#1
Hi

I've just started to build a small pedal board but to be honest I'm struggling to get the sounds I want and can't afford to keep buying different pedals that I may or may not get on with.

I was thinking maybe of just ditching the whole idea and getting a Boss GT-100 or perhaps a GT-10 to solve the whole effects issue.

I'd be using it in conjunction with a Marshall DSL40c. I'm not interested in using amp models with the GT but thought that it would save me buying a shed load of pedals.

Has anyone used a GT-100 or GT-10 for gigging? How did you fair with it?

Any advice very much appreciated.
#2
If your just wanting FX, the GT10 would work just fine.
2002 PRS CE22
2013 G&L ASAT Deluxe
2009 Epiphone G-400 (SH-4)
Marshall JCM2000 DSL100
Krank 1980 Jr 20watt
Krank Rev 4x12 (eminence V12)
GFS Greenie/Digitech Bad Monkey
Morley Bad Horsie 2
MXR Smart Gate
#3
The GT-100 has a better user interface. Easier to tweak on the fly. It is the superior unit.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#4
Thanks for your replies.

If I get a GT I'm hoping to gig with it. Have either of you or anyone else gigged with a GT? How did you find it?

I'm expecting that some pedal users might not give it the time of day as there seems to be a love/hate thing between people who use modelling multi effects and others that use individual pedals.
#5
I haven't go to the stage of gigging with my band yet, so I couldn't tell you form that side of things, but I have got a GT-10 as, like you, I like to have plenty of effects at my disposal to mix up the sound a bit.

What I will say about it is that it's incredibly versatile and very good for non-drive effects, but personally I find the drive effects quite mushy, more so the more gain/low end you dial in. I've got round this by patching in my analogue drive pedals using the send return, and arranging that into the virtual pedal train instead of the inbuilt OD/DS circuit, and I'm very happy with that as a set-up. Yet to find something I can't do or I'm not happy with.
#6
If you can take your amp to a store and try one out I would suggest doing that. A few years back I was planning on doing multi effects but, after plugging the GT-10 into my amp I felt it made amp sound too digital, especially the drive effects on it, and I decided to go with individual effects pedals. To each their own of course.
It's not so much that the Schecter's neck is ''fat'', it's that the Ibanez neck is anorexic.


Quote by rid_the_disease
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#7
People can get religious about pedals. I've gone through (and still have most of) well over a hundred over time. The total cost, when added together, is ridiculous. Several years ago I got a multi-fx as a practice tool; just something to support headphones, really. These days most of my live rig is built around them.

While a specific pedal might give you just the absolutely bang-on specific sound for recording, playing live doing anything below an arena tour just doesn't require that.

Practically speaking, multi-fx' make a lot more sense, since you can leverage user presets, editing programs and set list ordering to give you changes on whole chains of FX (including subtle ones) that are virtually impossible with any reasonably normal pedal chain, and you can do it all in a single stomp. In my view, they make far MORE sense for a live rig than individual pedals that offer multiple fail points (connectors, power sources, switches).
#9
The only reason I don't use my GT-100 at every gig is that it doesn't do a Timmy. It is effectively my backup pedalboard/amp. But I have a specific sound with my current band. If I was playing covers where I needed all sorts of different bullshit, then the GT-100 would be the weapon of choice.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#10
I bought the GT-100, and played with it for about a week before I returned it. I'm just not an MFX guy. The effects sounded great tho!
Guitars:
PRS Custom 24
Gibson Les Paul 60's Tribute
85' MIJ Strat
97' Snakepit Les Paul
LP Traditional 1960 Zebra
MIJ Tele
MIA Strat

Amps:
Silver Jubilee 2525
Peavey Ultra 112
Jet City JCA50H
66' Bassman
Pink Paisley Princeton RV
74' Vibro Champ
#11
The GT-10 sounds as good as the GT-100 for effects really - but the GT-100 is far easier to drive. If you can't drive a GT-100 from the front panel you'd have to have a pretty severe learning disability. They've got the interface down pretty well now, very intuitive.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#12
While a specific pedal might give you just the absolutely bang-on specific sound for recording, playing live doing anything below an arena tour just doesn't require that
+1

