintains their reputation for quality, but in a more traditional, rackmount package. For live use, the simple user interface is an advantage, with just a large two-digit LED display, two pots for on-the-fly editing of important parameters, plus low and high EQ and wet/dry mix knob. The effects quality is more than creditable, combining the subtle yet essential, with the quirky and interesting. The 512 effects and 100 user memory locations are also very attractive numbers at this price, as is its true stereo operation.

Exclusive Distribution — (Contact Details).

The DOD 512 derives its name from the number of patches, accessed via two rotary encoders and a 'Bank' switch. Patches are based on 32 basic effects with 16 variations of each. Just like the Zoom, operation is dead simple with three knobs accounting for input, output, and mix duties, with two more provided to access two key parameters for each effect type. In my opinion, the reverb effects are not really this unit's main strength, but there is still plenty else to keep you interested.

Arbiter Group plc — (Contact Details).

Not surprisingly, Marshall have built the JFX1 with the guitarist in mind, with quality processing and ease of use given top priority, but sacrificing a little in choice of algorithms and number of patches (for instance, you won't find any non-linear reverb effects). Importantly, when used with guitar, the dry signal remains in the analogue domain, passing through a high quality VGA rather than needlessly through the AD/DA process. Another notable feature is the welcome presence of warm sounding 'tape delay' type effects.

Marshall Amplification — (Contact Details).

With the EFX10, Viscount offer true stereo processing, full editability, decent MIDI spec, and a pleasant sound for under £250. Usefully, there are two footswitch sockets, one for stepping through effects patches, and the other you can define for your own use (bypass switch, hold switch for delay effects, or to select between slow and fast speeds on the rotary speaker effects). The EFX10 deserves serious consideration as a flexible, all-purpose workhorse, with a lot more features than the opposition at this price point.

Turnkey — (Contact Details).

Digitech have long been at the forefront in bringing prices of quality effects units down without compromising performance, and with the Studio Twin, they look to have got the balance between price, features, and quality just right. Don't let the Studio bit in the name put you off, this unit is equally adept at performing in a live environment. The front panel offers a good amount of control, with a handy one-band parametric EQ for fine tuning or troubleshooting. Further, the Studio Twin offers true dual effects processing, allowing for parallel effects combinations, ie. two discrete mono effects simultaneously — particularly attractive for the cash strapped ones amongst us.

Arbiter Group pic — (Contact Details).

If you're after high quality effects in an ultra low cost, set and forget, portable box, the Alesis Nanoverb must be somewhere near the top of your list. Given the price, the reverb selections are particularly classy, while an Adjust pot allows some customisation, by altering the single most useful parameter. The input impedance will, apparently, allow you to connect a guitar directly, while a footswitch socket confirms that Alesis see this unit, finding a place in live performance applications.

Sound Technology — (Contact Details).

The ART FXR and the FXR Elite are variations on the same theme. The FXR provides preset only performance, while the Elite offers control over two parameters, MIDI control as well as being able to store the changes. These units are great if you are after a good range of very usable, high quality effects to scroll through, without having the chore of tinkering and fine tuning. The Elite also sports a Dry Kill button that mutes the dry signal without having to adjust the Mix pot; you'll also find a footswitch socket on the more expensive model, both are true stereo devices.

Key Audio Systems Limited — (Contact Details).

An affordable 'Lexicon sound' is the main attraction here, coupled to a friendly user interface, and as a result, the Alex has proved very popular with performing musicians for a number of years now. There's no MIDI capability, little user memory, and editing is very limited, but the general consensus remains 'who cares?', given that the reverb is what it is (invariably, most acceptable, without any tweaking). The chorus, delay and flange effects are also worth a look (if you're privileged enough to have a better reverb on hand that is).

Stirling Audio Systems — (Contact Details).

Instantly recognisable as a Peavey unit, the Deltafex offers digital effects in the cheapest, most stripped down package possible (although I mustn't speak too soon, I guess!). This being Peavey, the roadworthiness of the Deltafex is never in question — the table of effects is large and quite easily spotted, while the footswitch socket offers further options. The reverbs aren't uncannily convincing, although that's not really a problem for live applications, but the delays, phaser, and chorus effects should certainly be enough to maintain your interest.

Peavey Electronics Limited — (Contact Details).

Yamaha's REV500 is the company's latest effort and is already causing a stir with its classy digital reverb emulations and excellent user interface that includes four dedicated parameter editing pots. There's a built-in drum sample that can be triggered on the front panel to audition each effects patch, which is one of those features you'll wondered how you lived without. It's got all the credentials for a strong on-stage performer. The REV100 on the other hand is a good looking, easily operated multi-effects box, particularly strong on modulation and delay effects.

Yamaha-Kemble Music (UK) — (Contact Details).