Features: tube and solid state distortion, digital and analog EQ, tube preamp, programmable algorithms, built-in effects that can be run in tandem including Whammy and Chromatic Pitch Shifter. Want to Sell Yours? Anyone can sell on Reverb. Learn more on the Seller Hub. Similar Products. From the Price Guide Sell Yours. Thousands of tonal possibilities are available by using different combinations of Gain1 and Gain2. Low Gain1 and High Gain2 settings produce more dynamic type distortions while, the opposite provide more tones with more natural edge.
Using high settings for Gain1 and Gain2, offer more than enough distortion for most applications. The gives you three types of tube circuitry to choose from.
Saturated tube offers tight, all out gain possibilities. Distorted tube has less gain overall, and is a little looser in the bottom end. It also has a little darker natural tone overall. While turning the distortion OFF gives you a clean sound, many guitarists prefer the sound of the tube when it is not overdriven. We call this the Clean Tube setting. It uses the first 12AX7 tube and has one gain control. This clean setting can still be used for very subtle distortion when Gain1 is set very high.
Great for really smooth lead tones. Distortion Type : Selects the type of distortion to be used in the Program.
Distortion Gain : Controls the gain stage s of the distortion. Frequency centers are: 80, , , , 1. Use the Data wheel to boost or cut the selected frequency. This module appears in the FX Library when creating your own Algorithms. There may be some unique applications where you want to place a noise gate somewhere else in the effect chain. For more information on noise gate Parameters, see pg. Use the Data Wheel to adjust this relationship. Remember to store the Program after you change it see pg.
All digital Modules can be placed anywhere in a signal path, and routed any way you choose. The equalizer Modules provided in the GSP Artist offer superb noise performance and allow accurate tonal shaping of many different types of sound sources. There are three different graphic EQs: the high-pass, low-pass, bandpass, and notch filters.
All allow precise band limiting of source material. Parametric equalizers are represented in 1-band, 3-band, and 5-band Modules, all with adjustable Qs see discussion of Q on next page.
The 5-band parametric has shelvingtype, high and low-frequency controls, each with selectable frequencies. A Programmable cabinet emulator can be used in place of the analog cabinet emulation provided at the XLR outputs. This lets you decide Program by Program whether or not to use cabinet emulation. With a Q setting of 2, you can see that a large number of frequencies are affected by boosting the center frequency.
Look at the middle and lower curves in the diagram. The curves with Q setting of 4 and 8 have a much narrower bandwidth. When the cabinet emulation Module is turned off, the sound continues to pass through the Module. Type : There are 10 cabinet types that can be selected. They range from 1-Warm to 10MaxBndwidth. The maximum bandwidth setting is the same as having the cabinet emulator module bypassed. GigaVerb has 20 Parameters, that give exceptional soundfield and tonal shaping control over reverberation.
It is best suited for simulating natural room environments that have no acoustic treatment, like churches and assembly halls. Bigverb is a slightly trimmed version of the GigaVerb, offering much of the same flexibility and controls as GigaVerb, but using less memory. Bigverb lets you produce a high-quality reverb, while including one or two other small Modules in the Algorithm. These Modules allow channel inputs to remain totally discrete, thereby retaining the imaging of stereo input sources.
These reverbs also offer stereo mix controls that allow mixing of leftand right-channel early reflections and reverberations. These controls can be used to blur stereo imaging of input sources, creating a subtle stereo ambience rather than fully discrete reverberation channels. Reverberation, or room ambience, occurs when acoustic energy is reflected off room surfaces, materials, and objects.
Using reverberation with your guitar gives the listener a sense that the material is being performed in an environment where you are not actually present. The GSP Artist uses early reflections in several Modules to get a better emulation of the natural sound of a room. In an average size room, these direct reflections usually occur within the first 30 to milliseconds, depending on the size of the room and the placement of the sound source within the room.
Adding these early reflections to the reverberation increases the perceived reverberation time and the apparent size of the reverberant space. Adding more than small amounts tends to make the reverb sound unnatural.
A chart showing. This is included as part of the GigaVerb Module, giving more tonal control over reverberation than any other processor. When the Module is turned off, its Parameters are not displayed and, signal will not continue to pass through the module. ER Pre-delay Time : Controls the length of time before the early reflections are heard. Ranges in milliseconds from 0 to ER Spread : Controls the length of time the early reflections occur. Low settings yield dense, smooth clusters of early reflections, while higher settings spread the same number of reflections out over a longer period of time.
Ranges from 20 to milliseconds. ER Shape : Controls the shape of the early reflection envelope. There are 16 different early reflection envelope shapes. See fig. The numbers across the top of each envelope shape graphic represents the level relative to unity gain of the signal at each point in the envelope. ER Stereo Blend : Appears only in the Stereo GigaVerb Module, and controls the amount of early reflections from the left side of the stereo image to be mixed into the right channel, and vice versa.
When set at 0, the stereo image is completely preserved, with no mixing of early reflections from opposite channels. As this Parameter is increased, the stereo image becomes less and until, at a setting of , the early reflections from the left and right can be heard in both channels. ER Diffusion : Controls the smoothness of the early reflections. Ranges from 1 to ER Level : Master level control for early reflections.