Haven't used either but the two things that are paramount using mfx live are 1) ease of operation and 2) durability. They look similarly built so I'd take Cathbard's advice very seriously and pursue the GT-100.
Charvel DX-1 FR / DS-1 ST / DC-1 FR / Custom Strat / La Patrie Hybrid CW / Vypyr 30 / VK100 / 1960A
#13
Go with the 100 unless the 10 is available for way cheap. The UI is improved & some cool stuff has been added in the newer firmware update like polyphonic tuner, acoustic sim & some more things, besides you can stack OD/Dist in the 100 & the comp section also has more choices than the 10. Plus you wont go blind from the laser LEDs & develop purple vision from the gt10 screen. Although the 100 is full black & could have been a problem on a dark stage( thanks to the unsually bright leds not being carried over) the strobe function is finallly useful for its pedal leds in such situations.
#15
Nah, the 100 is perfectly visible on a dark stage. There's always one button lit up and the screens are big and bright. It may look a bit like Disaster Area's spaceship but it's actually quite obvious where everything is. And it looks subtle onstage. It doesn't make you look like a knob.
My biggest complaint is that the buttons are a bit close together. I've accidently turned on the tuner more than once mid-song. You can change the tuner to still allow signal through instead of killing it - but I shouldn't have to. Would be ok if you wore normal shoes, but I'm in a punk band; I wear Doc's.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#16
Quote by Cathbard
. And it looks subtle onstage. It doesn't make you look like a knob:


Seriously, we've come to the point where a foot pedal (which is generally unseen by an audience anyway) is a fashion statement?

Crap, I'm going to have to take Kendall Jenner with me now to pick out gear?

"I'm sorry, but I'm not going to be able to style you for the CMAs, I've already committed to several other artists that night..."

Red Carpet: "Can you tell us what you're footing this evening?"

Who Stomped It Better: Two Celebrities rock the same Doc Martins and the Same Pedalboard!

"Puce Pedal Power! Passionate Punch for the Punkass Plonker!"

"The new stripped down raw rock power of our stealth flat black board is made to be kicked into submission! Diamond Plate switches beg for abuse! And we need One More Bullet Point here with an Exclamation Point! Oooh! Ahh!"
#17
Quote by dspellman
Seriously, we've come to the point where a foot pedal (which is generally unseen by an audience anyway) is a fashion statement?

Crap, I'm going to have to take Kendall Jenner with me now to pick out gear?

"I'm sorry, but I'm not going to be able to style you for the CMAs, I've already committed to several other artists that night..."

Red Carpet: "Can you tell us what you're footing this evening?"

Who Stomped It Better: Two Celebrities rock the same Doc Martins and the Same Pedalboard!

"Puce Pedal Power! Passionate Punch for the Punkass Plonker!"

"The new stripped down raw rock power of our stealth flat black board is made to be kicked into submission! Diamond Plate switches beg for abuse! And we need One More Bullet Point here with an Exclamation Point! Oooh! Ahh!"

Oh shut up you Agile/Carvin lovin mother ****er
2002 PRS CE22
2013 G&L ASAT Deluxe
2009 Epiphone G-400 (SH-4)
Marshall JCM2000 DSL100
Krank 1980 Jr 20watt
Krank Rev 4x12 (eminence V12)
GFS Greenie/Digitech Bad Monkey
Morley Bad Horsie 2
MXR Smart Gate
#18
The GT-10 was the brain/controller in the massive 6505 half stack rig I used to have. Never had a single issue with it playing with the band. It's Boss. You shouldn't even need to ask.

That said, setting up and tearing down 4CM is a BITCH and I would never make a rig that complex again. 4CM + footswitch cable. **** that noise. That's one of the main reasons Line 6 POD rack units are so appealing to me now, you set it up in the rack and their Shortboards can get power off of the Cat5 cable. It's awesome.

Not that it matters, since these days it's just my HD500X and my computer. But I'm sure I'll get back out there and rebuild a big rig sooner or later.
Spin 'round carousel when your horse isn't screwed in.

My band:
Fractured Instinct
(For fans of Death/Groove/Prog Metal)

Ibanez RGA42E
Ibanez S420
LTD H-301
Ibanez RG520
Peavey Predator USA
Douglas Grendel 725
Line 6 Pod HD500X
#19
Thanks all for your help so far.

TBH I feel like I might be taking a bit of a backward step in the search for tone.

I've just come from a modelling amp (Line 6 Spider Valve MKII 112) and moved to a Marshall DSL 40c. I play a wide range of music but mainly I want a versatile rig for playing live classic rock.

