boss gt 8 manual german

boss gt 8 manual german

Even if chocolate chip is on your mind, our cookies make an important contribution to a great shopping experience. They help us to show you relevant offers, remember your settings to ease navigation on our website and alert us when the website is slow or unstable. You can view and manage further details and options here.Always with customised added value for musicians. Close Service Contact us Help Tuner Yes Expression Pedal Yes USB-Port Yes Headphone Output Yes MIDI Interface Yes Line Out Yes Battery Powered No PSU included Yes Standard Delivery Times ?349 Add to Basket 8 bought Boss GT-1 Guitar Multi-FX Pedal ?175 7 bought Boss ME-80 ?259 6 bought HoTone Ampero ?333 6 bought Line6 HX Stomp ?519 Our most popular Guitar Multi Effects Compare Products Of these, 341 customers have written no texts or given their feedback in another language. 4 93 Customers 93 customers have given this product a 4-star rating. Of these, 89 customers have written no texts or given their feedback in another language. 3 16 Customers 16 customers have given this product a 3-star rating. Of these, 15 customers have written no texts or given their feedback in another language. 2 8 Customers 8 customers have given this product a 2-star rating. As GT10 users know it took a while to figure it out. But I did. I used it in manual mode for gigs, and I switched from using Vst amps sims on the PC, to using the GT10 directly into my Emu 1616m audio Interface. My sound Improved a lot.Plugging into and interface using the preamps. Yes the Dual screen makes it easier in the programming side of things. The problem is you have to go into the menu for everything. I got used to reaching over and turning on and off delay compression etc on the GT10 (in desktop mode) so in fact its more confusing and time consuming for me. In a lot of youtube video comparisons the GT100 sounded very Muddy even Honky to me. I found this true of the unit in my experience. I did not like any of the preamps.

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My tele sounded Ok, the strat was just OK, but none of the Amps liked my Les Paul. I like my shimmering clean strat sound and hi-gain humbucker drop D downpicking riffs. I could achieve neither. I know people who swear by the sensitivity of the vintage amps with old vintage guitars. If i was gigging more than recording, I would use this (for the improved manual mode) but for studio versatility I will stick to my GT10. I hope this review helps anybody who found themselves in the same position as I was a few weeks ago. Personally I prefer my GT10, but thats just me. Finally, one more thing. Send report Total handling features sound quality Better then I had expected. 13.01.2016 So to start off I've been using a BOSS GT-10 for about 9 months and I can say that when I bought this I was blown away by how much better the GT-100 is in comparison. This is a very good product. All the videos on YouTube reviewing it do not do it any justice at all.(Since I'm guessing that just like me.All I can say. as soon as plugged it in it's amazing. The tones are clear, very rich in texture and depth, more than what you would expect from a floor unit like this. It really feels like you have that live amp behind you driving your tone.You have a lot of options and to be quite fair and you can get lost in it all. So having some knowledge on how to tweak a pedal, amp, EQ a bit will come in handy for sure. Overall opinion: The thing's amazing. Tones are good, it's literally built like a tank.I see this as being usable both in-studio and live without any problems. But you do need to set it up right or else you might get not get the best tones out of it. Also my sound engineer loves it. NOTE: Be prepared to spend some time to get to know the unit. I spend like one whole day when it arrived just figuring it out and making like 4 basic tones that I need. But in the end in sounded amazing. Be ready to spend some time, it's gonna be worth it. Hope this review helps.

