[Kevin]

http://www.bossus.com/index.asp?pg=1&tmp=146



Plug into BOSS’s most powerful rack processor. With a dual COSM® effects engine and an expansive I/O section that includes XLR outputs, three sets of send/returns, and a USB port for data exchange and audio flow, the new GT-Pro is the perfect front-end for driving a wall of powered cabinets or for direct, pro-grade recording applications. Whether for stage or studio you’ll be amazed at how much power and performance this top-quality rack has to offer.

Dual COSM Amp Power
With its dual COSM amp-modeling engine, the GT-Pro allows you to construct towering tones by combining any two of the 46 amp models — then layer, switch, or pan between them as your play. Amp channels and effects can even be controlled according to how hard you play (picking dynamics). In addition, no matter which amp model you’ve selected, you can instantly access a companion lead tone with the Solo Switch. It’s like having a separate solo channel for every COSM amp model!

BOSS’s Best Multi-FX
Looking for BOSS’s best effects? You’ll find them here. As the top of GT line, the GT-Pro provides 44 effects categories, with 200 preset- and 140 user-patch locations. Choose from compressors, overdrives, delays, reverbs, choruses, EQs, wahs, and dozens of other BOSS-quality effects — including a sitar and acoustic guitar emulator onboard. The GT-Pro also impresses with its ultra-flexible effects routing. Internally, the 13 effects blocks can be configured in any order you desire; externally, a trio of stereo effects loops plus an array of assignable outputs enables the most flexible signal-routing configurations. Used as a rackmount guitar preamp, the GT-Pro crushes the competition with its advanced internal effects and routing flexibility.

Like having ALL the Boss pedals in one rackmount.

I wonder if they sound as good as the separate pedals...

I have had some of the Boss multi-effect pedal deal, the ME-8 and a few others.

They didn't sound as good the separate ones. Plus you couldn't separate the gain related ones from the time based ones (I put my time based effects in the loop)

I am really curious about this one.

BTW in the guitar circle "GAS" means Guitar Acquisition Syndrome

[dreamryche]

I've been GASing for that for a while now. Too bad it's freakishly expensive, well, for a Boss box ($800-900, about twice as much as the GT-8).

The GT series blows away the ME stuff. I have a GT-3 and it served me faithfully for a few years but it doesn't agree with the FX loop on my Recto. The effects sound much better than the ME boxes and there's an external loop so you can put effects before and after the preamp by patching the GT's loop to your amp's input and FX send. The order of the effects chain is completely programmable as well.

[loki74]

My bro has an ME-50, and the MT-2 Distortion sounds just like the separate MT-2 pedal (aka MetalZone). Don't have any other BOSS effects separately, so I wouldn't know about the others...

anyway, this thing looks friggin awesome. Dual COSM chips, wow.

I've had GAS over ESP's Alexi Laiho Signature Series flying V's, as well as possibly a new amp; this would totally complete the package ...now if I just had the money...*sigh*

[Kevin]

The MEs nor the GTs sound like the analog pedal counterparts. Why? Because in the GT and MEs they are digital.

[analogika]

It's "Gear Acquisition Syndrome", and believe me, it applies to keyboard players too.

[RAILhead]

I'm about to get a GT8. Waiting for a price beat email.

[Kevin]

analog speaking of analog gear, what synths were used to make the theme for "Dr Who" ?

The original one.

[analogika]

Hard to say. The background is massive tape processing, apparently, with all sorts of bizarre filter sweeps going on.

There's the guitar, of course, but the analog "synth" could be anything through some heavy processing. (People have suggested it could be a glass harmonica, but there's portamento, which would be impossible.)

There weren't really many "synths" around in 1963 - Ondes Martenot, Mixturtrautonium, Theremin, and a handful of others, but none of them really fits the bill - or rather, the sound is so mangled that it's hard to tell (theremin is *very* unlikely, though).

[Kevin]

What about the 70s version? Same?

[Doofy]

Meh. I'm starting to hate Roland/Boss these days (and I have a huge rack stuffed full of their product, so that should tell you something).

1) Part of the panel on that thing is silver. And you all know how much I like silver.

2) They dropped the GP-100 (fine bit of kit) and replaced it with this crap?

Don't do it Kev. Go with a Vox Tonelab SE instead. OK, so you can't pop the delays and modulation into your Marshall loop, but trust me, you won't need to - just run the thing straight into your rig clean and forget that your rig's there.

[Doofy]

Originally Posted by analogika

Hard to say. The background is massive tape processing, apparently, with all sorts of bizarre filter sweeps going on.

There's the guitar, of course, but the analog "synth" could be anything through some heavy processing. (People have suggested it could be a glass harmonica, but there's portamento, which would be impossible.)

There weren't really many "synths" around in 1963 - Ondes Martenot, Mixturtrautonium, Theremin, and a handful of others, but none of them really fits the bill - or rather, the sound is so mangled that it's hard to tell (theremin is *very* unlikely, though).

I have it on pretty good authority that it *is* actually a theremin with serious mangling going on (for the top parts, at least).

[analogika]

Originally Posted by Kevin

What about the 70s version? Same?

The 70s version is chockful of EMS stuff (as is most BBC stuff from then and later).

FX are VCS3 (aka Putney), and much of the theme is Synthi 100:

[Kevin]

Originally Posted by Doofy

Don't do it Kev. Go with a Vox Tonelab SE instead. OK, so you can't pop the delays and modulation into your Marshall loop, but trust me, you won't need to - just run the thing straight into your rig clean and forget that your rig's there.

I have my amp because I like the sound of it. The Tonelab is ok.

I am just gonna stick with my pedals.

Originally Posted by analogika

The 70s version is chockful of EMS stuff (as is most BBC stuff from then and later).

FX are VCS3 (aka Putney), and much of the theme is Synthi 100:

Oooh I wonder how much one them would run today.

[Kevin]

Check this out analog

http://ourworld.compuserve.com/homep...es/DWTheme.htm

[analogika]

Originally Posted by Doofy

I have it on pretty good authority that it *is* actually a theremin with serious mangling going on (for the top parts, at least).

It's pretty much impossible to play a Theremin like that. Even for a real virtuoso - of which there were only two or three at the time (as today). That would have been known.

Anyway, Kevin's link bears me out:

There being no "synthesisers", the Workshop needed a source of electronic sound. They found this in a bank of twelve high-quality test tone generators, the usual function of which was to output various tones (square waves, sine waves) for passing through electronic circuits for testing gain, distortion and so on. They also had a couple of high-quality equalisers (again, test equipment - equalisers, or "tone controls", were not that easy to come by at the time) and a few other gadgets including a "wobbulator" (a low frequency oscillator) and a white noise generator.

Each sound in the Doctor Who theme was individually created using these instruments, and recorded to magnetic tape. By "each individual sound" I mean just that - each note was individually hand-crafted. The swooping sounds were created by manually adjusting the pitch of the oscillator to a carefully-timed pattern. The rhythmic hissing sounds were created by filtering white noise to "colour" it, as were the "bubbles" and "clouds". Examination of the original makeup tapes suggests that one of the two bass lines alone is a "concrete" sound, a plucked string sample.

Excellent find, Kevin!

Thanks!

[Kevin]

Originally Posted by analogika

It's pretty much impossible to play a Theremin like that. Even for a real virtuoso - of which there were only two or three at the time (as today). That would have been known.

No one was better than Clara Rockmore. She almost had a supernatural ability to play that thing.

I'd love to make one of my own.

I've been wanting to for awhile. Just have never done it.