JiveTurkey
Goatlord
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I think the GT1000 should have kept the golden orange fonts/screens and iconography of the GT100 
Boss GT-1000 (and possibly other things Boss...)
- Thread starter Sascha Franck
- Start date
Shredder777
Roadie
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- 438
If they are going to do touch, it has to allow typing of patch names. The GX100 doesn't even allow that.
I am always hopeful for Boss (but equally ready to be disappointed), because who else has the low latency and midi integration?
Sascha Franck
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Yeah, the GT is a real weirdo. I'm almost over it, though, simply because this very new setup is doing so much just in the way I like it - there's possibly no other setup that'd get me close (ok, maybe an Axe FX, but I don't want a rack at all).
And fwiw, I'm now gig-ready. Did a test packing and what not.
The PSU on the right will be properly covered tomorrow (no decent wood at home) and the I/O department might need a little bit more love as well.
In the end, while putting things together, I unfortunately noticed that this can't be the final thing. I just need somewhat more space. I actually need to be able to inspect everything instantly should there be issues - and that's pretty tough with this version. Couldn't do any serious cable management, so it's all just crammed in.
Anyhow, this will do for a bunch of test gigs. Absolute bummer: First sealed gig for the board will be in January - got quite some other gigs before, but on most of them the setup is provided by the production and all others require a smaller, suitcase compatible setup. Grr!
And fwiw, I'm now gig-ready. Did a test packing and what not.
The PSU on the right will be properly covered tomorrow (no decent wood at home) and the I/O department might need a little bit more love as well.
In the end, while putting things together, I unfortunately noticed that this can't be the final thing. I just need somewhat more space. I actually need to be able to inspect everything instantly should there be issues - and that's pretty tough with this version. Couldn't do any serious cable management, so it's all just crammed in.
Anyhow, this will do for a bunch of test gigs. Absolute bummer: First sealed gig for the board will be in January - got quite some other gigs before, but on most of them the setup is provided by the production and all others require a smaller, suitcase compatible setup. Grr!
Sascha Franck
Rock Star
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Competing for the Golden Raspberry (at least nobody will ever have to fear my mad video skillz), but hey, here we go:
Sascha Franck
Rock Star
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Got a call earlier, quick gig in a bar (small thing, nothing special, more or less just for fun, relaxed groovy stuff), spontaneous decision of the owners. Grabbed just the GT, slapped it into one side of the double gig bag and went there by bike (I knew the house monitoring would be ok).
Ok, didn't need much dirt sounds for rhythm guitars, but when I used them, it turned out quite well. Possibly not ready for rock'n'roll primetime but defenitely working just fine for pretty much anything else. Same observation for the clean sounds as on the last gig, even if rather lackluster on their own, in context they just work, feel good under your fingers and don't get lost.
Didn't have time to set up the wireless control thing just for the GT in advance, so I had to use the editor on my phone and bend down once or twice because the editor was too slow. That really sucked. Onboard editing with the GT is scaringly bad. It's not even complicated, just incredibly slow as you need to scroll between blocks like a mad man. Ever since the GT-100, the Boss folks completely lost it on the UI side of things. What a miserable affair - and if that was the only way to deal with the unit, I'd trashed it yesterday already. I defenitely need to prepare some patches to be controlled via tablet. Otherwise, I'm quite happy, form factor is ace, I really made use of the various switching options quite a bit.
Ok, didn't need much dirt sounds for rhythm guitars, but when I used them, it turned out quite well. Possibly not ready for rock'n'roll primetime but defenitely working just fine for pretty much anything else. Same observation for the clean sounds as on the last gig, even if rather lackluster on their own, in context they just work, feel good under your fingers and don't get lost.
Didn't have time to set up the wireless control thing just for the GT in advance, so I had to use the editor on my phone and bend down once or twice because the editor was too slow. That really sucked. Onboard editing with the GT is scaringly bad. It's not even complicated, just incredibly slow as you need to scroll between blocks like a mad man. Ever since the GT-100, the Boss folks completely lost it on the UI side of things. What a miserable affair - and if that was the only way to deal with the unit, I'd trashed it yesterday already. I defenitely need to prepare some patches to be controlled via tablet. Otherwise, I'm quite happy, form factor is ace, I really made use of the various switching options quite a bit.
