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Boss GT-1B discussion thread

Discussion in 'Effects [BG]' started by coyote1, Oct 31, 2019.


  1. coyote1

    coyote1

    Mar 23, 2012
    Discuss.

    (Don’t you hate when people do that?)

    Really though, I think the unit deserves a dedicated thread. It has so much capability, but getting to and modifying the parameters isn’t always easy. The reason I’m starting this thread is to give<>get general tips on using it, and to archive these things for easy reference.

    So my first item is this: I want ALL my non-‘swirling’ effect patches to have one channel be effect, and the other dry. Let’s say therefore I always have ‘left’ be the effect, and ‘right’ be dry. On those patches, I generally want the pedal to control the volume ONLY of the effect.

    I might therefore want to add the second pedal, so it could on most patches control overall volume of both channels.

    If I do those things I can plug the bass directly into the input of the GT-1B, rather than using a mixer for such routing. So now I have to dig in, and figure it out. Will document what I do, and post it in this thread.

    Oh, and one more thing: it drives me bonkers when the level of one patch vastly exceeds the level of another. I do wish Boss would be more careful about this with their presets.
     
    Last edited: Oct 31, 2019
    bap1970 and Rilence like this.
  2. Hi everybody.
    Maybe some of you already know about this, but I just discovered that the expression pedal can be assigned to turn the tuner on/off.
    This is a lot easier than hitting the two buttons at once. I assigned this for the patches I used with my band before this weekend's gigs. What a handy, useful hack for making the gig go smoothly.
    If anyone knows of other "hacks" that are super helpful, it would be great to hear them. I'm so glad I found this group. I know I'm not the only one who is regularly using the GT-1B for playing live.
     
    Meaculpa, nuage420b and Rilence like this.
  3. -- I moved this from another thread because I didn't see this thread --

    I picked up a used GT1-B about 10 weeks ago because I didn't want to spend for a used Slow Gear. I only plan to use it for effects live, no preamps, as I like my amp controls and easy on the fly tone changes better than the GT1 preamp settings.

    I was wondering how to control multiple effects at once, as well as fully bypass the unit without engaging the tuner. After playing with an FS-6 as CTL2 and 3, I found a neat, easy to use feature that doesn't appear to be well documented or used in the factory patches. I haven't seen it discussed much online.

    In Tone Studio, on the CTL/EXP page, we can assign multiple functions to the CTL1, other switches, or expression pedals using ASSIGN 1-6. When enabled we can turn it ALL (up to six items) on or off with one button. It's stored by patch, not globally, so the other patches can still use CTL1-3 as desired.

    In effect, it can also be a full bypass switch without switching to a blank unity gain patch.

    upload_2020-6-29_13-29-25-png.png
     
  4. Yes, I also recently started using the assign feature via the usb connection. This makes it possible to have many different patches within one patch, even without adding extra foot switches, much like the Line 6 snapshot feature on their units.
    I had been thinking of picking up either a Pod Go, or an HX Stomp, but now that I'm digging more deeply into the GT-1B's capabilities I think I'll stick with it for now. It handles (easily) what I need for my cover band and at home practice situations.
     
    Plain Old Barry likes this.
  5. I recorded a short video tutorial for how to assign the expression pedal to operate the tuner, but I can't seem to get the format right to be able to post it here on Talkbass.
    Does anyone know which format I need to convert it to so I can post it here? I've tried several already (unsuccessfully).
     
    nuage420b likes this.
  6. I think the GT1b is by far the best affordable bass unit out there... Though the B3n is really top notch too.
     
    nuage420b likes this.

  7. Can you put it on YouTube and post a link?
     
  8. My band played a private party for the 4th of July. Here’s my trusty GT-1B on the job.
    (I was a little concerned about the proximity to the pool, and splashing children, but we escaped unharmed.)
    I included the firework photo just for fun. 65A316B2-41C3-4880-BB97-856F64F53361.jpeg 070B67F1-EC66-4D64-A870-AF512B649C89.jpeg
     
  9. nuage420b

    nuage420b Supporting Member

    Dec 7, 2014
    USA
    I spent about 4 hours last night building my own patch, and then I listed my pedal on reverb and removed pedals from my wish list. Added the footswitch, a tuner, and a compressor lol. If I were ever reach a point that I need more than this to perform ill have sponsors sending me stuff...
     
  10. If you can't get a decent price, it makes a pretty decent headphone amp and digital interface.
     
    Voyevoda likes this.
  11. nuage420b

    nuage420b Supporting Member

    Dec 7, 2014
    USA
    I've used it for both. Recorded through ableton and I've used it for headphone practice in the middle row of my car
     
    Plain Old Barry likes this.
  12. It's way more than a pedal. If I stopped using it live, I'd keep it for the other functions.

    I don't need the preamp live, as I like my Mark Bass rig straight in. I do like the ability of it to replace a bunch of pedals, including graphic and parametric EQ's for different basses without touching the amp. I can build presets for different 4 and 5 string basses to keep the level identical and the tone right for each axe.

    I've built different effect or EQ sets for each bass as needed. One bass has only one preset, some have 5-8, depending on the songs I use them on. Some presets only get used for one song, with a specific instrument.

    I still prefer an external MXR compressor though, simply for the ability to adjust on the fly, and a Boss tuner because I can see it better.
     
    FuzzFacetious and nuage420b like this.
  13. nuage420b

    nuage420b Supporting Member

    Dec 7, 2014
    USA
    too funny, were pretty much running the same rig. on my markbass the only knob i want to adjust is the ultra low when i want it. other than that i wanna leave ultra low and low around 1 mid pulled back to the 9 and the highs around 11. set gain noon the master and use the expression pedal for the rest of the volume control. it'll be great to add the foot switches but I've been messing around with switching between 2-3 settings in a single song and it's not bad with repetition. I think spending a few hours and being able to over time continually tweak my patch is invaluable. The only thing I want to try is recording through the XLR of the amp instead of the USB on the gt1b. I prefer to go through the front and not the effects loop so the XLR recording should be the wet signal right?
     
  14. Yup!

    I run my LMIII pretty much flat, with a small dent on low mid and occasional +1 on bass. usually finding the basic tone with the VLE and VPF knobs.