The SV was great but I always wanted a full on Marshall tube amp. My plan was to get the DSL40c and then build up a pedal collection. Now I have DSL40c I've bought a few mediocre Boss pedals on Ebay but its not really doing it for me. Besides the pain in the arse of lugging around pedals and having to keep setting them up (I don't have a pedalboard yet), it really is hit or miss in finding the tone you want with them, not to mention the expense.

So the new plan is to ditch the pedals and go for a multi effects. Someone near me is selling a GT-100 for £200.00 so I'm very tempted to buy it and ditch the pedals.

I really only intend to use the effects only without amp sims on the GT-100 in a live situation as I don't want to detract too much from the marshall tone. But by doing this am I just taking a backward step and in effect just putting myself back into the same situation as just having the Spider Valve?
#20
Quote by dspellman
Seriously, we've come to the point where a foot pedal (which is generally unseen by an audience anyway) is a fashion statement?

Hasn't it always been?
It depends on what you are playing I guess. If you are a techno mouse, then having a laser light show at your feet is probably ok - but if you are a bluesman or a punk, not so much.
The point is simply that the GT-100 looks pretty cool in its understated simplicity of design. Not a reason to buy it sure, but it is a thing. It's certainly far cooler looking than the GT-10 - even if that isn't a valid reason to choose it.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#21
Quote by Cathbard

The point is simply that the GT-100 looks pretty cool in its understated simplicity of design. .


My foot pedal these days is mostly a Shortboard II with a bright orange ethernet cable running from it to the backline. Buncha chrome switches and an expression pedal on black.

Guess I'll have to up my pedal board game.
#22
You need a black ethernet cable.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#23
Thanks all for your help.

I'm definitely going to go for the GT-100 but I have just one other question.

Although my DSL40c has a foot switch for it's 2 channels, how do I switch my patches between the channels?

For instance. Say I'm using a patch that I've made with chorus/delay and using it through the clean channel of the DSL40c but then want to switch to my gain channel on the DSL40c with a bit of tube screamer/delay how does the GT-100 handle it?

I've read that there is something called A/B divide on the GT-100. Can this intelligently flick different patches between the physical channels on my amp without me having to stomp on my DSL40c foot switch also?
#24
There is an amp ctl output on the GT-100. You run a cable from that to the footswitch jack on the amp. You program the state of the switch on a patch per patch basis.

A/B divide is talking about the amp modeling.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#25
Wow. There's a lot too learn with this thing!

Thanks Cathbard. Sound advice as usual!
#26
You can use the A/B division to route fx in parallel. For example, the ehx stereo electric mistress has a flanger & chorus in the same pedal but arranged in parallel, so both sections get individual guitar signal & then you can set the depth of either effect. I'm not sure if there is a pedal out there that gives that combination in that arrangement, i think the tc scf has the two in series.
So you could use the two parallel paths to do this in the gt100 by placing flanger fx along the A path & chorus fx along the B path.

The assigns feature can be used to trigger 8 things and four extra ones to do ordinary on/off of blocks & stuff. You can set the source of the trigger to be either the Ctrl/Looper pedal, exp pedal, internal wave pedal thing or your input sensitivity. So yeah you can do what you want within the same patch if the gt's amp control works with your amp, it will take some reading/searching online to get some ideas about using the assigns parameters.
Last edited by steven_ferns84 at Nov 28, 2014,
#27
Yes, that is true, I was over simplifying it. A/B allows for two paths within the unit and you can put anything you like in either leg, not just the amp models.
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band
#29
Quote by Cathbard
You need a black ethernet cable.


Got black. Got white, yellow, blue, green and probably whatever else there is as well.

This is dayglo hazard orange, and two bouncy bandmates have been warned that any part of their bodies, their clothes or their gear makes contact with that bright orange no excuse that you didn't see it cable, I will cut them.
#30
hello from greece and thanks for the add!!

i have a question if anyone could help..

i have a mission exp pedal... i want this to control my wah delay, frive..etc but the only option i can get is off and foot volume..

is there a way to use boss pedal for volume and my mission as expression? thanks a lot!
#31
Page 37 of the manual. Well, it is in the English manual. Look for, "Setting Each Pedal Functions to Individual Patches (Assign)"
Gilchrist custom
Yamaha SBG500
Telecasters
Randall RM100 & RM20
Marshall JTM45 clone
Marshall JCM900 4102 (modded)
Marshall 18W clone
Fender 5F1 Champ clone
Atomic Amplifire
Marshall 1960A
Boss GT-100


Cathbard Amplification
My band