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Send report Total handling features sound quality House of fun! Branko O., 30.10.2016 Wow! Amazing! I've had GT6 for a long time and it was great, but this is light years away. Dual displays make it easy to see everything. Easy to surf through the menus, everything intuitive. Within seconds you can go and set your tone up to your liking. Effect chain is totally flexible and effects can be placed anywhere. I use this in 4 cable method and it is excellent in this mode. Effects before my preamp, whatever I want. Effects after my preamp, whatever I want. Don't want my preamp. No problem - I can use simulated preamp within GT100. Effect list is endless. Unlike GT6, FX1 and FX2 have same options. For example, set both FX1 and FX2 to harmonizer with two voices. Crazy! This processor really surprised me and went beyond my expectations. Only minor downside is tone coloring. It does color the tone in 4 cable method, no matter what global setting is used. So equalizer effect should be used to balance this. From what I see on the internet, it seems that most competitors suffer the same. Tone purists should stick to pedals or go for rack units.During that time I slowly acquired some habits of tone purists, go figure:-) It was there before but I never paid attention to it - I was never satisfied with the COSM amp models. GT6 was not up to my liking. BR80 based on GT10 did not have what I needed. GT100 as well. All of those do not have good crunch or distortion for my ear. It is not responsive and dynamic as it should be, it sounds cheap in all those products. I couldn't put my finger on it until I recently got VOX Tonelab ST. It's not mind blowing and it has it's faults, but that little VOX is way ahead COSM models. Dynamic and organic playing way above COSM models - for crunch and higher gain also. I don't know about other Tonelab units, but ST does the job way better. Note that cleans are good in COSM world, it is just that driven stuff sounds cheap.

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So if you're after fine art of dynamic playing and your ears are refining through the years, do not go for this unit. This unit can only give you excellent and mind blowing effects, combinations, routings, user intuitiveness, and robustness that is hardly available elsewhere for this price. If you plan to use it that way, keep in mind of tone coloring I mentioned in my original review. For all others that are mostly high gain shredders - this unit will satisfy you. Though I see that even some high gain shredders don't like what they hear from COSM models, just like me. So if your ears are starting to hear something you don't like then pay attention. Do your homework and search for something else. Youtube can come handy but also sometimes misleading because people leave poor recordings. Day by day, you might find you need more money to satisfy the need, but that's what usually happens when sensitivity grows in you. And. sometimes there are exceptions to that rule just like that little VOX. Listen listen listen.Because you - is you:-) Overall I'm leaving all my ratings the same except the sound and total. Sound is now 1 and it was 5 stars. Total is now 3 and it was 5 stars. Send report Total handling features sound quality Awesome anilgokce, 29.06.2020 I am using for my Electro Baglama and the presets are already good and it is so easy to play with parameters, and record new sound to the bank. I find it very user friendly. Send report Read all 252 reviews Rate product VAT Dispatch expected by Thu, 13. August Available immediately Available immediately This item is in stock and can be dispatched immediately. Standard Delivery Times Guitar Setups The range of available guitars and amps has never been greater than it is today, and a huge variety of sounds are easily accessible. Online Guides Show all Multi Effect Pedals The entrance of digital technology into music electronics makes an ''Echo Chamber'' affordable for the little man.

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Downloads Show all Training Guide PDF test results: Read review. Sorry if I stepped on any toes. When you \nsee it in a topic it simply means here is another opinion on the same topic \nfrom another poster. Now go ahead, read it all, soak it up, print it out, and email it to \nyour buddies. Plug the guitar into the GT-8 input. Plug the GT-8 left(mono) output, into \nthe amps main guitar input. You have now a nice round \nroll off in the high frequencies, which looks like the natural response of a tube preamp. Then, set your level with \nthe little black knob near the guitar input of your GT. This means that you can use the GT-8 \npreamps and distortions as normally possible, but also your amps preamp as well, or any combination of these. Both the preamp and power amp have an input and an output, and this is how we \nseparate them. The preamp input is the main guitar input and its output is the FX send on the back of the amp. A power amps only job is to take a given signal \nand amplify it so that it can power speakers. There are amps that are specifically manufactured as power amps, and \nif you already own a guitar amp with an FX Loop, then you also have a power amp as long as you have everything \ngoing straight into the FX Return jacks. A power amp has no EQ or tone changing features because that is the job of \na preamp. The \nmain reason to use a power amp is to get a very accurate sound reproduction being received from any inputs. Most \npower amps have full range frequency response. This means that all frequencies are treated with equal volume. \nKeep in mind that even if you are using the power amp from a regular guitar amp, that does not mean that you will \nget a full frequency response. The speakers that are used have a huge impact on the way it will sound. Most \nspeaker cabinet assemblies that are made for full frequency power amps often times use more than just one \nspeaker, so that it can reproduce ALL frequencies.

