GT-100 - Metal Patches

Started by buckmazter, April 28, 2016, 03:46:04 AM

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buckmazter

Hello People! I'm new to this site so excuse me if I repeat something already said. Does anyone have some patches to download that are metal related? It's taken me a couple hours to get a decent tone because I'm a perfectionist and was wondering if someone has a patch they would like to share. I've created just a couple that I think are decent but nothing special to what I've found across the internet. I'm looking for something like Deftones, Pantera, Lamb of God, White Zombie, Metallica, A Perfect Circle, Disturbed, or anything along those artists tones. I've only had my Gt-100 for a couple months so yes I'm a little bit of a noob to messing with this thing but it is very similar to the Digitech GN3000 I've had since it came out about 10 years ago. Still works brilliantly by the way. Well anyways, thanks for helping if anyone does.

Elantric

http://www.thegearpage.net/board/index.php?threads/gt-100-getting-axe-fx-ii-metal-sounds-from-you-boss.1731890/

Ok, here's another tip, something I discovered that I haven't seen tried anywhere else. This trick is about making your GT-100 rival (surpass?) the AXE FX II metal tones.

In the past I have used the GT-100 preamp models with real amps for other flavors of gain, but this tip is about getting amazing metal tone without real cabs or mics.

While GT-100 doesnt give you ability to load IRs for cab response, it does give you parallel chains and custom tailoring of cab, mic, and mic placement. In some ways, this is similar to the steps I go through when dual miking actual guitar cabs.

When I close mic with dual mics, I use a trick from an old SOS article with Kevin Shirley. He uses a 57/201 pair and uses EQ on the mic pairs to pass high and low frequencies respectively. He then can get a variety of tones just by changing the relative levels of each mic. This is how I have been recording guitars for the past five years.

(Aside: My interest in learning to use the GT-100 for direct recordings is because I am covering a wider range of material and need instant recall of the various sounds I have used. I can't do this with real amps, and instead of throwing money at the problem, I decided to see how far I can take what I already own.)

Anyway, I'm not saying that the AXE FX II represents the best metal tones the world has ever heard, but it sure is popular and its become a standard for what metal players want to hear. When you compare the GT-100 stock metal sounds to the AXE FX, you will notice that the bass response is rounder and not as well controlled. Its not as tight by default, which is probably good for the other 90% of sounds you are playing, but when you play metal, you need tight bass that tracks the lower strings accurately. You want articulation (the notes to be detailed/distinct), even when you raise the gain. The stock GT-100 behavior is that when you play really high gain, you lose the articulation on the low end, it can turn to mud and get boomy unless you are very careful with gain and eq settings.

To overcome these problems, I take the same approach that I do with real mics. In the GT-100, I have parallel chains, one for the high pass mic and one for the lows.

*In front of both chains I have the "crunch" overdrive (with around 1/4 drive and unity gain and a slight treble boost.) I just like how this sounds and works with my guitars.
*In the upper chain I have a noise suppressor, 5150 amp model, and EQ block.
*In the lower chain I have the same (using FX1 block as parametric EQ.)
*After the chains merge, I have a third parametric EQ block (FX2) and time based effects.



The amp model I am using is the 5150 drive. In the two parametric EQs, I use the high pass/low pass shelving. The upper chain gets high pass at 630Hz. The lower chain gets low pass at 630Hz.

I have tried many different combinations of mic placement, cabs, etc. What I found works best is this:

Use the SM57 mic, on axis, in the lower chain. Set it up from 0-2cm from center for tightest sound. This is contrary to real world use of this mic, as the 57 has a modest bass response. It is best for this application because it is the tightest of all the mics. I also use the 57 for the upper chain, because it imparts "the sound" everyone is familiar with, but you might like a different sound. The upper 57 is 5-6cm from center.

For cabs, use one of the larger cabs, the 4x12 or 8x12 in the upper chain. In the lower chain, use the 1x12 or 1x10 cab. You can get away with using one of the larger cabs on top without risking the bottom end sounding too big or muddy.

I use identical amp settings on both upper and lower chains. The settings for each chain are all around middle. The post EQ will be used mainly for tailoring the EQ, but you can use the 5150's presence to control the top end.

Now, the most important thing: Use a high gain setting on top, around 75, maybe more. On the bottom I use a low/mid gain setting around 25. This will help retain the low string articulation that goes away when using high gain. The bottom strings still sound like they are high gain, but you now have control over their articulation based on how much gain you add in the lower chain. Its now possible to riff and play djent without it turning to mud or getting boomy.

To get the balance of Highs/Lows just right, use the amp's volume controls. This is the same thing you do with real mics from the board. I usually start with both at the same level and bring up the lower mic until it sounds more balanced.

Use the post eq high and low controls as presence and resonance to control the overall size of the sound for your mix. If you want something huge, raise these in tandem to +10 or more. If you want something smaller, keep them around zero.

The post EQ is also used to customize the amp tone. You have two more bands of parametric. You could probably do this with the amp controls, but I find its easier to do it from the parametric after the chains are merged. ( I think its a good policy to keep both amps' eqs the same.) I love a thin hi/md spike of +3, Q=.5, at 3.15KHz. Use a wider Q around 4, +2-4, centered around 800-1KHz to fill in the low/mid to taste.

Once you have this technique sounding great with the 5150, try some of the other high gain models.