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Sascha Franck
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Ok, perhaps this would deserve a dedicated thread because I think it's really, really cool (may create one when my setup is more or less complete).
So, I'm making progress with TouchOSC. Found a script that'd send all fader values at once, which is pretty much a key function to synchronize TouchOSC and the controlled device in case there's no feedback between the app and the controlled device (which there isn't - and I doubt you could even make it work with either the GT or the Stomp). That's why I'm sending out all values from the app and then have a WYSIWYG scenario. Once I had this sorted (at first I wasn't sure it'd be working...), I knew I could go all in.
The kickass thing about TouchOSC is that you can very easily (!) connect your desktop computer and the mobile device, the latter will then automatically update it's performance screen so you can instantly see things and test them out. Sure, you can as well do all editing on the mobile device, but compared to working with the desktop editor, it's a royal PITA.
Really, IMO it can't be stressed enough, the amazing thing is that all this worked instantly. Install TO, install TO bridge (taking care of the communication duties), tell desktop version to be the server and in case you're on the same network, it'll instantly show up in the mobile version.
I'm now trying to figure out the best way to deal with a multi-page setup in TO, unfortunately standard swiping between pages isn't an option, but clickable page buttons seem to be quite cool as well (and they don't require too much space).
I should possibly add that the TouchOSC faders respond incredibly well on both my cheap Samsung phone and tablet (A55 and Tab A9+). Way, way better than any of the various IEM mixer remote controls and also way, way better than all the freebie MIDI controlling apps I've tried. No idea how they're doing it, but it's a remarkable difference. Add to this that I'll scale the fader range as well - I'll never have the need for any amp's gain to be adjustable from 0 to 127 in a live setup, so something between, say, 30 and 80 will pretty much be suitable, which will again make the faders easier to operate, even on a small smartphone screen.
Once done, the initial setup of both the GT and the Stomp will take some time, but at least for the time being, for the GT I will only have to do that once on one base preset covering all the "global blocks" (Stompbox presets in Boss lingo), of which I will only be using one preset per item (anything else would possibly drive me mad). That preset will also serve as a soundcheck preset. For now I think 11 assigned parameters will do, leaving me up to 5 more for further assignments (no idea why Boss is limiting the parameter amount to 16 per patch).
For the Stomp, I will unfortunately have to repeat the MIDI mapping process for each and every preset, but as I'll only be using one preset per gig anyway, I can start with something fundamental and expand from there whenever I feel like. Also, MIDI learn works a treat, so the mapping is way less of a pain than through Boss' assignment dungeon.
I also already fooled around with the XY pads in TO, mapping various Stomp parameters - this could provide quite some wicked fun. As I really only "need" one amp and cab from the Stomp, I could ditch the internal drives (there's enough analog ones in front) whenever I feel like and have quite some DSP juice free for funky stuff. And the XY-pads feel pretty much as great as the faders, so I could just leave a single screen pad opened all the time and start whatever weird stuff there. Like holding a chord and fading it into some wobbly delay madness gradually.
Seriously, now that I have pretty much all of the initial issues sorted, this could become an incredible setup. Still some finetuning to do, but the core stuff is already finished and working, could already use all that on a gig.
So, I'm making progress with TouchOSC. Found a script that'd send all fader values at once, which is pretty much a key function to synchronize TouchOSC and the controlled device in case there's no feedback between the app and the controlled device (which there isn't - and I doubt you could even make it work with either the GT or the Stomp). That's why I'm sending out all values from the app and then have a WYSIWYG scenario. Once I had this sorted (at first I wasn't sure it'd be working...), I knew I could go all in.
The kickass thing about TouchOSC is that you can very easily (!) connect your desktop computer and the mobile device, the latter will then automatically update it's performance screen so you can instantly see things and test them out. Sure, you can as well do all editing on the mobile device, but compared to working with the desktop editor, it's a royal PITA.