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A power amp section of a standard guitar amp will give a full \nfrequency response, however the speakers usually consist of only one speaker per channel. These speakers are \nusually only capable of reproducing a certain range of frequencies, so the power amp sound is not accurately \nreproduced. The top of the high \nfrequency range is usually rolled off. This gives the common warm guitar sound that we are all used to hearing. \nWhen you are deciding on the right output select to use, here are a thing to remember. This will result in a high frequency roll off, to give the more natural sound \nof a guitar amps speaker(s). But most of all use your ears and listen to what sounds best. FYI, in this case, the \noverall frequency response is rather close to the result obtained through a Line 6 Vetta. If it has a level adjustment knob then this can be used to make the \nparallel FX loop behave exactly as a serial loop. You want 100 of the preamp signal going out to the GT-8. This \nwill prevent any direct signal from mixing with the GT-8 processed signal, which is slightly delayed due to \nprocessing, and causing a out of phase signal. If you have a amp footswitch box, then make sure to read all of your \namps documentation about the Loop settings and switch behaviour. I think this is the main cause of people getting \nconfused with there amp behaving funny. Both \nclean and distortion patches are fuller and richer sounding. This is the only way I will gig with it from now on. Then \nset the CTL pedal to master bpm tap tempo. The stereo sound is incredible \n \n \n3. The people that won't benefit are the ones that go right down the front of stage. It is quite common to DI gear from the stage to the desk. 10m is \na long way to send an unbalanced line-level signal.plenty of opportunity to pick up some noise. The right DI would \nallow you to send a balanced mic-level signal.and your sound-guy would probably be happier too.

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\n \n \nIf the stage is small and the board is on-stage and close to my side of the stage, I'll run an unbalanced line from the \nGT-8 to the board. For that \nyou must use a DI box between the GT-8 and the snake. There is a way to loop in the GT8 so that you maintain your FX chain order, can utilize you \namps preamp tone and switch OFF you amps preamp tone and ON a GT8 Preamp.This is where you would use a GT8 preamp in place of your amps \npreamp. The tone controls of your amp get bypassed too so it is a fairly transparent sound. Level matching is vital \nhere. You want the whole \nsignal coming thru the GT8. A parallel loop allows you to mix in varying amounts from the FX Loop. Also, this is generally what I do and it works for me, it is not gospel nor complete.So, AVOID to use a parallel loop. Start with the little black knob near the guitar input of the GT around noon (and \nBEWARE: the master volume of your amp could be disabled now as explained above. Too much output from the GT-8 and things \nsound a bit harsh, sustain breaks up, and the sound is just not good. Hopefully it will help others \nwho might not be able to achieve the desired sounds. As it is important to have a consistent level \nwhile switching patches I firmly believe that as far as tone goes it is far more important to have a single patch \nlevelled within itself. This way you know that your getting the optimal signal through each stage of the tone \nprocessing. Then I add whatever else I may want, but I \ncheck the meter every time I add something. \n \n They are cumulative, so one level affects the next and so on. If you keep everything as even as possible it cuts way down on aliasing and \nproduces a more musical more realistic sound, you can play louder, cleaner, and have no unwanted feedback or \nsquealing. If your getting those squeals then your running the signal too hot. Once this is completed I \nthen turn on all the effects for that patch and check the output meter.

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The GT-8 allows you to check the output meter of each effect \nas well. Once this \nis completed I then turn on all the effects for that patch and check the output meter. This approach works and I highly recommend it. This technique helps tremendously in eliminating \nfizziness, clipping etc. \n \n A SIMPLE PLAN \n I approached the GT8 with a little trepidation last year (I'd wrestled with a POD xt for 18 months) when I got it but I \nfound it was really easy to get it to work right out of the box. I set it up initially to be just a set of stomps and hooked \nit straight into the front of the amps (I use stereo). After that it \nwas FUN to play with all the options the little beastie can give you. If your like me you \nspend the first hour or two rifling through the stock patches jamming out to the few that you like. So, you immediately start twisting knobs and things get either worse or if your lucky a little better.but still \nnot as good as you hoped.your becoming frustrated and second guessing your purchase. It seems too \noverwhelming. \n \n Hopefully, this article will help you out, explain some basics on tone shaping and how to get you started on your way \nto happy, educated, informed methods of tweaking. \n \n Levels \n It is vital to set your levels. The Input meter is the Guitars Input before it hits anything. You will notice that the OUTPUT \nMETER changes with the INPUT LEVEL adjustment. The Input Level adjustment is pre-effect but post guitar input. I \naim for the same level through to the Output. I suppose if you had a real weak guitar signal that you might want to \nboost it via the INPUT LEVEL adjustment to get a good strong signal through the effects. This IS kind of a crucial \ninitial set-up step. If you clipping there your fucked to begin with. \n \n Level Meters \n \n Never go above the 11th segment because that is equivalent of 100 output and very near clipping.The tweakability is a blessing and a \ncurse.