    I'll usually use the GT1-B for chorus, flange, t-wah, or phaser, occasionally as a drive with the Bass Driver, and occasionally the volume pedal.

    I have a few one or two song "total sound" patches built to imitate a bowed or plucked string bass (think Stray Cat Strut or Good Riddance), as well as a super scooped reggae tone. I also have a fake organ sound built for baseball or hockey oriented talk to the crowd sessions.

    It's a great tool that really deserves a lot more documentation and attention. My current jam band plays 65-75 songs a show. I'm not at all a heavy effects user, but this thing is great for my usage. It really beats a 3 foot wide board for my needs.
     
    nuage420b likes this.
  15. nuage420b

    nuage420b Supporting Member

    Dec 7, 2014
    USA
    BOSS - Support - GT-1B - Owner's Manuals

    So I downloaded the Parameter Guide/ Sound List and have been going through it and I know I had burning questions as to what each effect was supposed to replicate. This might be obvious to some but I thought I might go ahead and put the condensed info in here in case someone wants a quick reference The link is up top to download the PDF and I'll copy the content into here as well with the main topic LARGE FONT so you can catch it with your eye as you scroll:

    FX1/FX2
    With FX1 and FX2, you can select the effect to be used from the
    following. You can select the same effect for FX1 and FX2.
    Parameter Value Explanation
    ON/OFF OFF, ON Turns this effect on/off.
    TYPE Refer to FX1/FX2 TYPE
    FX1/FX2 TYPE
    This is a list of the effects that can be selected for FX1/FX2.
    Effect Name Explanation

    COMPRESSOR This is an effect that produces a long sustain by evening
    out the volume level of the input signal. You can also
    use it as a limiter to suppress only the sound peaks and
    prevent distortion.
    LIMITER The limiter attenuates loud input levels to prevent
    distortion.
    T. WAH You can produce a wah effect with the filter changing in
    response to the bass level.
    GRAPHIC EQ This adjusts the tone as a equalizer. You can adjust the
    tone character in seven bands.
    PARA.EQ
    (PARAMETRIC EQ)
    Adjusts the tonal quality. You can adjust the tone
    character in four bands.
    ENHANCER
    This is an effect that clarifies the contour of the input
    sound by emphasizing the attack of the sound following
    changes in the input level.
    TONE MODIFY This changes the tone of the connected bass.
    BASS SIM
    (BASS SIMULATOR)
    Simulation of the characteristics of particular bass
    components such as pickups and different bass bodies
    allows you to switch among a number of different BASS
    types all while using a single bass.
    SLOW GEAR This produces a volume-swell effect (“violin-like” sound).
    DEFRETTER This simulates a fretless bass.
    BASS SYNTH This is a synth sound that processes the bass input signal.
    OCTAVE This adds a note one octave lower and a note two octaves
    lower, creating a richer sound.
    PITCH SHIFTER This effect changes the pitch of the original sound
    (up or down) within a range of two octaves.
    HARMONIST
    Harmonist is an effect where the amount of shifting
    is adjusted according to an analysis of the bass input,
    allowing you to create harmony based on diatonic scales.
    OVERTONE
    This effect uses MDP (Multi-Dimensional Processing)
    technology to add new harmonics to the sound,
    producing resonance and richness that was not present in
    the original sound.
    PHASER
    By adding varied-phase portions to the direct sound, the
    phaser effect gives a whooshing, swirling character to the
    sound.
    FLANGER The flanging effect gives a twisting, jet-airplane-like
    character to the sound.
    TREMOLO Tremolo is an effect that creates a cyclic change in volume.
    ROTARY This produces an effect like the sound of a rotary speaker.
    UNI-V
    This models a Uni-Vibe.
    Although this resembles a phaser effect, it also provides
    a unique undulation that you can’t get with a regular
    phaser.
    VIBRATO This effect creates vibrato by slightly modulating the
    pitch.
    RING MOD.
    (Ring Modulator)
    This creates a bell-like sound by ring-modulating the bass
    sound with the signal from the internal oscillator. The
    sound can be unmusical and lack distinctive pitches.
    HUMANIZER This can create human vowel-like sounds.
    CHORUS In this effect, a slightly detuned sound is added to the
    original sound to add depth and breadth.
    SUB DELAY This is a delay with the maximum delay time of 1,000 ms.
    This effect is useful for making the sound fatter.


    COMPRESSOR
    This is an effect that produces a long sustain by evening out the
    volume level of the input signal. You can also use it as a limiter to
    suppress only the sound peaks and prevent distortion.
    Parameter Value Explanation
    TYPE
    Selects the compressor type.
    BOSS This models a BOSS CS-3.
    HI-BAND This is a compressor that adds an even
    stronger effect in the high end.
    LIGHT This is a compressor with a light effect.
    D-COMP This models a MXR DynaComp.
    ORANGE This is modeled on the sound of the Dan
    Armstrong ORANGE SQUEEZER.
    FAT When applied heavily, this compressor effect
    provides a fat tone with a boosted midrange.
    MILD When applied heavily, this compressor effect
    produces a sweet tone with the high end cut.
    STEREO This selects a stereo compressor.
    SUSTAIN 0–100
    Adjusts the range (time) over which low-level
    signals are boosted. Larger values will result in
    longer sustain.
    ATTACK 0–100 Adjusts the attack time.
    LEVEL 0–100 Adjusts the volume.
    TONE -50–+50 Adjusts the tone.


    LIMITER
    The limiter attenuates loud input levels to prevent distortion.
    Parameter Value Explanation
    TYPE
    Selects the limiter type.
    MULTI
    This is a limiter that divides the input signal into
    three frequency regions (low, mid, and high)
    and applies optimal settings to each region.
    BOSS This selects a stereo limiter.
    RACK 160D This models a dbx 160X.
    VTG RACK U This models a UREI 1178.
    THRESHOLD 0–100
    Adjust this as appropriate for the input signal
    from your bass. When the input signal level
    exceeds this threshold level, limiting will be
    applied.
    RATIO 1:1–INF:1 This selects the compression ratio used with
    signals in excess of the threshold level.
    LEVEL 0–100 Adjusts the volume.
    ATTACK 0–100 Adjusts the attack time.
    RELEASE 0–100 Adjusts the release time.


