Valeton GP-50, GP-150 and GP-180

This is great easy to understand info 👍

Nice !
nice GIF


So i have just checked with a macbook and it seems to be something to do with ios that doesnt deliver power but works as an audio device( i wonder if its because most interfaces dont charge and the driver is a generic interface one) , just to check i tried usb c>c ,usb c hub, usb a>c ,powered and unpowered and usb 3.0 and 2.0

The workaround i found is that you can power it from the 9v input if your handy with a soldering iron and multimeter you could get a usb 5v-9v converter swap the polarity to centre negative and use a usb power bank
 
Ive replied to you sasch because ive installed the

Valeton USB ASIO Driver V5.57.2 Setup.zip

from the valeton site plugged into my laptop with a usb c > c cable and its now charging and used as an interface , maybe its the driver or maybe its the usb cable/port your using .

Goes to show how much Apple still sucks. Their USB ports notoriously just deliver the minimum specs in terms of power supplement.
Tried with different cables, no way the GP-50 can be charged from my Macbook Air's USB ports (and yes, the Macbook is connected to its PSU).

Unfortunately can't help with your other issues but I'll try to connect the thing to my Hotone Ampero Control via BT when I'm back home (on the 2nd).
 
So i have just checked with a macbook and it seems to be something to do with ios that doesnt deliver power but works as an audio device( i wonder if its because most interfaces dont charge and the driver is a generic interface one)

I'm sure it's because Apple spec'ing their USB ports just so they meet the minimum requirements - which simply might not be enough for a device demanding 500mA @ 9V.
 
Did some recording offset test.
This is BY FAR the worst onboard audio interface I have ever seen in any modeler. There's a recording offset of around 2110 samples at 44.1kHz.
That's more than 47 milliseconds that each of your recordings will be off. Yes, Logic (and some other hosts as well) can compensate for that globally, but seriously, I can hardly believe there even is such bad performance to be had anywhere in interface land - but here we are.
It's so huge that Oblique's RTL utility refuses to work at any buffer settings below 128 samples. And at 128 samples it shows a reported latency of 516 samples (roughly 11ms, which could be considered normal in this category) - just that the actual measured latency is at 2354 samples - which is around 53ms.

I'm not even too sure about the accuracy of any of these numbers as I've got different results on a second offset test in Logic. In case the offset is floating, no compensation or whatsoever will help you. Obviously, that would greatly diminish the value of this thing as it simply couldn't be used as any kind of interface at all anymore. I'll investigate some more.

On a very slight positive note: Most of the latency seems to be created on the input side as playing virtual instruments through a MIDI keyboard is fine-ish.

Whatever, these are all incredibly bad numbers and regardless of the affordability of this thing. I will now start harrassing Valeton through their official channels.
 
I'm sure it's because Apple spec'ing their USB ports just so they meet the minimum requirements - which simply might not be enough for a device demanding 500mA @ 9V.
so i just hooked it up to windows again to check
photo_2025-12-26_23-04-18.jpg


Its only drawing 5v 300ma and im sure most macbooks in the last 10 years can manage that i think it may be that valeton need to release an apple driver if thats even a possibilty.

Is there an easy way to check the recording offset on windows ? ive searched and it seems program specific reaper studio one etc ive always just manually corrected dragging and trimming in daws over the years lol
 
I've got a GP-5 on the way from a Cioks package deal, I'm guessing Snaptones are what they call presets? And you can load NAM files via the Snaptones? I haven't paid attention to NAM-anything and only know it's supposed to be tHe BeSt profiling/capturing. I still plan on getting a ToneX One or two to store out of state, but it'll be cool to check out all the current profiling across different platforms.....without having to touch an NDSP product!
 
I'm guessing Snaptones are what they call presets? And you can load NAM files via the Snaptones?

Not quite, "snaptones" is what they call the imported/converted NAM files - for whatever reasons (possibly in the first place because the conversion is resulting in less accuracy of the capture).
 
Buddy of mine got one as a Christmas gift. He also has the big Tonex. I played both of his side-by-side today. For sound that is pure amplifier sound, the Tonex still wins by a lot to my ears.

Now granted, I still can’t play for crap right now, but I can still tell what sounds good and what does not.
 
Buddy of mine got one as a Christmas gift. He also has the big Tonex. I played both of his side-by-side today. For sound that is pure amplifier sound, the Tonex still wins by a lot to my ears.

Now granted, I still can’t play for crap right now, but I can still tell what sounds good and what does not.

Yeah, I have gp5, tonex and tonex one and the Tonex pedals are miles better.

Not quite, "snaptones" is what they call the imported/converted NAM files - for whatever reasons (possibly in the first place because the conversion is resulting in less accuracy of the capture).