Really, IMO it can't be stressed enough, the amazing thing is that all this worked instantly. Install TO, install TO bridge (taking care of the communication duties), tell desktop version to be the server and in case you're on the same network, it'll instantly show up in the mobile version.
I'm now trying to figure out the best way to deal with a multi-page setup in TO, unfortunately standard swiping between pages isn't an option, but clickable page buttons seem to be quite cool as well (and they don't require too much space).
I should possibly add that the TouchOSC faders respond incredibly well on both my cheap Samsung phone and tablet (A55 and Tab A9+). Way, way better than any of the various IEM mixer remote controls and also way, way better than all the freebie MIDI controlling apps I've tried. No idea how they're doing it, but it's a remarkable difference. Add to this that I'll scale the fader range as well - I'll never have the need for any amp's gain to be adjustable from 0 to 127 in a live setup, so something between, say, 30 and 80 will pretty much be suitable, which will again make the faders easier to operate, even on a small smartphone screen.
Once done, the initial setup of both the GT and the Stomp will take some time, but at least for the time being, for the GT I will only have to do that once on one base preset covering all the "global blocks" (Stompbox presets in Boss lingo), of which I will only be using one preset per item (anything else would possibly drive me mad). That preset will also serve as a soundcheck preset. For now I think 11 assigned parameters will do, leaving me up to 5 more for further assignments (no idea why Boss is limiting the parameter amount to 16 per patch).
For the Stomp, I will unfortunately have to repeat the MIDI mapping process for each and every preset, but as I'll only be using one preset per gig anyway, I can start with something fundamental and expand from there whenever I feel like. Also, MIDI learn works a treat, so the mapping is way less of a pain than through Boss' assignment dungeon.
I also already fooled around with the XY pads in TO, mapping various Stomp parameters - this could provide quite some wicked fun. As I really only "need" one amp and cab from the Stomp, I could ditch the internal drives (there's enough analog ones in front) whenever I feel like and have quite some DSP juice free for funky stuff. And the XY-pads feel pretty much as great as the faders, so I could just leave a single screen pad opened all the time and start whatever weird stuff there. Like holding a chord and fading it into some wobbly delay madness gradually.
Seriously, now that I have pretty much all of the initial issues sorted, this could become an incredible setup. Still some finetuning to do, but the core stuff is already finished and working, could already use all that on a gig.
laxu
Rock Star
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Boss offers a pretty comprehensive Sysex spec for the GT-1000, so technically you could probably use that to read values if TouchOSC supports it. But it gets highly technical, and hard to understand real quick.
Please post screenshots of your TouchOSC setup!
Sascha Franck
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Yeah, I'm sort of aware of that and I will perhaps try to find things out. What I certainly won't do is to manually set up SysEx faders. The MIDI implementation chart is just the usual horror. I would be able to figure it out I guess, but: In case bidirectional communication could be made to work, each and every parameter covered by SysEx should throw out the respective SysEx stream anyway. So I could just record that (I think TO supports that) and send it as well. Should even be sort of easy as this is mainly what TouchOSC is all about (unless you're using the OSC format).
And fwiw, I did a pretty similar thing *way* back in the days, I kind of built a controller for my Boss Sound Canvas in Logic's environment, and it's been less of a pain than what I intially thought it'd be (had to do some trickery to actually record the Boss fader SysEx output to Logics SysEx faders, don't remember anymore). Send SysEx, record it and use the same event type to control things. Great, at least on paper.
Still, so far I don't think it's exactly worth the effort. But then, yes, I would free all the assigment slots up, which might become a neat thing one day.
Anyway, so far I will stick with what I have and get it running.
I will, once I have sufficiently sorted the page thing and be done with my first complete setup. Maybe later today. Could post the TO patch as well.
Sascha Franck
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That went faster than I thought yet again (TouchOSC is really neat to deal with), GT page and preliminary smartphone layout ready. Will likely change colors and what not, but as long as I can easily operate things (*check*) I don't mind the unfancy look (and it's actually looking quite better on the phone itself for whatever reasons).