    T. WAH
    You can produce a wah effect with the filter changing in response
    to the bass level.
    Parameter Value Explanation
    MODE
    Selects the wah mode.
    LPF Low pass filter. This creates a wah effect over a wide
    frequency range.
    BPF Band pass filter. This creates a wah effect in a narrow
    frequency range.
    POLARITY
    Selects the direction in which the filter will change in response to
    the input.
    DOWN The frequency of the filter will fall.
    UP The frequency of the filter will rise.
    SENS 0–100
    Adjusts the sensitivity at which the filter will change
    in the direction determined by the polarity setting.
    Higher values will result in a stronger response. With
    a setting of 0, the strength of picking will have no
    effect.
    FREQ 0–100 Adjusts the center frequency of the Wah effect.
    PEAK 0–100
    Adjusts the way in which the wah effect applies to
    the area around the center frequency.
    Higher values will produce a stronger tone which
    emphasizes the wah effect more. With a value of 50
    a standard wah sound will be produced.
    E.LEVEL 0–100 Adjusts the volume of the effect sound.
    D.LEVEL 0–100 Adjusts the volume of the direct sound.


    GRAPHIC EQ
    This adjusts the tone as a equalizer. You can adjust the tone
    character in seven bands.
    Parameter Value
    40Hz
    -20–+20 dB
    100Hz
    250Hz
    500Hz
    1kHz
    2.5kHz
    8kHz
    LEVEL -20–+20 dB


    PARAMETRIC EQ
    Adjusts the tonal quality. You can adjust the tone character in four
    bands.
    Parameter Value Explanation
    LOW GAIN -20–+20 dB Adjusts the tone for the low frequency
    range.
    HIGH GAIN -20–+20 dB Adjusts the tone for the high frequency
    range.
    LEVEL -20–+20 dB Adjusts the overall volume level of the
    equalizer.
    LM FREQ (LOW-MID
    FREQUENCY) 20 Hz–10.0 kHz
    Specifies the center of the frequency
    range that will be adjusted by the LOWMID
    GAIN.
    LM Q
    (LOW-MID Q)
    0.5–16
    Adjusts the width of the area affected by
    the EQ centered at the LOW-MID FREQ.
    Higher values will narrow the area.
    LM GAIN
    (LOW-MID GAIN) -20–+20 dB Adjusts the low-middle frequency range
    tone.
    HM FREQ
    (HIGH-MID
    FREQUENCY)
    20 Hz–10.0 kHz
    Specifies the center of the frequency
    range that will be adjusted by the HIGHMID
    GAIN.
    Parameter Value Explanation
    HM Q (HIGH-MID Q) 0.5–16
    Adjusts the width of the area affected by
    the EQ centered at the HIGH-MID FREQ.
    Higher values will narrow the area.
    HM GAIN
    (HIGH-MID GAIN) -20–+20 dB Adjusts the low-middle frequency range
    tone.


    ENHANCER
    This is an effect that clarifies the contour of the input sound by
    emphasizing the attack of the sound following changes in the
    input level.
    Parameter Value Explanation
    SENS 0–100
    This adjusts the Enhancer sensitivity. The
    more the value is increased, the more
    softly you can play and still have the
    effect applied.
    LOW 0–100 Adjusts the enhancer volume for the low
    frequency range.
    HIGH 0–100 Adjusts the enhancer volume for the
    high frequency range.
    LOW FREQ 31.5Hz–125Hz Sets the low frequency range for the
    enhanced sound.
    HIGH FREQ 800Hz–8.00kHz Sets the high frequency range for the
    enhanced sound.


    TONE MODIFY
    This changes the tone of the connected bass.
    Parameter Value Explanation
    TYPE
    Selects the type of tone modification.
    FAT Fat tone with boosted mid range.
    PRESENCE Bright tone with boosted high-mid
    range.
    MILD Mild tone with the high end cut back.
    TIGHT Tone with the low frequencies cut.
    ENHANCE Tone with the high frequencies boosted.
    RESO 1–3
    (RESONATOR 1–3)
    This produces a tone with greater power
    and punch by adding resonance in the
    low-frequency range and midrange.
    LOW -50–+50 Adjusts the tone for the low frequency
    range.
    HIGH -50–+50 Adjusts the tone for the high frequency
    range.
    LEVEL 0–100 Adjusts the volume of the effect sound.
    RESONANCE 0–100
    This adjusts the strength of the low-end
    and midrange resonance when TYPE is
    set to RESO 1, 2, or 3.

    BASS SIMULATOR
    Simulation of the characteristics of particular bass components
    such as pickups and different bass bodies allows you to switch
    among a number of different bass types all while using a single
    bass.
    Parameter Value Explanation
    TYPE
    Selects the type of the bass simulator.
    PAS0ACT
    Changes from a passive type pickup tone to an
    active type pickup tone.
    ACT0PAS
    Changes from an active type pickup tone to a
    passive type pickup tone.
    SGL0HUM
    Changes from a single-coil pickup tone to a
    humbucking pickup tone.
    HUM0SGL
    Changes from a humbucking pickup tone to a
    single-coil pickup tone.
    SLD0HLW
    Changes a solid body bass tone to a hollow
    body bass tone with the body resonance
    added.
    SGL0AC
    Changes a single-coil pickup tone to an
    acoustic bass tone.
    HUM0AC
    Changes a humbucking pickup tone to an
    acoustic bass tone.
    LOW -50–+50 Adjusts the tone for the low frequency range.
    HIGH -50–+50 Adjusts the tone for the high frequency range.
    LEVEL 0–100 Adjusts the volume of the effect sound.
    BODY 0–100
    Adjusts the way the body sounds when TYPE is
    set to SLD0HLW, SGL0AC, or HUM0AC
    The body sound increases as the value is
    raised; reducing the value produces a tone
    similar to that from a piezo pickup.


