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Boss GT-1B discussion thread

#581
neil|lien said:
I know right? Love those sounds
The Source Audio C4 retails for between 260 and 300€ so this is no option for my currently unemployed self.
No idea how i can get at least "close" to that?
I noticed the octaver on the GT-1B does glitch in the lower notes but is okay from the 5th fret upwards, more or less.. so maybe with the right signal chain i could get closer.
I have created a number of cool octave patches but they don't sound close enough, hence me reaching out for help!
Click to expand...
Are you using any other effects with the octave?
I would check my own GT-1B but I just sold it 2 days ago!
I think I achieved better sounding octaves using the pitch shift parameter, rather than octave.. But can't be certain.
Look out for demos on producing sub sounds.... Often combination of octave, mild distortion + maybe some filter/eq
But you'll have to settle for compromise, as I think it's the pure oc2 sound.
But not having my own oc2, I'm only going on what I've heard out there.
Good luck!
 
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#582
Billyears IV said:
Are you using any other effects with the octave?
I would check my own GT-1B but I just sold it 2 days ago!
I think I achieved better sounding octaves using the pitch shift parameter, rather than octave.. But can't be certain.
Look out for demos on producing sub sounds.... Often combination of octave, mild distortion + maybe some filter/eq
But you'll have to settle for compromise, as I think it's the pure oc2 sound.
But not having my own oc2, I'm only going on what I've heard out there.
Good luck!
Click to expand...
Thanks! I'll keep experimenting and look for demos too! Good idea!
 
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#583
poletti said:
I'm really struggling to find a "modern metal" tone, like a djent one, anyone has sorted something in this style?
Click to expand...

Thing is, I don't think the GT-1B is capable of doing two signal routes, one filtered clean of the lower frequencies and one with the effects.
I possibly have missed something, since I only started toying with Tone Studio though.
 
#584
See, Eugene from Jinjer, who has a quite fabulous bass sound, uses a Helix with 3 different routes...
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#585
Revisiting this thread I started six years ago! Since then lots has happened. Pandemic, work drama / retirement (yay!), shifts in focus (upright bass/jazz), gigs on multiple instruments (drums, bass, keys)…

Anyway, back to the GT1B. I’m delving in again because of the Squier CV 70s Jazz I’ve been rescuing and now playing. So here I’m sharing my current configuration. I’ve got an expression pedal hooked up to which I assign overall volume. For ALL the effects I use, I’m ensuring that sufficient bottom is retained. Now here’s my “bread and butter” patch, assigned to user patch #1.


IMG_7754.jpeg
IMG_7755.jpeg

What I’ve done is to put the patch into ‘stompbox’ mode, with each foot control labeled in order on the screen. First switch is Rotary on/off. Second is octave. Third is overdrive… and the built-in expression pedal controls delay level.

This has the added benefit that I cannot accidentally go to a ‘wrong’ patch. I have to reach down and turn knob #1 to go to a different patch. I have a few such ‘stompbox’ patches for when I’m playing this bass (or the Peavey Grind), a few for the Tobias 6 string, and one for the upright. I also have a patch for my Roland JP8000 synth.

EDIT: going to rename the 8vb to Oct; at a glance, it looks too much like Rvb.
 
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#586
Plain Old Barry said:
True... The delay and reverb slots can add modulated delay or reverb, so someone needing either or both of those doesn't need to use up one of the two FX slots to add either or both. Some devices show up in multiple categories, handy for ordering. It is possible to set modulation effects in both FX 1&2, and add modulated delay and verb for four modulations.

The volume pedal can be a modulation filter, making five. The volume pedal can also be programmed to change effect parameters, such as delay time, or modulation speed and depth.

Again, suggest Tone Central / Tone Studio for play. If the device is not in hand, the software can be downloaded for free and run in offline mode to play with all the parameters without a device connected. It's the best way to understand if the device will meet an individual's needs.
Click to expand...
Hmmm. Hadn’t seen this before. So one could use a delay or reverb but, by adding a modulation effect to that, have a de facto third modulation?
I’m thinking that would be perfect for, say, the rotary on Heartbreaker. You’d have the impact of the played note AND the rotary effect on the delayed repeat. Just put a minimal delay in it. It would be analogous to having blendable dry/wet signal.

It would then allow some always-on thing, perhaps a Resonator or something, to reside on one of the FX buttons.

I’ll have to try that.
 
#587
Ok… the modulated delay, while of course not being a perfect rotary, is more than adequate for something like Heartbreaker. Fast Leslie, in the lower frequencies, does not come across as much more than a warble anyway if you’re running mono. This is great; it opens up one of the modulating effects for touch wah or something. I’ll set that to one of the three footswitches, and reassign something (perhaps overdrive) to the onboard expression pedal.
 