As far as the controlled parameters go:
- Gain, volume, BMT for the Boss amp (used for cleans).
- CPLVL is controlling a pre-dirt compressor's output. I'm using this to push all leads (regardless whether they're clean or dirty), LDLVL is controlling the post-amp EQ output with a tad of low (and sometimes high) cut, plus a little mid bump. This very way of creating lead sounds out of any rhythm sound is working for me since decades. I'm using very moderate compressor settings, all I want is a bit more "flesh" (aka decay) and a light volume bump.
- DFBCK and DLVL should be obvious. So far they're controlling the Boss' Master Delay's parameters, but I may end up using one of the simple delays as a main (hence global) delay, saving the fancier Master Delay types for, well, fancier things.
- RDEC and RVOL should be obvious as well. Btw., this is one of my biggest annoyances with the GT. I really wish I had two reverbs. One could be a pretty simple one, if it was after me (I like a mix of delay and reverb on driven lead tones, the reverb serving as a kind of "masking" thing, so the delay repeats don't get too obvious).
4th page so far only has my "Send All Fader Values" button, but I will add some program change buttons as I can't change banks on the GT anymore (I rather use all switches for patch modifications).
As far as the controlled parameters go:
- Gain, volume, BMT for the Boss amp (used for cleans).
- CPLVL is controlling a pre-dirt compressor's output. I'm using this to push all leads (regardless whether they're clean or dirty), LDLVL is controlling the post-amp EQ output with a tad of low (and sometimes high) cut, plus a little mid bump. This very way of creating lead sounds out of any rhythm sound is working for me since decades. I'm using very moderate compressor settings, all I want is a bit more "flesh" (aka decay) and a light volume bump.
- DFBCK and DLVL should be obvious. So far they're controlling the Boss' Master Delay's parameters, but I may end up using one of the simple delays as a main (hence global) delay, saving the fancier Master Delay types for, well, fancier things.
- RDEC and RVOL should be obvious as well. Btw., this is one of my biggest annoyances with the GT. I really wish I had two reverbs. One could be a pretty simple one, if it was after me (I like a mix of delay and reverb on driven lead tones, the reverb serving as a kind of "masking" thing, so the delay repeats don't get too obvious).
4th page so far only has my "Send All Fader Values" button, but I will add some program change buttons as I can't change banks on the GT anymore (I rather use all switches for patch modifications).
Sascha Franck
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The Stomp pages will take longer to do as I will have to program a nice working main patch first. Still undecided on my main dirt pedal platform amp (the new Xtra Blue is a very hot candidate, though, but it's using up plenty of juice) and I can only make a decision for the dirt pedals and what not inside the Stomp when I decided which analog pedals will stay on the startup version of the entire board shebang.
Sascha Franck
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GRRR! All of a sudden things don't seem to be too great anymore. There seems to be no easy way to save the status of your faders when you last used them in TouchOSC. Apparently you can set a default value (which is fine), but in case I changed many parameters on a gig, I won't be able to copy all the used values into the default boxes. Just re-saving the patch will not save the fader settings. ChatGPT kept telling me I could save the fader settings with the layout, but it's clearly hallucinating (also making up functions that don't exist).
Waiting for the FB experts to possibly answer...
Waiting for the FB experts to possibly answer...
Sascha Franck
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Issue solved. Needed to check some lock (which really doesn't seem too intuitive) and actively resave the patch.
Sascha Franck
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Ok, here's the second page, namely the one to control the Stomp:
As said, I need to do this for any Stomp patch that I will load (we all know how it's losing all MIDI assignments once you change any models), for now it's the Xtra Blue and 3 pedals. And that's exactly what I will use for a start. The drive pedals are assigned to switches 1-3, DRV and VOL of each represented by the faders shown. Not sure, I might slap them onto the second page and add their tone controls, but I may as well not. With drives, I used to keep their tone controls pretty much the same, it's much more about the tone stack of the amp that might need adjustment live. I possibly wouldn't even need the dirt pedals gain parameter, but as the space was there...
