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1
This video popped up on my YouTube feed:



I do recognize a lot of the considerations, as I had to make them for the VController project as well.

"Am I really gonna put all drawings and code of this project on the internet?"
"What if other people take advantage?"
"What the heck. I'll do it anyway!"

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Usual suspects:
- assigns look for anything controlling volume or level and switch it off. Check both in the patch and assign overrides.
- position of the GK pot and the expression pedal. Could be dirt.
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Boss Katana Amp - General Discussion / Re: Boss Katana Technology
« Last post by Beanow on Today at 03:22:39 AM »
However, I am afraid that we are not involved in development of the “Hidden Amp” and also that is unsupported and not guaranteed by Roland/BOSS.
 
In addition, we would like to clarify that KTN amps have totally original amp types and hardware structure which were newly developed and tuned for it and are inherited from WAZA AMP DNA. This is not just diverted from other products. Again, we didn't develop Hidden Amp and when Hidden Amp is recalled, the sound was not tuned and optimized for KTN amp.


Hahaha, loving the marketing answer. Deny EVERYTHING! It's a €300 WAZA!

The way the firmware works is extremely similar to the GT-100 and GT-001 official documentation.
All the names that you see in the Floorboard editor such as the Marshalls were originally taken from the GT-100 documentation as well.
Full list here https://github.com/katana-dev/docs/blob/master/data/sneaky-amps-1.0.2.csv

When we first cycled through these new amps there was no way to know if they would match with the GT-100 names.
So it was a matter of trying them all out, looking them up and checking, "sounds pretty marshall-ish" and work through all of them.
And they all match their alleged names far too well to be just a coincidence.
The same applies to the sneaky effects in there, like the tera echo. Every parameter matches the GT-100 spec and sounds like the documented effect.

Lastly the DSP chips they're using are also chips that were seen before in their other modeling products, like the GT-100.

So all of those indicators combined, the consensus theory is these hidden amps and effects are leftovers from the GT-100 or GT-001 firmware that they used as a starting point for developing the Katana with and haven't spent the time to remove them from the firmware more thoroughly. In fact, when Boss replies with "...when Hidden Amp is recalled, the sound was not tuned and optimized for KTN amp." it just makes it more likely they are practically unchanged from the GT-100 baseline firmware.
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Just a stab in the dark but check your TVA times in the synth section (pg. 27 in the manual)
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BILL BAX (UK) / Re: GKP-1 Breakout Box is amazing
« Last post by fuzzfactory on Today at 02:28:17 AM »
todd i will send you the latest track i am working on soon....
it is a super groovy joint my best friend george and his wife eve wrote.... at the moment i am just gettting the bass together
but man all i can say is WOW.....think "midi" but not....not kidding talk to bill and give him money!!
funny thing is for the rest of this track guitar is gonna all be 50's & 60's national amps...EHX comps, phazers, delays ....old school new school 

in the mean time here is a link to george and eves band

https://byzantinetimemachine.wordpress.com/music/
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right on
7
http://www.brakophonic.com/After_the_Rain.mp3

Lars Larson Sax
Gunnar Backman
Fretted and Fretless Virtual Guitar, Live Loops
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Quote
in manual mode you can only have FX1 & FX2 (unless I missed something
You can set each pedal to control each of the effect units, each pedal has a selection of 35 functions to choose from.
The manual mode pedal settings can be set different for each patch.


Quote
petals assigned for Tremolo, Octave down & Harmonist all in the FX
You can only choose one effect from FX1 and one from FX2 to use at any one time, although you can use one or many of the 8 "Assigns" to use a CTL pedal or Looper pedal, or external ctl 1 or ctl 2 pedals to toggle between other FX1 or FX2 effects.
You could use Tremolo from FX1, Harmonist from FX2, and octave from Pedal Bend (PedalFX) section, having the pitch minimum and maximum fixed at the same pitch.


Quote
It would be great if you could disable the looper petal (or use a Boss fs-6) and assign it to other FX selections.
You can. the looper can be disabled in the global/system menu, and use assigns to make use of the Looper pedal as another CTL type function.


Quote
If I can’t figure out how to successfully use it in manual mode…
Once you learn the GT-100 functions, it is quite easy to set up manual mode and patches.
One handy feature/method is to setup 4 patches with unique tones, and setup "Auto Manual Mode", by using
an "Assign", the Target set to "Manual Mode", and the control source set to "input level".

With this method, while not playing (no level detected) the GT-100 is in Patch Mode, where you select one of the 4 patch pedals for a desired patch tone.
Start playing and an input level is detected, and the GT-100 switches to Manual Mode, allowing you to use all the pedals to toggle individual effects off/on.


9
I think the resonance might be coming through the heavy Brass Bridge on the Ibanez artist.

 I'm going to experiment with some string dampening and see if that helps with the tracking.

I was also thinking about replacing the rear pickup with a Cycfi hex pup and running that to a GK board. But that's a future project as I've run out of gear bucks for a while.

10
I play both guitar & bass. Different animals, really, at least IMO. ;)

If I want precision, nothing beats keyboard (or programming). Most of my synths (Roland, naturally) have very nice bass voices.

But when I want some actual swing to the bassline, nothing beats an actual purpose-made bass.

For fill-in onstage -- your bassist doubles out for a tune, say -- nothing at all wrong with using the at-hand tools.
I also have an Ibanez 6 string bass which is tuned to a standard guitar tuning to make it easy to play.
I've never quite understood that. I've worked with a dozen guitarists who thought they could double on bass, but were entirely unable to deal with my various fives (Ibanez, Washburn, Mortenson...) because that big B kept tripping them up. They were wholly unable to deal with anything other than an E at "the top of the stack."

Many sessions of playing behind guitarists who gravitate toward rooting everything in E. :( As I like to have the option to "step up" to the root (here, from D or Eb), standard four-string tuning means I'm basically stuck doubling their root -- thus directly competing sonically -- rather than properly (IMO again) actually being a bassist. ::)
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