Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Boss GT 1000Core
- Thread starter Krisfield
- Start date
Can you set up a patch so that the foot switches can turn an effect (like OD, chorus, delay, etc.) on and off?
Absolutely. Has two control modes:
Memory Mode - recalling patches.
Manual Mode - operating effects in the patch, which are assigned to the foot switches.
Memory Mode - recalling patches.
Manual Mode - operating effects in the patch, which are assigned to the foot switches.
What is this feature intended for? Live performance? Reamping tracks? Mastering a multitrack project?
All of the above. I think "Mastering Effects" is a good catch all name for what that FX block is doing, as a single setting is giving you the outcome of several effects together (EQ, Comp, Limiter) in a single block and is intended to be run at the end of the entire chain, including Speaker Sim. You can place it anywhere in the chain, but I really do feel that it does best at the very end.
To add to Correlli's reply, you can also have most any setting be assigned to a foot switch, including for example having one Amp block turn on and another off and at the same time changing any parameter of an Effects block.
It took a bit of reading the manual and watching tutorials for me to get how it all works, but now it makes perfect sense. I'll say that I find it a lot easier to get complex switch assignments done via the app on the computer.
From the Parameter Guide for the Master FX. “recording or playing back what you performed in the line-level environment.”
There’s no reason why you couldn’t insert the GT1K/Core in your DAW for mastering a project. There’s three FX blocks. Eg, Compressor, EQ, Limiter.
There’s no reason why you couldn’t insert the GT1K/Core in your DAW for mastering a project. There’s three FX blocks. Eg, Compressor, EQ, Limiter.
Have had a GT1000 Core since it was released and really like it. Its UI, hardware build quality and sound is great.
I would be interested to see how others have approached making some patches to emulate that classic Stevie Fuzz Bass sound that the 3Leaf Doom 2 creates. My attempts all sound too Darkglassy, and have too many harmonics generated. I have tried a few multipath configs that LPF the source prior to the Distortion module and it gets closer but still I am some way away.
Here is a good reference to another approach using a Tribute Audio "Big Fatty Fuzz" Pedal.
I would be interested to see how others have approached making some patches to emulate that classic Stevie Fuzz Bass sound that the 3Leaf Doom 2 creates. My attempts all sound too Darkglassy, and have too many harmonics generated. I have tried a few multipath configs that LPF the source prior to the Distortion module and it gets closer but still I am some way away.
Here is a good reference to another approach using a Tribute Audio "Big Fatty Fuzz" Pedal.
I like that tone, going to work on it. My feeling is the bass has flats on it? It’s a very tight bottom end. I’ve dialed up a tone but I have new stainless steel rounds on my basses and it doesn’t sound tight enough. I’m using the Concert Amp. EQ I have high passed at 100hz, cut the treble and have gotten close. The Bass Fuzz effect seems to sound closest. Will get a set Chromes over next couple of days and see if it makes a difference. I’m thinking it will.
Last edited:
Another thing I’m noticing is when the player goes to the higher notes, they’re sounding a bit thicker than what I would expect. So I’m thinking there could be a touch of -1 Octave effect with a 80% direct level. Just enough to get that thick, synthy, grinding, fuzz sound.
Funny you say that - I was experimenting with some OC2 in there to also change the period of the clipping. I really like the Fuzz sounds like a clean single clip at the peak of each cycle of the waveform.
The tone on the bass in that clip appears to be really tight as you said.
The tone on the bass in that clip appears to be really tight as you said.
I’ve been working the P Bass fuzz tone. Enjoyed trying to cop the sound and learnt a lot. It can definitely can be done with the GT. Exactly, not sure. Problem I encountered is my basses are fitted with Dimarzio Model P’s, which are hot pickups with an aggressive mid range. I think the P bass in the example probably has Fender stock or vintage pickups? It sounded to me to have a lot smoother and fatter mid range. So the patch signal chain I came up with,
Input > Bass Octave > Bass Fuzz > Concert Amp > Noise Gate > Para EQ > Parallel Compression > 8x10 cab, 421 mic > Hard Limiter > Output
Here’s the settings I got too.
The Bass Octave could be optional. Couldnt decide whether it’s in the example, but it sounded like a good tone thicker and added some Octave grind. Or, The thick tone could be heavy gauge flats.
-2 Octave / 2
-1 Octave / 0
Direct level / 50%
I experimented between 60’s Fuzz, Muff Fuzz, Bass Fuzz. The Bass Fuzz sounded best to me.
Drive / 30
Tone / -5
Level / 50
Bottom / -50
Direct Mix / 100
Solo SW / Off
Solo Level / 0
The Concert Amp is supposed to be the vintage style amp, and sounded the best.
Gain / 20
SAG / +5
Res / +5
Level / 50
Bass / 50
Middle / 80
Treble / 50
Presence / 50
Bright / Off
I used the Gate to clamp down on any noise when I wasn’t playing a note. Made the short staccato and ghost notes sound tight and quick.
Threshold/ 100
Release / 100
Detect / Input
The EQ was the hard part. There’s a massive mid range bump and a very tight low end. I gave the High Mid Q a wide bell shape to cover more freqs in the Mids.
Low Cut / 80hz
Low Gain / 0
Low Mid Freq / 100hz
Low Mid Q / 8
Low Mid Gain / +15
High Mid Freq / 1.25khz
High Mid Q / 0.5
High Mid Gain / +10
High Gain / 0
High Cut / 3.15khz
Level / +5
Feels Compressed to me which adds to the punch when you hit the note, and smoothes out the Fuzz and overall tone. I put the compressor after the Amp because the X Bass Comp has a Direct Level to mix the compressed sound with uncompressed EQ sound. When I had the Direct Level at 100, it took away from the big mid range bump.
Thres / 40
Attack / 0 (slow)
Level / 45
Tone / -50
Ratio / 20:1
Direct Level / 50
Because I was monitoring through my Audio Interface, I used speaker sim. Main Speaker Sim was a choice between 2x15 or 8x10. To my ears, the 2x15 brighter and 8x10 sounds darker. You can adjust the brightness of the 2x15 with Mic Position. Whenever I've seen a mic'd bass cab in the studio, the mic has been positioned further away from the speaker. So I used Long Mic Distance.
SP Type / B2x15
Mic Type / DYN421
Mic Distance / Long
Mic Position / 10cm
Mic Level / 100
Direct Mix / 0
I used the Hard Limiter to shave off any peaks and an overall volume boost.
Dynamics / 4
Tone / 4
Natural / 4
Output settings left in default positions.
Last edited:
Correction: 2x15, not 8x10
Input > Bass Octave > Bass Fuzz > Concert Amp > Noise Gate > Para EQ > Parallel Compression > 2x15 cab, 421 mic > Hard Limiter > Output
Input > Bass Octave > Bass Fuzz > Concert Amp > Noise Gate > Para EQ > Parallel Compression > 2x15 cab, 421 mic > Hard Limiter > Output
Just got done checking out the Mastering FX through my FRFR set up, and man oh man is it amazing! Brought my tone to life, giving it a very punchy, fat tone while retaining all the note definition. Can’t wait to hear it through the Church’s IEM set up!
I've found the Mastering Effects block to be the literal definition of what we in TB mean by "Tone Magic Sauce"
The difference when I turn the FX block off and go back to my original tone is glaring!
Last edited:
I have not tried it yet through my SWR rig, but I imagine it will make a noticeable difference there as well.