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But, one thing is for sure: If you trust your ears and keep on tweaking, then all will improve. \n \n I had a chance to play some more tonight. I turned up the volume on my stereo a bit to see if that would make life \nany easier. I tried turning the levels down a bit from 70 of full scale peak to about 56. I started fooling with the mic sims and I finally read the manual. Doh!!! I \nthought that I had been turning the mic sims off, but instead I was just putting the mic off axis. There is a huge difference in the sound when you flip from off axis to on axis and \nmove the mic around. The first thing that I noticed was that the noise gate was at the beginning \nof the chain. Boss has done a good job with the gate allowing you to place it anywhere in the chain but allowing you \nto trigger it from another location. I set mine to after the preamp, but triggered at the input. Works well and gave me \na more natural sounding attack than having it at the beginning of the chain. \n \n I also moved the DGT (output simulator) to just after the preamp, since to me this seems a little more logical than \nhaving it at the end of the chain. \n \n I started playing with the pitch shifter and its delay feature. This really livened up the sound. \n \n This was really starting to sound good. Playing was effortless. I level matched all of my patches to \nthis number and they sound really good. I create all my patches this way and I have fewer problems with unwanted \nnoise and aliasing. They are experimented in this department; the mic sims are faithful: their frequency response on my \nscreen is close to what you see on the data sheets provided by Shure, AKG, etc. For example, the \nfreq response of the Marshall on the GT-8 shows a little peak around 5khz which cannot be linked with the speakers \nspecs; but it can be correlated to the freq enhanced by the Shure. Same thing with the other options.

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The more input volume you use the more \ngain (distortion) you will get within a patch. The Master Patch Level is best off at 100. When writing a patch try to \nkeep the levels of different effects close.so that your not cranking say the preamp and bringing the level back down \nwith a large negative value on the EQ. Basically, you want to keep a directly plugged in guitar to amp level thru \nthe gt8.or fairly close. Keeping it this way and at this level will minimize noise and the use of the Noise Suppressor. \nBy removing or minimising the settings of the Noise Suppressor you will yield truer sound and more sustain. I match \nmy levels by ear and by utilizing the input, effect and output meters. \n \n \nChoosing an Output Select \n This is a very important piece of the puzzle. Learn how to work with it, it will save time \nand some confusion in the long run. Some lack lows, some lack highs etc. Whatever the case is, it can be made up with tone and EQ \nsettings. Your \nlooking at a small black floor processor, it is easy to loose sight of the intention of this beast. When I sit down and \nlook of it, I think past the surface. I picture a whole room of amps, cabinets, mics, and a huge row of stomp boxes. \nbreak it all down in your minds eye. I would first find an amp that I like. So, I always start with \neverything off and then turn on a preamp. After I decide what amp to go with I usually do two things. Most people who think COSM is sterile usually \nignore the cabinet simulator and just leave it to its default which often times yields a bad sound. \n \n Then I go back to the tone controls and gain. I set up the gain structure first. Remember different amps have varying amounts of gain, so there is no golden rule as to where it \nshould be set. Once I find the gain I like I go back to the tone knobs, and get the sound as close as possible to \nwhere I like it. Here is the tricky part. The cab and \nmic sims are crucial to dialling in a good tone.