What percentage of a difference between ToneX is there and how much do the caps degrade when turning them into Snaptones? If there's more than a 10% difference I'll probably just give the GP-5 away and not bother investing time into any of the NAM shit. I'm hardly interested to begin with, I'm going to load a few basic caps on it and it'll sit in a case until I need it in an emergency situation, so I don't mind just holding out until I pickup a ToneX One.
 
I haven't listened to full nam but so far I've not been that impressed with any I've managed to find. Tonex sounds and feels at least twice as good to me.
 
Re: GP-5/50 vs. Tonex

So far, I couldn't directly compare them as the Tonex'es are all at home whereas we're on our xmas/NY travel.
Yet, there's some observations I think I can share already.

As a standalone capture-only player (obviously, only the GPs have genuine amp models), the Tonex IMO wins.
Yes, there's a whole plethora of great NAM captures, they defenitelx exceed Tonex captures in quantity but possibly in quality as well.
But, as the GPs require you to run captures with baked in cabs (at least in standalone mode), the amount of available captures is greatly reduced and you're at the mercy of the capture for the overall sound yet some more, whereas with the Tonex ecosystem you can actually exchange cabs at will, which even works great on at least some captures with the cabs baked in.

Also, there seems to be some sort of quality loss when converting NAM files to the GPs "snaptones" which I can't exactly put my fingers on just yet, but the resuit seems to be a kinda "sameness", loaded captures might be somewhat more compressing or whatever.

Usability is a bit of a different thing, obviously the GP-50 wins big time here, especially when compared to the Tonex One, but I might even prefer it over the fuil Tonex. The GP-50 editing couldn't be much easier.

As a result, if it was about an all-in-one unit, the GP-50 should be tough to beat (in that price bracket there's absolutely nothing comparable IMO).
And even if you try to expand things a bit, it might still be great (would not want to run it through other digital units introducing further latency, though). Add a MIDI controller and things are quite on another level already and if there was a small MIDI controllable loopswitcher (unfortunately there's nothing really affordable) taking care of one or the other dirt pedal, it might be a killer little setup.

Anyhow, as far as integration in a larger setup goes, the Tonex One wins yet again - especially in case you manage to get one of the Tonex One Controllers (from Pirate MIDI or DIY). With a device latency of around 1.5ms you can even run it in the loop of another MFX unit (I'm doing just that with a GT-1000 and it's absolutely excellent), something I would never use the GP for.

Regarding all kinda additional features, they're kinda on par. Both suck as audio interfaces, if for different reasons. Tonex One can be buspowered and doesn't come with that much horrible latency, but it still causes recording offsets and there's no way to control the overall output volume others than per app (an epic fail). The GP-50 offers battery operation and BT, DI signal recording, separate line and HP outs - but its audio interface portion is abysmally bad and so far I think the signal quality of the TXO is better, too.

Whatever, there's use cases for both of them. In a better world, there'd be a Tonex Two doing everything the GP-50 does - but it'd do things properly.
 
Buddy of mine got one as a Christmas gift. He also has the big Tonex. I played both of his side-by-side today. For sound that is pure amplifier sound, the Tonex still wins by a lot to my ears.

Now granted, I still can’t play for crap right now, but I can still tell what sounds good and what does not.

Yeah, I have gp5, tonex and tonex one and the Tonex pedals are miles better.

I have been curious about this myself. I knew there was a degrade in tone, but wondered how much. For me, tone and feel is far more important than extra features.

I have played with NAM on the computer, but so far I have resonated far more with ToneX. NAM is more limiting pretty much being stuck to computer, and it is far more geeky to use.
 
What percentage of a difference between ToneX is there and how much do the caps degrade when turning them into Snaptones? If there's more than a 10% difference I'll probably just give the GP-5 away and not bother investing time into any of the NAM shit. I'm hardly interested to begin with, I'm going to load a few basic caps on it and it'll sit in a case until I need it in an emergency situation, so I don't mind just holding out until I pickup a ToneX One.
Very subjective depending on ones own ears. To my ears, it is a big difference. I hate putting a qualitative number on it as my ears do change from day to day.

Then again, I use tonex for amps and cabs only, occasionaly I will use it's plate reverb. But, for delays, I use external pedals and also use drive pedals in front of it. It is my "amp" of choice now, even over my "real" amps at home.
 
Last edited:
Tonex One can be buspowered and doesn't come with that much horrible latency, but it still causes recording offsets and there's no way to control the overall output volume others than per app (an epic fail).

I haven't noticed the offset. But it bothers me with fractal FM3. How do you deal with it on tonex?

Also when I'm using Tonex with plugins, as a DI in DAW, I've noticed that it clips when I play hard mutes. Any way around that without more hardware?
 
How do you deal with it on tonex?

Logic offers global compensation for recording offsets. Even to compensate for the incredibly huge offset of the GP-50.
The main downside being that I need to remember switching between the different offset compensations when switching interfaces (I wish they could be saved with the interface selection inside Logic).
 
Back
Top