You'd think a guy who changed the way music was made not once but twice would be content to take a break and go fishing. But no. After creating the world's first programmable, sample-based drum machine (the LM-1) and the groovetastic Akai MPC60 and MPC3000 sampling workstations, Roger Linn returned to his first love--guitar. His AdrenaLinn and AdrenaLinn II guitar processors introduced rhythmically synchronized effects and filters, delivering yet another breakthrough sound for musicians.

Then in 2005 Linn teamed with M-Audio to make the Black Box, adding that company's manufacturing and recording expertise to his AdrenaLinn effect concepts. Last month, the partnership released version 2 of the Black Box firmware, adding more effects, more control, and enhanced computer features.

So what is the Black Box? According the press release, it's "the first creative tool for guitarists that combines amp modeling, powerful beat-synced effects, guitar/mic preamps, and drum tracks with an audio interface for computer-based recording." According to this reviewer, it's just plain cool.

Little Boxes

You might expect the Black Box to be a stealthy, coal-black cube. Actually, it looks a bit like an oversized game controller (see Figures 1 and 2). It doesn't take up much room on your desktop, and you can also mount it on a mic stand via a socket on the bottom. Connect the optional pedal board for a potent gig rig.

The Black Box debuted in January 2005; version 2 is a significant improvement. (Owners of the original can download the update from M-Audio for free.) Inside are models of 40 guitar and bass amps (up from 12 in the original), 121 beat-synced filter and modulation effects (up from 43), 100 drumbeats, a separate beat-synced delay, essential goodies like a tuner and noise gate, and a new stereo reverb and compressor (neither was included in the original).

Here's how it works. Say you want to dial up a nice twangy cowboy-surf tone. First, select an amp model--a Fender Twin, say. Touch the FX button, select Tremolo 1, and things get very interesting indeed. In addition to the usual numerical settings for tremolo rate, your choices include note values--everything from eight bars (!) to 32^nd-note triplets, perfectly synced to either the internal metronome or your sequencer (check out Example 1). As someone who has struggled to match tremolo to a track more times than I care to count, I was sold right there.

• Example 1. Beat-synced tremolo with Fender Twin amp model (188K MP3)

Figure 1. The Black Box is neatly laid out: two columns of buttons on the left for moving through the presets and drum patterns or selecting parameters to edit, four knobs on the right for level adjustments, a great big LCD screen, and four continuous soft knobs. There's a single Hi-Z input for your guitar and a 1/4-inch headphone jack in the front. Metering is limited to signal-present and clipping LEDs for the guitar and mic inputs.

Figure 2. A microphone input lets you process or record your voice or acoustic instruments. (There's no phantom power, limiting you to dynamic mics unless you have an alternative power source.) Output choices include balanced left and right line outs, S/PDIF digital, and USB 1. Output resolution is always 24-bit, 44.1kHz for both the digital outs and USB port. Inputs for two momentary switches and an expression pedal, and the receptacle for the wall-wart power adapter, round out the panel. Note the slot for the Kensington lock.

Related Reading Digital Audio Essentials A comprehensive guide to creating, recording, editing, and sharing music and other audio By Bruce Fries, Marty Fries