    SLOW GEAR
    This produces a volume-swell effect (“violin-like” sound).
    Parameter Value Explanation
    SENS 0–100
    Adjusts the sensitivity of the slow gear. When
    it is set to a lower value, the effect of the slow
    gear can be obtained only with a stronger
    picking, while no effect is obtained with a
    weaker picking. When the value is set higher,
    the effect is obtained even with a weak picking.
    RISE TIME 0–100
    Adjusts the time needed for the volume to
    reach its maximum from the moment you
    begin picking.
    LEVEL 0–100 Adjusts the volume of the effect sound.


    DEFRETTER
    This simulates a fretless bass.
    Parameter Value Explanation
    SENS 0–100 This controls the input sensitivity of the
    defretter.
    ATTACK 0–100 Adjusts the attack of the picking sound.
    E.LEVEL 0–100 Adjust the volume of the defretter sound.
    TONE -50–+50 Adjusts the amount of blurring between the
    notes.
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjust the volume of the direct sound.


    BASS SYNTH
    This is a synth sound that processes the bass input signal.
    MEMO
    55Because of the need to analyze the pitch, chords (two or
    more sounds played simultaneously) cannot be played. Be
    sure to mute all the other strings and play only one note at
    a time.
    55When you are to play the next string while a certain sound is
    still playing, mute the previous sound and then play the next
    one with a clear attack. If the unit cannot detect the attack, it
    may not sound correctly.
    55The sensitivity may vary according to the bass’s TONE knob
    and pickup type.
    Parameter Value Explanation
    WAVE
    SAW Creates a synth sound with a saw waveform.
    SQUARE Creates a synth sound with the square waveform.
    CUTOFF 0–100 Adjusts the frequency where the harmonics
    contents of the sound are cut off.
    E.LEVEL 0–100 Adjusts the volume of the synth sound.
    SENS 0–100 This adjusts the amount of filtering applied in
    response to the input.
    DECAY 0–100 This sets the time needed for the filter to finish
    its sweep.
    DEPTH 0–100 Adjusts the depth of the filter. When the value is
    higher, the filter will change more drastically.
    RESONANCE 0–100
    This adjusts the amount of resonance (and the
    tone coloration) in the synth sound. The higher
    the value, the more the synth tone coloration is
    emphasized.
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjust the volume of the direct sound.


    OCTAVE
    This adds a note one octave lower and a note two octaves lower,
    creating a richer sound.
    Parameter Value Explanation
    -1 OCT 0–100 Adjusts the volume of the sound one octave
    below.
    -2 OCT 0–100 Adjusts the volume of the sound two octaves
    below.
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.


    PITCH SHIFTER
    This effect changes the pitch of the original sound (up or down)
    within a range of two octaves.
    Parameter Value Explanation
    PITCH -24–+24 Adjusts the amount of pitch shift (the
    amount of interval) in semitone steps.
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.
    FINE -50–+50 Make fine adjustments to the interval


    FLANGER
    The flanging effect gives a twisting, jet-airplane-like character to
    the sound.
    Parameter Value Explanation
    RATE 0–100,
    BPM ª – ˜
    This sets the rate of the flanging effect.
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified for
    each patch. This makes it easier to achieve
    effect sound settings that match the
    tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it is
    then synchronized to a period either 1/2
    or 1/4 of that time.
    DEPTH 0–100 Determines the depth of the flanging effect.
    RESONANCE 0–100
    Determines the amount of resonance
    (feedback). Increasing the value will
    emphasize the effect, creating a more
    unusual sound.
    MANUAL 0–100 Adjusts the center frequency at which to
    apply the effect.
    LOW CUT FLAT,
    55 Hz–800 Hz
    This sets the frequency at which the low
    cut filter begins to take effect. When FLAT is
    selected, the low cut filter will have no effect.
    E.LEVEL 0–100 Adjusts the volume of the flanger.
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjust the volume of the direct sound.


    TREMOLO
    Tremolo is an effect that creates a cyclic change in volume.
    Parameter Value Explanation
    WAVE
    (WAVE SHAPE)
    0–100 Adjusts changes in volume level. A higher
    value will steepen wave’s shape.
    RATE 0–100,
    BPM ª – ˜
    Adjusts the frequency (speed) of the change.
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified for
    each patch. This makes it easier to achieve
    effect sound settings that match the
    tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it is
    then synchronized to a period either 1/2
    or 1/4 of that time.
    DEPTH 0–100 Adjusts the depth of the effect.
    LEVEL 0–100 Adjusts the volume.


    ROTARY
    This produces an effect like the sound of a rotary speaker.
    Parameter Value Explanation
    SPEED
    (SPEED SELECT)
    SLOW, FAST This parameter changes the simulated
    speaker’s rotating speed (SLOW or FAST).
    RATE SLOW 0–100,
    BPM ª – ˜
    This parameter adjusts the SPEED SELECT
    of rotation when set to “SLOW.”
    Parameter Value Explanation
    RATE FAST 0–100,
    BPM ª – ˜
    This parameter adjusts the SPEED SELECT
    of rotation when set to “FAST.”
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified
    for each patch. This makes it easier
    to achieve effect sound settings that
    match the tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it
    is then synchronized to a period either
    1/2 or 1/4 of that time.
    TRANSITION
    (TRANSITION TIME) 0–100
    Adjusts the time over which the rotational
    speed changes when SPEED SELECT is
    switched.
    B/H BAL (BASS/
    HORN BALANCE) 100:0–0:100 Adjusts the volume balance between the
    BASS rotor and the HORN rotor.
    LEVEL 0–100 Adjusts the volume.


    UNI-V
    This models a Uni-Vibe.
    Although this resembles a phaser effect, it also provides a unique
    undulation that you can’t get with a regular phaser.
    Parameter Value Explanation
    RATE 0–100,
    BPM ª – ˜
    Adjusts the rate of the UNI-V effect.
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified for
    each patch. This makes it easier to achieve
    effect sound settings that match the
    tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it is
    then synchronized to a period either 1/2
    or 1/4 of that time.
    DEPTH 0–100 Adjusts the depth of the UNI-V effect.
    LEVEL 0–100 Adjusts the volume.