\n \n I'm going in on the input of my amp, and I went through all the Output Selects and most of them sounded like the \ntones had a blanket on the amp. Mic placement will either take away high end \n(further away) or bring out the highs better (closer). We will bring the bass back up post \ndistortion via the Tone Modify and EQ. My new favourite thing to do this \nis the Tone Modify effect. I place it directly after the preamp in the FX chain. I am personally partial to the \nresonator(s). Here is where you can bring up bass and treble to get a nice tight low end and smooth highs. It can \nalso be done via the EQ as well. You can use whatever one sounds best and you can use \nthen a few ways. 1. to add a different character to the preamp tone by using light gain. 2. Add a boost with more \ngain for leads. 3. Use it as a primary gain source for clean patches. It has been my experience to use them for a little \ncoloration to moderate gain as I personally I like the preamp distortions better. \n \n \n \n CREATE YOUR OWN SOUNDS SUPER QUICK \n I recently had a chance to visit with one of the guys at a Roland booth at the Arlington, TX Guitar Show. He eagerly walked me through several very cool, semi-hidden features that should make \nbuilding custom patches a lot quicker and easier. There are a decent number of templates that you can start with for building a new \npatch. This is the first basic template. \nThere are about 5 or so of each major genre. I tried working with several \ntonight and some are pretty good. Not magic, but helpful to get going in a direction. \n \n Once you have your basic patch done, you might want to tweak the Chorus, Delay or one of the other FX in the \nchain. Use the Quick Settings to setup several of the most common \nconfigurations for every available FX and just about everything else in this beast. Again, I never paid much attention \nhere because I thought these were where I should store my own quickie presets.

Turn it a few more clicks till you get \nto JC Chorus.In just a few minutes, you can dial in a perfectly good, working tone that uses \ntypical effects setups that you hear on your favourite recordings. Now I know a much simpler way to get started \nwith patches.There are lots of posts on chain effects and the \norder in which some people have used them to achieve a desired effect. \n \n EQ settings \n \n EQ settings on all the effects that you use either together or as one can be a pain in the ass. Global setting tend to \nhave a lot to do with this problem. I've read on some posts here that it's a good start by shutting down all the effects \nand run straight through your GT-8 with no effects what so ever. Get a good clean sound that you are happy with by \nadjusting the global settings. Example: Just a \ndistortion sound you are trying to create. EQ the amp model you want to use until you arrive at a balanced sound \nthat is approximate to what you want.I \nuse a moderate setting for the low Mids to serve as my main mid range control. \n \n Step 4 (Optional) \n Another good thing to do is bring in the tone modifiers.I usually never ever turn the gain above 30 and I park the level at 50.Use one of the rectifier sims, or 5150 lead for some \ngood lead tones. Careful with the gain too. My \nfavourite lead sound on the GT-8 would be a straight T-Amp Lead with the EZ EQ setting on BRIGHT TONE (should \nbe the fifth one). Sprinkle some ambience reverb at about 20 and sounds heavenly on a fat strat. \n \n HEAVY SOUND TWEAKS \n I never use the original cab. I actually have made a custom cab that I use in almost all my patches.I say this for a few reasons. \n \n Firstly it kills a lot of fizz and brings up the low end. Depending on how much the high end is \nthere. I use the mic placement to tweak the highs. Then use the EQ post Preamp in the FX chain. Boost usually \naround 4k with a Q of 1 a few dB. Or, alternatively, mess with different \noutput settings.

\n \n 2) Your problems with fizzle and sizzle, to my relatively newbie perspective on the GT-8, can be solved by just \ntampering with the OUTPUT LEVELS of each section in your effects chain. NOTE: I suggest lowering levels \nas well as decreasing certain levels, because it is interesting to note that sometimes, when you raise the level of \nsay, the preamp section, it sometimes drastically reduces the fizzy quality, whereas normal logic dictates the fizz \nshould reduce when you lower the level. Normally, the Global EQ is intended for being \nable to use a certain patch with another guitar which it was not programmed on. It allows you to tweak the EQ \nlevels further so that you could mimic, say a Les Paul with a Fender guitar. \n \n 5) DO NOT USE the noise suppressor on the GT-8. It is my experience with multi-effects processor that adding \nmore effects always digitise the sound, and in the case of the noise suppressor, it kills sustain and tone as well. \nOr, if you are having a little static hiss, use it at low levels to ameliorate the problem. When I first started programming my GT-8, I was trying to add all the effects I wanted \nat one time, and everything I came up with was crap. Then I tried working with only one effect at a time. If you are still refining your technique, (I know, theoretically, we will always be refining our technique,) \nthen you should really consider the why up between distortion and clarity. If \nthis is something you want in your sound too, then dial your gain down around 3 and play your favourite riff, while \nslowly dialling in more distortion until you just get that big, distorted palm mute sound. Ok, the big, bright crunching metal sound is cool. Presence is form of high-Mids, which is somewhat \nessential for metal guitar. But completely unwanted in higher doses. (Hopefully someone else can help in how to \ntackle this!) \n \n A quick tip: Do NOT lower your Mids for your metal tones.