AAAAALLLLLLRIIIIGHT....
Guess I'm now done for the time being (of course I'm not as there's sooo many things to explore with this setup). My first testruns were really, really promising.
In the end, the procedure when setting up things will be:
Load proper GT bank, load proper Stomp patch (obviously, both will usually be loaded when switching the board on). Start TouchOSC, load patch saved to work with the Stomp's patch (as in with parameters pre-adjusted properly), send all values of the patch.
After that, it's pretty much like working with a kinda "traditional" loopswitcher setup. Amps, dirt boxes and some extra stuff can be adjusted WYSIWYG style, will be working globally while all combinations can be called up through patches, with plenty of "non-global" devices left to fool around with. All patch switching will be instantly, very likely including reverb/delay trail spillover (unless I decide to use a radically different signal path, which is quite unlikely)
I should possibly add that the MS-50G, while not the greatest unit on earth anymore, fits pretty much perfectly into that setup (apart from it not being remote controlled, which I could possibly change with some CME MIDI-to-USB tool, but I don't think I'll be going there), as it's another device allowing for global adjustements of the few patches I will cycle through. I typically set up 2-3 patches per gig and add them whenever I feel like. There's a pretty weird kaputt-fuzz that I like, the phaser is quite great, the touch wah too, etc. And, just as the doctor ordered: it has an auto-save function. So when you dial something in, there's no need to save things. Yeah, risky as well, but I'm by now used to it.
In a nutshell: While cobbling all of it together has really been a partially nervewrecking experience (in fact: no, not really), so far I think that every single minute has been worth it and will pay of a thousand times in the future. At least given the functionality, this is pretty much precisely the setup I always wanted. Especially as I can easily move between "almost like analog", fully programmable and anything inbetween.
As said, I need to do this for any Stomp patch that I will load (we all know how it's losing all MIDI assignments once you change any models), for now it's the Xtra Blue and 3 pedals. And that's exactly what I will use for a start. The drive pedals are assigned to switches 1-3, DRV and VOL of each represented by the faders shown. Not sure, I might slap them onto the second page and add their tone controls, but I may as well not. With drives, I used to keep their tone controls pretty much the same, it's much more about the tone stack of the amp that might need adjustment live. I possibly wouldn't even need the dirt pedals gain parameter, but as the space was there...
AAAAALLLLLLRIIIIGHT....
Guess I'm now done for the time being (of course I'm not as there's sooo many things to explore with this setup). My first testruns were really, really promising.
In the end, the procedure when setting up things will be:
Load proper GT bank, load proper Stomp patch (obviously, both will usually be loaded when switching the board on). Start TouchOSC, load patch saved to work with the Stomp's patch (as in with parameters pre-adjusted properly), send all values of the patch.
After that, it's pretty much like working with a kinda "traditional" loopswitcher setup. Amps, dirt boxes and some extra stuff can be adjusted WYSIWYG style, will be working globally while all combinations can be called up through patches, with plenty of "non-global" devices left to fool around with. All patch switching will be instantly, very likely including reverb/delay trail spillover (unless I decide to use a radically different signal path, which is quite unlikely)
I should possibly add that the MS-50G, while not the greatest unit on earth anymore, fits pretty much perfectly into that setup (apart from it not being remote controlled, which I could possibly change with some CME MIDI-to-USB tool, but I don't think I'll be going there), as it's another device allowing for global adjustements of the few patches I will cycle through. I typically set up 2-3 patches per gig and add them whenever I feel like. There's a pretty weird kaputt-fuzz that I like, the phaser is quite great, the touch wah too, etc. And, just as the doctor ordered: it has an auto-save function. So when you dial something in, there's no need to save things. Yeah, risky as well, but I'm by now used to it.
In a nutshell: While cobbling all of it together has really been a partially nervewrecking experience (in fact: no, not really), so far I think that every single minute has been worth it and will pay of a thousand times in the future. At least given the functionality, this is pretty much precisely the setup I always wanted. Especially as I can easily move between "almost like analog", fully programmable and anything inbetween.