    VIBRATO
    This effect creates vibrato by slightly modulating the pitch.
    Parameter Value Explanation
    RATE 0–100,
    BPM ª – ˜
    Adjusts the rate of the vibrato.
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified for
    each patch. This makes it easier to achieve
    effect sound settings that match the
    tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it is
    then synchronized to a period either 1/2
    or 1/4 of that time.
    DEPTH 0–100 Adjusts the depth of the vibrato.
    TRIGGER OFF, ON
    This selects on/off of the vibrato.
    * It is assumed that this parameter will be
    assigned to the footswitch.
    RISE TIME 0–100
    This sets the time passing from the moment
    the Trigger is turned on until the set vibrato
    is obtained.
    * When a patch with TRIGGER set to ON is
    called up, the effect obtained is identical
    to what happens when TRIGGER is
    switched from Off to On. If you want the
    vibrato effect to be produced immediately
    after the patches are switched, set RISE
    TIME to 0.
    LEVEL 0–100 Adjusts the volume.


    RING MOD
    This creates a bell-like sound by ring-modulating the bass sound
    with the signal from the internal oscillator. The sound can be
    unmusical and lack distinctive pitches.
    Parameter Value Explanation
    FREQ 0–100 Adjusts the frequency of the internal oscillator.
    E.LEVEL 0–100 Adjusts the volume of the effect sound.
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.
    MODE
    This selects the mode for the ring modulator.
    NORMAL This is a normal ring modulator.
    INTELLI
    By ring-modulating the input signal, a bell like
    sound is created. The intelligent ring modulator
    changes the oscillation frequency according
    to the pitch of the input sound and therefore
    produces a sound with the sense of pitch, which
    is quite different from NORMAL. This effect does
    not give a satisfactory result if the pitch of the
    bass sound is not correctly detected. So, you
    must use single notes, not chords.


    HUMANIZER
    This creates human vowel-like sounds.
    Parameter Value Explanation
    MODE
    This selects the mode that switches the vowels.
    PICKING
    It changes from VOWEL1 to VOWEL2 along
    with the picking. The time spent for the
    change is adjusted with the rate.
    AUTO
    By adjusting the rate and depth, two vowels
    (VOWEL1 and VOWEL2) can be switched
    automatically.
    VOWEL1 *1
    a, e, i, o, u
    Selects the first vowel.
    VOWEL2 *2 Selects the second vowel.
    SENS
    *2
    0–100
    Adjusts the sensitivity of the humanizer.
    When it is set to a lower value, no effect
    of the humanizer is obtained with weaker
    picking, while stronger picking produces
    the effect.
    When it is set to a higher value, the effect of
    the humanizer can be obtained whether the
    picking is weak or strong.
    RATE 0–100,
    BPM ª – ˜
    Adjusts the cycle for changing the two
    vowels.
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified for
    each patch. This makes it easier to achieve
    effect sound settings that match the
    tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it is
    then synchronized to a period either 1/2
    or 1/4 of that time.
    DEPTH 0–100 Adjusts the depth of the effect.
    MANUAL
    *3
    0–100
    This determines the point where the two
    vowels are switched. When it is set to 50,
    VOWEL1 and VOWEL2 are switched in the
    same length of time. When it is set to lower
    than 50, the time for vowel 1 is shorter. When
    it is set to higher than 50, the time for vowel
    1 is longer.
    LEVEL 0–100 Adjusts the volume.
    *1 Setting available with Mode set to PICKING or AUTO.
    *2 Setting available with Mode set to PICKING.
    *3 Setting available with Mode set to AUTO.


    CHORUS
    In this effect, a slightly detuned sound is added to the original
    sound to add depth and breadth.
    Parameter Value Explanation
    MODE
    Selection for the chorus mode.
    MONO This chorus effect outputs the same sound
    from both L channel and R channel.
    STEREO1
    This is a stereo chorus effect that adds
    different chorus sounds to L channel and
    R channel.
    STEREO2
    This is a dimentional space chorus, with
    the direct sound output in the L channel
    and the effect sound output in the R
    channel.
    RATE 0–100,
    BPM ª – ˜
    Adjust the speed of the chorus effect for
    the high frequency range.
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified
    for each patch. This makes it easier
    to achieve effect sound settings that
    match the tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it
    is then synchronized to a period either
    1/2 or 1/4 of that time.
    DEPTH 0–100
    Adjusts the depth of the chorus effect.
    * To use it for doubling effect, set the
    value to 0.
    E.LEVEL
    (EFFECT LEVEL) 0–100 Adjusts the volume of the effect sound.
    LOW CUT FLAT, 20 Hz–800 Hz
    This sets the frequency at which the low
    cut filter begins to take effect. When FLAT
    is selected, the low cut filter will have no
    effect.
    HIGH CUT 630 Hz–12.5 kHz,
    FLAT
    This sets the frequency at which the high
    cut filter begins to take effect. When FLAT
    is selected, the high cut filter will have no
    effect.


    SUB DELAY
    This is a delay with the maximum delay time of 1,000 ms. This
    effect is useful for making the sound fatter.
    Parameter Value Explanation
    TYPE
    Use this to choose the type of delay.
    MONO Use this to choose the type of delay.
    PAN
    Provides a tap delay effect that divides
    the delay time between the left and right
    channels.
    TIME
    (DELAY TIME)
    1 ms–1000 ms,
    BPM ˜ – ¸
    Adjusts the delay time.
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified
    for each patch. This makes it easier
    to achieve effect sound settings that
    match the tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it
    is then synchronized to a period either
    1/2 or 1/4 of that time.
    FEEDBACK 0–100
    Adjusts the volume that is returned to the
    input. Higher settings will result in more
    delay repeats.
    E.LEVEL
    (EFFECT LEVEL) 0–120 Adjusts the volume of the delay sound.
    HIGH CUT 630 Hz–12.5 kHz,
    FLAT
    This sets the frequency at which the high
    cut filter begins to take effect. When FLAT
    is selected, the high cut filter will have no
    effect.
    Parameter Value Explanation
    TAP TIME *1 0–100%
    Adjusts the delay time of the left channel
    delay. This setting adjusts the L channel
    delay time relative to the R channel delay
    time (considered as 100%).
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.
    *1 Setting available when TYPE is set to PAN.