While it may sound peachy keen at a low volume, but \nwhen you start playing at, say, drum level, or for an audience, those Mids are squelched out even more and the lows \nand highs are boosted greatly. \n \n As a rule of thumb, do a sound check at all times. Your mid knob IS your friend. Put it in front of a Marshall sim get ready to wail away. Metal Stack as a preamp: Gain Switch High, Gain 10-20, middle 0-10 and so on. \n \n rectifier mdrn 2. You can control the volume but that's it. What ever else you desire you have to do \nwith assigns. If you want the only difference in channel A and \nB to be the solo boost then copy channel A to channel B, first make sure you are on channel A then push the write \nbutton one time and the screen will show copy channel A to B and then push the write button again and they will be \nidentical. Best to use EQ to add some mid-range boost to both amps. This \nworks a treat. I believe there's an option in the GT-8 where you can turn both solo functions for preamps A and B. \n \nIt's there in the ctrl pedal choices. It's right after hold delay and before patch num inc. \n \nOut of curiosity, can you tell us which EQ frequencies you 'boost' using the footswitch. Presumably, your 'off' \nposition is flat EQ. What are the parameters for your 'on' position? \n No, actually my off isn't flat EQ. I keep the EQ on all the time, it's just in different forms. \n \nLet's use a couple of the Quick EQ settings as an example. Say you want the Mid Boost and Fat Lead on the same \npatch. That \nleaves 6 values that need to change. We will set it so that having the switch OFF will give us the EQ values that \ncorrespond to Mid Boost and having the switch ON will correspond to the Fat Lead. So, we activate ASSIGN 1, set \nTARGET to EQ: LOW EQ, set Min to -4dB, set Max to 0dB, set the SOURCE as CTL SWITCH (or EXP \nSW, CTL 1, CTL 2. whichever you want to use), set MODE to TOGGLE, set RANGE LO to 0, set RANGE HI to \n127.

This was kind of an extreme example, I usually don't make that many assigns to \nalter the EQ. Generally I'll use it to boost the mid EQ (low and high) and the overall level. Otherwise you limit your \nability to use assigns for other functions because you can have a max of 8 for a patch. \n \n \n SOLO BUTTON BOOST AMOUNT \n I'm wondering if anyone has figured out a good formula for setting the volume difference between their rhythm and \nsolo patch sounds. What do you guys do (in terms of volume and EQ) when designing a rhythm patch and then a \nsolo sound to match it? \n \nI don't like to pre-program a volume difference for that purpose, because I find that the difference that works at home \ndoesn't necessarily work with a band. Or works with a low volume band but not a high volume band. Or works from \nmy monitor but not FOH. Etc. \n \nGiven that I only run in mono, I go the low-tech non-programmable solution: run a Boss GE-7 after my preamp and \nstep on it for all solos (as well as selecting the patch I want). On 99 of \nmine it increases your output automatically for soloing. What seems to work? I know on the GT8 \nthe solo function can do the same thing. I personally like to up it about 5 -10. Just enough to cut through everyone else's \nloudness. With GT-8 I have been using the solo function (again assigned together \nwith some other changes for soloing sound). For me setting the 'default' channel solo level to about 50(default)-65 \ndoes the trick. I set all my patch levels to value 100. Generally, I level match my patches and all the effect are at \n'equal level' unless something special is needed in the patch. \n \nThere are a couple of things to consider, though, \n \n \n 1. This scheme has general applicability only if you level match all your patches and effects; otherwise you \nhave to find the right levels patch by patch. \n \n \n2. Remember to keep your SOLO levels under control in the digital domain; ie.