#588
I created a patch called Wired, after the Jeff Beck album. There’s not a whole lot that needs to happen, as the bass recording was mostly pretty clean. My post-fx compression is on the amp, so I don’t need comp in the GT1B.

The main thing I did was with parametric EQ. I set up a momentary control on Ctl1, and it controls parametric EQ. It provides a boost from @ 250 to 4000 hz. Usage: in the bass intro to Head For Backstage Pass, step on Ctl1 when playing harmonics. Release when resuming ‘normal’ playing. That way I don’t need to be interfering with normal playing settings to get those harmonics to pop.

There are a few other settings there - a gentle phase for use during Goodbye Porkpie Hat, for example. It’s not on the album, but it works when playing it with an ensemble.
 
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#589
coyote1 said:
I created a patch called Wired, after the Jeff Beck album. There’s not a whole lot that needs to happen, as the bass recording was mostly pretty clean. My post-fx compression is on the amp, so I don’t need comp in the GT1B.

The main thing I did was with parametric EQ. I set up a momentary control on Ctl1, and it controls parametric EQ. It provides a boost from @ 250 to 4000 hz. Usage: in the bass intro to Head For Backstage Pass, step on Ctl1 when playing harmonics. Release when resuming ‘normal’ playing. That way I don’t need to be interfering with normal playing settings to get those harmonics to pop.

There are a few other settings there - a gentle phase for use during Goodbye Porkpie Hat, for example. It’s not on the album, but it works when playing it with an ensemble.
Click to expand...
I’m going to continue to post things I’ve done that I’m not seeing already in the thread, hoping it helps others. This one is at the very beginning of the album. There’s a drum intro, then F Eb C on bass (chords are all dominant 9ths) leading into the signature LedBoots bass riff. On that C note, the bass fades into a blooming synthy thing before cutting out so Walden can finish the drum part.

The bass synth on the GT1B can’t do it. But it can be approximated another way. Set up bass fuzz, and set the EX1 pedal to control both the Tone and the effect level of that fuzz. It requires two different Assigns. Actually the Bass Fuzz I used has multiple tone parameters; after experimenting I chose EQ High Gain. -12db Min; +14db Max. Limit the top volume of the fuzz so it doesn’t overpower everything else. It’s not perfect to the record, but it definitely gets the point across.

NOTE: I think this could potentially be accomplished using the “Internal Pedal” which would then free up the expression pedal for another use. I will be trying that.
 
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#590
Next up: Peg (Steely Dan of course). I used the Modulated Delay to set up a faux-flanger.
Time = 10ms
feedback = 68
Effect level = 89
Mod rate = 31
Mod depth = 51
High cut = 1.6 KHz

This frees the two FX for other uses. I’m using only one for this song: the Overtone. In the absence of a keyboardist I can do the signature synth line. It’s not as synthy of course, but it’s more reliable pitch-wise than the bass synth. Upper is turned to 90, with dry level 100, tone +50.

The faux-flanger is there for strategic use, not for constant use. With one guitarist it’s a good thing to have under the guitar solo.
 
#591
To any experts on these things: is there a way to ‘cascade’ effects? My Ctl1 pedal is already taken, and I’m using the CTL2/3 EXP input for an expression pedal. But I need one switch, preferably the UP switch, to switch two effects simultaneously. So I’m hoping there’s some way to set things up so that when I use the UP switch to turn off FX1, the fact that FX1 has been turned on/off can become a trigger to turn on/off FX2.

Is this possible? If so, how?
 
#595
The Up and Down switches are not available to the Assign slots. Oh well.

On another note, I’m now utilizing the GT-1B in my Hammond emulation signal chain. It sits between one of the “low rotor” outputs of my Pro3T and the amp channel that drives a 4x10. I’m utilizing the preamp to get to unity gain, the parametric EQ, and the Harmonic Enhancer. This arrangement is allowing me to get the tonality I want from my Hammond emulator, and then add just a bit of presence/sparkle without changing that tonality.
 
#596
Soooo…. after much work with this thing, my fave patch is Bypass! lol

I created one that mirrors the sound heard when no effects are on. I’ve assigned Phaser to the Up switch, Octave to CTL1, and a momentary preamp boost to the Down switch. Dunno yet what I want to do with the pedal. (I have an add-on expression pedal for volume.)

I’m going to do a second one that has touch wah and something else and something else.

This came about because every time I plug the bass straight into the amp, it sounds incredible. So I’m losing all the stuff that gets in the way of that while allowing the effects to shine when I do use them.
 

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