    PEDAL FX
    You can control the wah effect or get a pitch bend effect in
    real time by adjusting the [EXP] pedal or the expression pedal
    connected to the CTL 2,3/EXP 2 jack.
    Parameter Value Explanation
    TYPE
    Selects the type.
    CRY WAH This models the sound of the CRY BABY
    wah pedal popular in the ‘70s.
    VO WAH This models the sound of the VOX V846.
    FAT WAH This is a wah sound featuring a bold tone.
    LIGHT WAH This wah has a refined sound with no
    unusual characteristics.

    BASS WAH
    This wah has been specially adapted for
    use in the bass registers.
    Inclusion of the low-frequency range in the
    wah sound produces a robust wah effect,
    with no dilution of the sound.

    RESO WAH

    This completely original effect offers
    enhancements on the characteristic
    resonances produced by analog synth
    filters.

    PEDAL BEND

    This lets you use the pedal to get a pitch
    bend effect.
    * Because of the need to analyze the
    pitch, chords (two or more sounds
    played simultaneously) cannot be
    played.

    CRY WAH–RESO WAH

    Parameter Value Explanation
    PDL POS
    (PEDAL POSITION) 0–100 Adjusts the position of the wah pedal.
    PDL MIN (PEDAL MIN) 0–100 Selects the tone produced when the heel of
    the EXP Pedal is depressed.
    PDL MAX (PEDAL MAX) 0–100 Selects the tone produced when the toe of
    the EXP Pedal is depressed.
    LEVEL 0–100 Adjusts the volume of the effect sound.

    PEDAL BEND

    * Because of the need to analyze the pitch, chords (two or more
    sounds played simultaneously) cannot be played.
    Parameter Value Explanation
    PITCH -24–+24 This sets the pitch at the point where the
    EXP Pedal is all the way down.
    PDL POS
    (PEDAL POSITION) 0–100 Adjusts the pedal position for pedal bend.
    LEVEL 0–100 Adjusts the volume of the pitch bend sound

    OD/DS
    This effect distorts the sound to create long sustain.
    Parameter Value Explanation
    ON/OFF OFF, ON Turns this effect on/off.
    TYPE Refer to OD/DS TYPE
    DRIVE 0–120 Adjusts the depth of distortion.
    TONE -50–+50 Adjusts the tone.
    E.LEVEL
    (EFFECT LEVEL) 0–100 Adjusts the volume of the effect sound.
    BOTTOM 0–100
    Adjusts the tone for the low frequency range.
    Turning this to the right boosts the low end
    in the sound.
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.
    OD/DS TYPE
    This is a list of distortion types that can be selected for OD/DS.
    Type Explanation
    BOOSTER This not only functions as a booster, but also produces a clean
    tone that has punch even when used alone.
    NATURAL This is an overdrive sound that provides distortion with a
    natural feeling.
    BASS OD Overdrive tuned especially for use with basses.
    BLUES OD
    This is a crunch sound of the BOSS BD-2.
    This produces distortion that faithfully reproduces the nuances
    of picking.
    BASS DS Distortion tuned especially for use with basses.
    GUV DS This models a Marshall GUV’ NOR.
    BASS MT Wild, radical distortion sound.
    METAL ZONE
    This models the sound of the BOSS MT-2.
    It produces a wide range of metal sounds, from old style to
    slash metal.
    BASS FUZZ Fuzz tuned especially for use with basses.
    MUFF FUZZ This models an Electro-Harmonix Big Muff π.
    HiBND DRV
    With this effect, distortion is applied only to the high
    frequency sounds, and not to the sounds in the low frequency
    range.
    AB-DIST
    This effect uses MDP (Multi-Dimensional Processing)
    technology to provide ideal distortion in all pitch ranges of the
    bass, from low to high.
    BASS DRV This models a TECH21 SANSAMP BASS DRIVER DI.
    BASS DI This models a MXR Bass D.I.+.
    PARA.EQ This is a parametric equalizer with its parameters identical to
    the FX1/FX2 PARAMETRIC EQ (p. 7.)



    PREAMP

    COSM technology simulates different preamp characteristics,
    speaker sizes, and cabinet shapes.
    Parameter Value Explanation
    ON/OFF OFF, ON Turns this effect on/off.
    TYPE Refer to PREAMP TYPE
    GAIN 0–120 Adjusts the distortion of the amp.
    LEVEL 0–100
    Adjusts the volume of the entire
    preamp.
    * Be careful not to raise the Level
    setting too high.
    BASS 0–100 Adjusts the tone for the low
    frequency range.
    MIDDLE 0–100 Adjusts the tone for the middle
    frequency range.
    TREBLE 0–100 Adjusts the tone for the high
    frequency range.
    PRESENCE 0–100
    Adjusts the tone for the ultra high
    frequency range.
    * The PRESENCE parameter setting
    is available only with certain
    PREAMP TYPEs.
    BRIGHT OFF, ON
    Turns the bright setting on/off.
    * The BRIGHT parameter setting
    is available only with certain
    PREAMP TYPEs.
    SP TYPE *1
    Select the speaker type.
    OFF This turns off the speaker simulator.
    ORIGIN (ORIGINAL)
    This is the built-in speaker of the
    amp you selected with PREAMP
    TYPE.
    1x15" This is a compact open-back speaker
    cabinet with one 15-inch speaker.
    1x18" This is a compact open-back speaker
    cabinet with one 18-inch speaker.
    2x15" This is a general open-back speaker
    cabinet with two 15-inch speakers.
    4x10"
    This is an optimal speaker cabinet
    for a large enclosed amp with four
    10-inch speakers.
    8x10"
    This is a double stack of two
    cabinets, each with four 10-inch
    speakers.
    GTR SP *1
    Select the speaker type when PREAMP TYPE is set to "GtrCLEAN,"
    "GtrCRNCH," "GtrDRIVE," or "GtrMETAL."
    OFF This turns off the speaker simulator.
    ORIGIN (ORIGINAL)
    This is the built-in speaker of the
    amp you selected with PREAMP
    TYPE.
    1x8” This is a compact open-back speaker
    cabinet with one 8-inch speaker.
    1x10” This is a compact open-back speaker
    cabinet with one 10-inch speaker.
    1x12” This is a compact open-back speaker
    cabinet with one 12-inch speaker.
    2x12” This is a general open-back speaker
    cabinet with two 12-inch speakers.
    4x10”
    This is an optimal speaker cabinet
    for a large enclosed amp with four
    10-inch speakers.
    4x12”
    This is an optimal speaker cabinet
    for a large enclosed amp with four
    12-inch speakers.
    8x12”
    This is a double stack of two
    cabinets, each with four 12-inch
    speakers.
    *1 This is enabled when the OUTPUT SELECT parameter is set to LINE/PHONE.