Sascha Franck
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Just returned from a rehearsal room session. Used the full setup for the first time, including a carefully prepared TouchOSC patch and what not.
Can't remember the last time I had so much fun with a new rig. Absolutely everything worked every single bit as I was hoping it would.
I'm still astonished about the clean sound of the GT that I was using (the Natural amp), because it's quite lackluster on its own but working so well in context. Compared it with the new HX Super Reverb for some minutes (all in context with drums, bass and keyboards) and while the Super Reverb does sound and feel somewhat better, those differences are getting almost entirely lost once the musical context is getting a little busier - so there's absolutely no need to think about a way to replace the clean portion of the GT.
Used the new HX Xtra Blue amp as an almost clean pedal platform and some analog pedals and the internal HX drives for various degrees of dirt. Sounded incredibly nice IMO.
In this very scenario, the GT works fantastically well. FX are good to great, gapless switching is gorgeous and finally having global blocks is just *such* a relief.
And well, being able to control all crucial (and then some...) parameters via TouchOSC is friggin' gorgeous.
For this session I used one of the vanilla delays for all "normal" delay duties and reserved the Master Delay for the fun stuff. Had Feedback, Mix and Wow of the Space Echo and Feedback and Mix of an additional Echo routed to some faders on a dedicated TouchOSC page, plus Resonance of a post-delay Flanger that I had on a dedicated switch. Quite a blast.
Can't remember the last time I had so much fun with a new rig. Absolutely everything worked every single bit as I was hoping it would.
I'm still astonished about the clean sound of the GT that I was using (the Natural amp), because it's quite lackluster on its own but working so well in context. Compared it with the new HX Super Reverb for some minutes (all in context with drums, bass and keyboards) and while the Super Reverb does sound and feel somewhat better, those differences are getting almost entirely lost once the musical context is getting a little busier - so there's absolutely no need to think about a way to replace the clean portion of the GT.
Used the new HX Xtra Blue amp as an almost clean pedal platform and some analog pedals and the internal HX drives for various degrees of dirt. Sounded incredibly nice IMO.
In this very scenario, the GT works fantastically well. FX are good to great, gapless switching is gorgeous and finally having global blocks is just *such* a relief.
And well, being able to control all crucial (and then some...) parameters via TouchOSC is friggin' gorgeous.
For this session I used one of the vanilla delays for all "normal" delay duties and reserved the Master Delay for the fun stuff. Had Feedback, Mix and Wow of the Space Echo and Feedback and Mix of an additional Echo routed to some faders on a dedicated TouchOSC page, plus Resonance of a post-delay Flanger that I had on a dedicated switch. Quite a blast.
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pipelineaudio
Shredder
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I had both the core and the full. I kept the full for small quick shows. It’s awful in so many ways. Pitch shifter is total barf. Editing is garbage. Preset switching is fast and smooth!
Sascha Franck
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Small side observation: Super stupid implementation of global EQs. I mean, no, not really, it's actually quite nice that you can have different global EQs for the Main and Sub outs, frequencies and ranges are well chosen, too, so there's that. But the damn EQs aren't switchable. Along with that (and even worse) comes that there's no index whether you used them or not. So you might as well have applied a noticeable low cut and compensate for it on your next patch creation session without looking at the global EQ.
Should be switchable and there should be a little status icon on the screen (there's more than enough space).
Fwiw, the same is true for the HX Stomp. Even if the global EQ is switchable, there's no indication of its status (there'd possibly be sufficient screen estate, too), just the bigger models have it.
Companies really need UI consultants. All of them.
Should be switchable and there should be a little status icon on the screen (there's more than enough space).
Fwiw, the same is true for the HX Stomp. Even if the global EQ is switchable, there's no indication of its status (there'd possibly be sufficient screen estate, too), just the bigger models have it.
Companies really need UI consultants. All of them.
laxu
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Same deal on the Ampero 2 and Fractal. To be fair those are already pretty packed for what's on screen in any view, the A2 especially can't fit pretty much anything in its top bar without a redesign.
