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"It’s pretty simple. I run two 4x12 cabinets. The first is a Kustom 200 HD, the other is a VK 200-watt. They both run into my Boss GT 100 that handles everything. I have the amps set to be as clean as possible and will occasionally throw in some extra effects, but most of what you hear is straight out of the GT 100. For guitars, I’m using [Ernie Ball Music Man JP7](http://equipboard.com/items/ernie-ball-music-man-john-petrucci-jp7) and I’m beyond thrilled with it!" - [Alex Campbell](http://www.guitarworld.com/tech-n-roll-seek-irony-guitarist-alex-campbell-talks-new-album-and-gear).more
I recently acquired the GT-100 with a view to simplifying my live rig.
To date, I've been using a BOSS ME-50 for tone shaping and occasional effects like a distortion, tremolo and octave/whammy function, into a Line 6 M13 for reverse delay, chorus, flanger, other tremolo effects and some really out there filters and synths. With the patch switching for my Line 6 Bogner Spider Valve 212 (clean with delay and reverb, crunch, lead), it was getting tricky to achieve all of the simultaneous changes I wanted to make without disrupting my performance, and it was also taking far too long to set up for rehearsals, recording sessions and shows alike.
On paper, the GT-100 allows me to ditch the other three pedal boards (I'll still use a vocal effects pedal too), but whilst I'm getting close, I haven't quite replicated all of the sounds I need for the band's full repertoire yet. Part of the reason is the fact that there's so much choice, and it's very easy to lose oneself in fiddling with parameters (to that end, it's very much the "studio at your feet" that Johnny Marr refers to it as) with a view to bettering legacy sounds when it's proving difficult simply to reproduce them.
The filter and synth aspects are also not at immediately usable as those on the M13, and at the time of writing I fear that I may in fact need to retain that unit (or swap it out for an M5 or something) to avoid disappointing fans (and indeed myself) wanting to hear something close to the sound of recorded versions of songs that have been released.
Another practical element to consider when moving from separate stompboxes or something like the M13, is the lack of colours to tell you what you're using / what's switched on and what's switched off. There are LCD view options that kind of do the same thing, but it's all in a very functional burnt orange that makes it hard to distinguish between delays, modulations and so on.
However, the unit is very easy to use, and I think once I also switch to a more responsive all-valve amp (having tried one, I'm 99% sure it will be the Fender Hot Rod Deluxe III), then I think the issues I've had maintaining the right balance within the overall band mix (sometimes was too trebly and sometimes way too muddy), things will settle down. The clean channel I'm using on the Spider Valve feels a little bit stiff, like it won't be driven by additional gain pumping through the GT-100 when distortions are engaged.
Fundamentally, for practical reasons, I've done the right thing, but it's thrown the cat amongst the pigeons, and the transition is a little frustrating at times, especially for my bandmates who wait patiently for me to twiddle knobs for minutes that feel like hours in between short bursts of verses and choruses etc.!
What's great, is that it will allow me to have different settings for each and every song (time-based effects can be set to a specific tempo), and whereas the settings I'd programmed for the Spider Valve often found my guitar overpowering the live mix (the amp is either "off" or "bloody loud"), the GT-100 gives me lots more control.
the best about it are those nice distortions and overdrives, the other effects are ok but nothing special about them. the wah-pedal and distortion sound awesome on synths.