    PREAMP TYPE list

    Type Explanation
    SUPER FLAT An amp with flat response.
    FLIP TOP Models the Ampeg B-15.
    B MAN Models the Fender Bassman 100.
    CONCERT Models the Ampeg SVT.
    BASS 360 Models the acoustic 360.
    SESSION Models the SWR SM-400.
    AC BASS An amp ideal for ACOUSTIC BASS.
    GK BASS Models the Gallien-Krueger 800RB.
    MARK Models the Markbass Little Mark III.
    GtrCLEAN This is a guitar amp with a clean sound that is smooth
    and warm.
    GtrCRNCH This is a guitar amp with a crunch sound that can
    faithfully reproduce the nuances of picking.
    GtrDRIVE This is a guitar amp with a drive sound producing
    awesome distortion.
    GtrMETAL This is a guitar amp with a metal sound suited to heavy
    riffs.
    NS (NOISE SUPPRESSOR)
    This effect reduces the noise and hum picked up by bass pickups.
    Since it suppresses the noise in synchronization with the envelope
    of the bass sound (the way in which the bass sound decays over
    time), it has very little effect on the bass sound, and does not
    harm the natural character of the sound.
    Parameter Value Explanation
    THRESHOLD Off, 1–100
    Adjust this parameter as appropriate for the
    volume of the noise. If the noise level is high, a
    higher setting is appropriate. If the noise level
    is low, a lower setting is appropriate. Adjust this
    value until the decay of the bass sound is as
    natural as possible.
    * High settings for the threshold parameter may
    result in there being no sound when you play
    with your bass volume turned down.
    * If this is turned "Off," NS is off (bypassed).
    RELEASE 0–100 Adjusts the time from when the noise suppressor
    begins to function until the noise level reaches “0.”
    DETECT
    This controls the noise suppressor based on the volume level for
    the point specified in Detect.
    INPUT
    Input volume from input jack.
    * Ordinarily, DETECT should be set to “INPUT.”
    NS INPUT
    Noise suppressor input volume.
    * When connected as illustrated below, and you
    want to prevent a spatial-type effects sound
    (such as a delay sound) from being eradicated
    by the NS, you should set DETECT to “NS INPUT.”
    Spatial-type effect
    DLY NS
    FV OUT
    Volume after passing through Foot Volume.
    * If you want to use FV (Foot Volume) in place
    of the bass’s volume control, you need to set
    DETECT to “FV OUT.”
    INPUT
    Foot Volume
    FV NS
    FOOT VOLUME
    This is a volume control effect.
    Normally, this is controlled with the EXP Pedal or the [EXP] pedal
    connected to the CTL 2, 3/EXP2 jack.
    Parameter Value Explanation
    MIN 0–100 Sets the volume when the heel of the EXP Pedal is
    depressed.
    MAX 0–100 Selects the volume when the toe of the EXP Pedal is
    depressed.
    LEVEL 0–100 Adjusts the volume.


    DELAY
    This effect adds delayed sound to the direct sound, giving more
    body to the sound or creating special effects.
    Parameter Value Explanation
    DELAY
    ON/OFF OFF, ON Turns this effect on/off.
    TYPE
    This selects which type of delay.
    * The stereo effect is cancelled if a monaural effect or COSM amp is
    connected after a stereo delay effect.
    STANDARD
    This is a simple monaural delay.
    PAN
    This delay is specifically for stereo output. This
    allows you to obtain the tap delay effect that
    divides the delay time, then deliver them to L and
    R channels.
    INPUT
    OUTPUT L
    OUTPUT R
    Feedback
    Dly Time
    EectLev
    DELAY
    Tap Time
    REVERSE This produces an effect where the sound is played
    back in reverse.
    ANALOG This gives a mild analog delay sound.
    TAPE This setting provides the characteristic wavering
    sound of the tape echo.
    MODULATE This delay adds a pleasant wavering effect to the
    sound.
    TERA ECHO
    This effect uses MDP (Multi-Dimensional
    Processing) technology to create a unique
    ambience and a spaciousness that changes
    according to your picking dynamics.


    Common to STANDARD–MODULATE

    Parameter Value Explanation
    TIME
    (DELAY TIME)
    1 ms–2000 ms,
    BPM ˜ – ¸
    Adjusts the delay time.
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified
    for each patch. This makes it easier
    to achieve effect sound settings that
    match the tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it
    is then synchronized to a period either
    1/2 or 1/4 of that time.
    FEEDBACK 0–100
    This sets the amount of delay sound
    returned to the input. A higher value will
    increase the number of the delay repeats.
    HIGH CUT 630 Hz–12.5 kHz,
    FLAT
    This sets the frequency at which the high
    cut filter begins to take effect. When FLAT
    is selected, the high cut filter will have no
    effect.
    E.LEVEL
    (EFFECT LEVEL) 0–120 Adjusts the volume of the delay sound.


    PAN

    Parameter Value Explanation
    TAP TIME 0–100%
    Adjusts the delay time of the left channel
    delay. This setting adjusts the L channel delay
    time relative to the R channel delay time
    (considered as 100%).


    MODULATE

    Parameter Value Explanation
    MOD RATE 0–100 Adjusts the modulation rate of the delay
    sound.
    MOD DEPTH 0–100 Adjusts the modulation depth of the delay
    sound.


    TERA ECHO

    Parameter Value Explanation
    TIME 0–100 Adjusts the length of the effect sound.
    FEEDBACK 0–100 Adjusts the decay of the effect sound.
    E.LEVEL
    (EFFECT LEVEL) 0–100 Adjusts the volume of the effect sound.
    TONE -50–+50 Adjusts the tone.
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound.
    HOLD OFF, ON
    The effect sound is held when you turn
    this on.
    * Patches are written with the HOLD
    parameter set to Off.