I guess companies consider global EQ more like a "set and forget" thing rather than something you'd toggle or change often, or any changes you'd do on it are subtle enough that they won't make or break anything.
Sascha Franck
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Yeah, I guess so. But that's stupid, really. I mean, if I ever grab a global EQ, it's for either the FOH out or my monitoring out, pretty much never for both (and usually just for my monitor out). And I'm usually using things similarily at home, as in using the FOH out as a recording feed while monitoring through the other out. Even arranged it like that on my old board incarnation. Now let me forget my global EQ and *blam* - the signal I'm monitoring isn't the same signal I'm recording. Pfft.
And fwiw, I'm absolutely sure that these things happen somewhere in the wild. There's plenty of folks not even remotely being aware of how things work and interact. Can't remember how often I've been reading some tips about how you could "fix", say, the lack of proper/steeper lo/hi cuts in the HX Floor's cab block by using the global EQ. Yeah, right.
So people may as well stumble over the global EQ in the GT/Stomp accidentally.
"Oh, there's another EQ, great, let me see what it does!"
"Wow, now that I've raised the low mids, everything sounds nice and juicy!"
2 days later:
"Boohoohoo, I bypassed each and every block and my guitar still doesn't sound the same as if I'd be running it into the amp straight, this unit is such a sound sucker, goddamn congested Boss mids!"
Sascha Franck
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Almost forgot, first full gig with the new board arrangement last friday. Corporate event, anything from somewhat groovy to slightly rock-ish. So, defenitely not the most difficult stuff to cover for a modeling based setup, but as it's been pretty much a telephone band (hence no preparation, no rehearsed songs), things required some adjustments. Which went as smooth as it could possibly get.
Everything was pretty fine at soundcheck but I finetuned some smaller things during the gig which I'm sure nobody noticed as I had the tablet on a music stand anyway, located somewhat to my right, so holding a note/chord and quickly grabbing a fader was quite an unobtrusive thing to do.
I should possibly add that I limited the parameter range for all faders on the controlled parameters so "everything sort of at noon" would give me my preprogrammed settings and allowed me to deviate by some percents (as an example, the entire fader for my clean amp's treble covers a range from 30 to 70 (instead of 0 to 100). Defenitely a great idea for live because virtual faders on a tablet always are a tad fiddly to use, so you better limit them to a range around the preprogrammed sweet spot.
Anyhow, everything went absolutely smooth, sound was great, too. On the last, slightly louder and somewhat rock-ish-er 2 sets I almost completely stayed within the Stomp realm, used the new Xtra Blue as an ever so slightly hairy pedal platform, felt incredibly well and apparently sounded just great for anyone else, too, at least the FOH guy seemed so happy he even told me how easy it was for him (just a fader up thing).
So, by now I have global blocks, instant, gapless switching and delay/verb spillover covered. Exactly what I always wanted. Things could certainly be worse.
Everything was pretty fine at soundcheck but I finetuned some smaller things during the gig which I'm sure nobody noticed as I had the tablet on a music stand anyway, located somewhat to my right, so holding a note/chord and quickly grabbing a fader was quite an unobtrusive thing to do.
I should possibly add that I limited the parameter range for all faders on the controlled parameters so "everything sort of at noon" would give me my preprogrammed settings and allowed me to deviate by some percents (as an example, the entire fader for my clean amp's treble covers a range from 30 to 70 (instead of 0 to 100). Defenitely a great idea for live because virtual faders on a tablet always are a tad fiddly to use, so you better limit them to a range around the preprogrammed sweet spot.
Anyhow, everything went absolutely smooth, sound was great, too. On the last, slightly louder and somewhat rock-ish-er 2 sets I almost completely stayed within the Stomp realm, used the new Xtra Blue as an ever so slightly hairy pedal platform, felt incredibly well and apparently sounded just great for anyone else, too, at least the FOH guy seemed so happy he even told me how easy it was for him (just a fader up thing).
So, by now I have global blocks, instant, gapless switching and delay/verb spillover covered. Exactly what I always wanted. Things could certainly be worse.
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