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Boss GT-10B

#722
How is the Pitch Shifter in the GT10b compared to the GT6B or the PS6 stompbox?

I have a 6B (which I have been completely happy with) but I need to be able to detune a haft step on the fly in a band situation I'm in & the the shifter in the 6B is OK for that app but not great.
 
#724
No, it's silent when switching.

As to the pitch shifter, it's not a clean shift and imparts it's own sound on the notes. Plus it's a little slow so it adds some noticeable lag. I can't compare directly to the GT-6B but I'd think it's probably similar in performance.
 
#725
gastric said:
No, it's silent when switching.

As to the pitch shifter, it's not a clean shift and imparts it's own sound on the notes. Plus it's a little slow so it adds some noticeable lag. I can't compare directly to the GT-6B but I'd think it's probably similar in performance.
Click to expand...

Right, the most useable way is set it to "mono" on the speed, and the pre delay to zero, somehow the predelay IS the glitch sound IMO. Also set your fine to your regular interval too.
:eyebrow:
 
#726
Right, but you can set it to mono, no predlay, no feedback, no pitch shifting at all even, and solo the shifted signal and there's a delay and in thins out the tone noticeably. I'm not saying it's unusable, it'd be fine for live use as long as you can adjust to the slight delay. Just that it's not a totally clean pitch shift like something you'd get in post-production software.
 
#728
gastric said:
Right, but you can set it to mono, no predlay, no feedback, no pitch shifting at all even, and solo the shifted signal and there's a delay and in thins out the tone noticeably. I'm not saying it's unusable, it'd be fine for live use as long as you can adjust to the slight delay. Just that it's not a totally clean pitch shift like something you'd get in post-production software.
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Yeah for the aplication the guy was asking for I would say it gets a big "NO Way Jose"

but for subtle stuff, no higher than 2o fx level it is very useable IMO
 
#734
The octave is usable and includes four voices. According to the manual they are for tracking different areas of the fretboard properly but they seem to generally work all over and simply impart different voices from a solid, thick octave, to a thinner but sub-octave tone. I own an OC-2 and it doesn't sound at all like that, though nothing else does either that I've personally heard. If you want a driven octave, just pair the drive and octave effects noting you can put them in any order you want, include clean blend in either the drive and/or octave (so you could have a straight 100% octave into the drive but then using the blend options in the drive effect blend in the straight octave so you have both the original octave audible and the driven octave simultaneously).

Not sure about the jet flanger. Some of Roland's products, like the VF-1, specifically have a jet flanger effect. I've never used it and am not familiar with how it gets it's sound. But I thought it was a driven flanger so again you should be able to come close to it's sound with some simple effect pairing and ordering.

For DugDog's "signature" question, I have no idea what that even is. So I'd fail the audition. :) But I'm guessing they want you to be able to bang out a handful of classic bass tones. I'd think the GT-10B factory presets would cover that for you as there's smooth, deep sounds, rock sounds, driven punk sounds, etc. etc.
 
#735
I ordered the GT10B based on this thread and everything I've read/heard on the unit. I downloaded the manual, watched youtube videos, listened to tracks and read reviews. Unfortunately, I didn't have time to go try one (none of the local shops had one and I'm too busy to go out of town at the moment to find one - kids and work do that :) ). Thus I'll audition it at home and on a gig.

I'm excited to try it out. I usually know within 5 minutes if a piece of equipment will pan out for me. The acid test is if the bypassed "tone" (via XLR, 1/4" out and headphones) is pristine (coloration free, no hiss, no hum, distortion free, no digital artifacts, etc). I've returned more equipment than I care to admit based on this criteria.

Next is if I can get cool *basic* tones out of it... which I realize will take some time. By "basic" I mean the compressor and chorus

You may be asking, "if that's all he wants, why get a multi-effects unit"? Well, I want the ability to change to multiple compressor and chorus settings even within a song via noiseless switching. Plus, I want the ability to save these settings for easy recall with a visual display.

Also, I want to play around with the special effects (volume swell, distortion, sound hold, flange, delay, reverb)

Wish me luck and thanks everyone for the help in this thread (extra special thanks to gastric for putting recorded sounds on the web). It should arrive in a few days
 
#736
Mozarwasagenius - that's exactly why you'd buy a multieffect box. Lots of programming and options, even if you only plan to use 3-4 effects you ca do so much with just those 3-4 via the variety of parameters, blending, reordering, the fact you can now have 2 or more of the same thing in your signal chain (how about 3 compressors simultaneously, or frequency split to compress highs/lows separately using something other than the multiband compressor?). Plus the tuner, all the in/output, FX loop options, etc. etc.
 
#739
dug dog said:
Gastric: I think you're right about the presets covering most, if not all, classic tones. In this case, I was asking about a specific patch for Like a Virgin.
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Sorry, can't help you with that specifically. :) That's where patch sharing would be handy. I have to imagine there's plenty of cover band players that have one of these as that'd be an ideal buyer.

Like A Virgin sounds like a basic layered bass synth tone. You can't get that EXACT tone but you shouldn't need to. You can probably wow them with one of the synth factory presets, I'm sure if they simply hear a fairly static bass synth with chorus it'll be close enough to put smiles on their faces.
 
#740
I play in a cover band, but I think the problem with signature bass tones will be that they all depend on what bass you are using.
If you want to imitate Marcus Miller for instance, that will not be possible if you are using a Jazz type bass, no matter how good the Boss GT-10B is it cannot change a Jazz sound to a Precision sound and vice versa, the same goes for other typical sounds like a Stingray...

Example of what will work, Pino Palladino's bass sound when he was with Paul Young (Come Back and Stay) is using lots of Chorus and Octaver, and therefore you can use most other basses, there's no need for a Stingray, however since his Stingray was fretless, using a fretted bass will sound different (and the defretter in the Boss is useless)

Most signature sounds come from the bass and the player not so much from the effects they are using.
 

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