    REVERB
    This effect adds reverberation to the sound.
    Parameter Value Explanation
    REVERB ON/
    OFF OFF, ON Turns this effect on/off.
    TYPE
    This selects the reverb type. Various different simulations of space
    are offered.
    AMBIENCE
    Simulates an ambience mic (off-mic,
    placed at a distance from the sound
    source) used in recording and other
    applications. Rather than emphasizing
    the reverberation, this reverb is used to
    produce a sense of openness and depth.
    ROOM Simulates the reverberation in a small
    room. Provides warm reverberations.
    HALL 1
    Simulates the reverberation in a concert
    hall. Provides clear and spacious
    reverberations.
    HALL 2 Simulates the reverberation in a concert
    hall. Provides mild reverberations.
    PLATE
    Simulates plate reverberation (a reverb
    unit that uses the vibration of a metallic
    plate). Provides a metallic sound with a
    distinct upper range.
    SPRING This simulates the sound of a spring reverb.
    MODULATE
    This reverb adds the wavering sound
    found in hall reverb to provide an
    extremely pleasant reverb sound.
    DELAY
    This effect adds delayed sound to the
    direct sound, giving more body to the
    sound or creating special effects.


    Common to AMBIENCE–MODULATE

    Parameter Value Explanation
    TIME
    (REVERB TIME) 0.1 s–10.0 s Adjusts the length (time) of reverberation.
    E.LEVEL
    (EFFECT LEVEL) 0–100 Adjusts the volume of the reverb sound.
    LOW CUT FLAT, 20 Hz–800 Hz
    This sets the frequency at which the low
    cut filter begins to take effect. When FLAT
    is selected, the low cut filter will have no
    effect.
    HIGH CUT 630 Hz–12.5 kHz,
    FLAT
    This sets the frequency at which the high
    cut filter begins to take effect. When FLAT
    is selected, the high cut filter will have no
    effect.
    SPRING
    (SPRING SENS)
    (TYPE = SPRING
    only)
    0–100
    Adjusts the sensitivity of the spring effect.
    When the value is set higher, the effect is
    obtained even with a weak picking.


    DELAY

    Parameter Value Explanation
    TIME
    (DELAY TIME)
    1 ms–650 ms,
    BPM ˜ – ¸
    Adjusts the delay time.
    * When set to BPM, the value of each
    parameter will be set according to the
    value of the “MASTER BPM” specified
    for each patch. This makes it easier
    to achieve effect sound settings that
    match the tempo of the song.
    * If, due to the tempo, the time is longer
    than the range of allowable settings, it
    is then synchronized to a period either
    1/2 or 1/4 of that time.
    E.LEVEL
    (EFFECT LEVEL) 0–120 Adjusts the volume of the delay sound.
    FEEDBACK 0–100
    This sets the amount of delay sound
    returned to the input. A higher value will
    increase the number of the delay repeats.
    HIGH CUT 630 Hz–12.5 kHz,
    FLAT
    This sets the frequency at which the high
    cut filter begins to take effect. When “FLAT”
    is selected, the high cut filter will have no
    effect.
    D.LEVEL
    (DIRECT LEVEL) 0–100 Adjusts the volume of the direct sound


    MASTER SETTING
    These settings are applied to the overall patch.
    MASTER SETTING
    Parameter Value Explanation
    PATCH LVL
    (PATCH LEVEL) 0–200 Adjusts the volume of the patch.
    BPM
    (MASTER BPM) 40–250
    Adjusts the BPM value for each patch.
    * BPM (beats per minute) indicates the
    number of quarter note beats that occur
    each minute.
    KEY
    (MASTER KEY)
    C (Am)–B
    (G#m)
    This sets the key for the FX HARMONIST.
    Major
    Major
    Minor
    Minor
    MASTER EQ
    Parameter Value Explanation
    LOW GAIN
    (MASTER LOW GAIN) -20–+20 dB Adjusts the tone for the low frequency
    range.
    MID GAIN
    (MASTER MID GAIN) -20–+20 dB Adjusts the tone for the middle
    frequency range.
    HIGH GAIN (MASTER
    HIGH GAIN) -20–+20 dB Adjusts the tone for the high
    frequency range.
    MID FREQ (MASTER
    MID FREQUENCY) 20.0 Hz–10.0 kHz
    Specify the center of the frequency
    range that will be adjusted by the
    MASTER MID GAIN.
    MID Q
    (MASTER MID Q) 0.5–16
    Adjusts the width of the area affected
    by the EQ centered at the MASTER
    MID FREQ. Higher values will narrow
    the area.
     
    Esquillama likes this.
  16. Thank you for taking the time to post this. Several things are cleared up for me now. You're absolutely right, it's way easier to get it here as a quick check rather than to slog through the manual.
    Again, thank you.
     
    nuage420b likes this.
  17. nuage420b

    nuage420b Supporting Member

    Dec 7, 2014
    USA
    No problem, I'm still looking up definitions of stuff and not even cost to finished! It's pretty exciting stuff. And what blows my mind is that there will be even better stuff further down the line. If I can get up to speed on this unit when ever the next one comes out later i can only imagine the benefits.
     
  18. nuage420b

    nuage420b Supporting Member

    Dec 7, 2014
    USA
    And here are the pages that has illustrations to go along with the text in previous post. as well as the effects chart. Capture.JPG Capture2.JPG Capture3.JPG Capture4.JPG Capture5.JPG Capture6.JPG Capture7.JPG Capture8.JPG Capture9.JPG Capture10.JPG Capture11.JPG Capture12.JPG Capture13.JPG
     
    Meaculpa and Plain Old Barry like this.
  19. nabilhuakbar

    nabilhuakbar

    Jan 13, 2020
    Utah
    Love my GT1-B. It's got a bit of a learning curve but the desktop interface is super easy to use and the potential for different sounds is pretty much limitless
     
    Plain Old Barry and nuage420b like this.
  20. nuage420b

    nuage420b Supporting Member

    Dec 7, 2014
    USA
    Check this guy out, he uses a GT10B for most of his stuff. a zoom b3 in his earlier stuff but seems he made the switch and didn't look back.

     

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