Ranges from 0 - RV Predelay : Controls the amount of time before the first room reverberations are heard. In an actual acoustic space, the amount of reverberation predelay depends largely on the shape and size of the room, and the placement of both listener and sound source within the room. Varies in 20 ms increments from ms.
We recommend that this control be set at least two octaves higher than the frequency you want to boost. In a real room, reverberation is naturally diffused by the air. However, diffusion can also be affected by temperature, humidity, and the presence of absorptive or reflective materials in the reverberant space. Variable from 25Hz to 20 kHz. RV Hi-Frq Rolloff : This is a low-pass filter that sets the rolloff frequency of the reverberations and early reflections.
This is a band-limiting control, and the frequencies above the setting of this Parameter will be rolled off rapidly. RV Room Size : Sets the apparent size of the reverberant space.
Remember that after the reverberations have decayed 60 dB in the presence of continuous program material, they are no longer audible to the listener. Ranges from. RV RT60 : Controls the length of the reverberation after the signal has stopped.
PEQ Frequency : Sets the reverb equalization frequency. Varies from 25 Hz to 20 kHz. Variable from. For more about Q, see the section on equalizer Modules, pg. RV Mid Level : Sets the overall level of the midrange reverberations. Varies from 0 to RV Bass Level : Sets the overall level of the low-frequency reverberations.
When set at 0, the stereo image of the reverberation is completely preserved, with no mixing of reverberations from opposite channels. As this Parameter is increased, the stereo image becomes less apparent, until at a setting of , the reverberations from both the left and right can be heard in either channel. RV Level : Controls the overall level of the reverberations. This control also acts as the master level for stereo setups.
Gated Reverbs - A true gated reverb is simply a reverb followed by a gate. Gates usually include adjustable thresholds to set the point at which the reverberations will be gated cut off. In fig. This causes the reverb to decay for a specific amount of time determined by the gate time , then it is cut off abruptly. Gated reverbs are most commonly used on percussion, but there are other ways to employ the unique sound they produce.
Rather than decaying out to be cut off by the gate, a reverse gate builds for a specific amount of time, and is cut off by the gate. Reverse envelopes are similar in sound to playing a record backwards.
The accent point shown in the diagram allows placement of the actual sound, either before or after the gate has cut off the reverberation. This shape is particularly useful for short, percussive sounds. When the Module is turned off, its. Parameters are not displayed and signal will not continue to pass through the module.
Pre-Delay Time : Sets the amount of time before the reverberations are heard. Decay Time : Controls the amount of time before the gate cuts off the reverberations. Rvrb StereoBlend : Appears in stereo Modules only. Controls the amount of reverberation from the left side of the stereo sound field that is heard in the right side and viceversa. Ranges from 0 to Diffusion : Controls the smoothness of the reverberations. Variable from 1 to LPF Frequency : Sets the frequency below which reverberations will be heard.
Adjustable from 25Hz to 20kHz. Accent Dly : Allows placement in time of the actual sound, between 50 milliseconds before or 50 milliseconds after the reverb has been gated. Accent Level Left : Controls the level of the accent in the left channel. Variable from 0 to Accent Level Right : Controls the level of the accent in the right channel.
Reverb Level Left : Sets the overall output level of the reverberations in the left channel. Reverb Level Right : Sets the overall output level of the reverberations in the right channel. Delays - All the non-modulated delays in this group have the same basic Parameters for controlling the behavior of the Module. The only differences between them are in the number of taps available.
The multi-tap delays also include independent delay time controls for each tap, with a feedback control on the last tap in the series. The Modulated Delays are a DigiTech exclusive that allow you to modulate the pitch of the delay repeats. They are similar in most respects to the rest of the delay family, but include an LFO modulation section like a chorus Module. The overall effect is that modulation is not heard in the signal until the delays begin repeating. Each delay Module has a number that immediately follows the name.
These numbers represent the amount of delay time in seconds available to each Module. The available delay time ranges are 0. Each Delay type appears once in each delay time range with the exception of SDLY, which does not appear in the 5. Ah man If you ever decide to let the gold one go, please give me a heads up! I don't think I'll ever sell the gold or chrome ones. I do see them though,I can give you a heads up when one comes up if you want.
Messages 8, Messages This is the appreciation thread ;-P. Bought a brand new when they were released. Kept it for about 15 years, gigged extensively with it with various Mesas and Marshalls , sold it.
Bought another, sold it. Bought two more cheaply, one with single sDisc, one with two - removed the second chip from one and moved it to the other - cosmetic purposes. Now still have one that gets little use, but won't be selling any time soon. I plan to fire it up and try myself, but just wondering if anyone is doing this? To put a pedal between the guitar and input places it before the amp block, but also before the compressor and EQ.
In the loop places it after the amp block. Of all the extensive programming possibilities in this thing, my biggest gripe is that the loop can't be moved. Anyone doing this? I know in the modelers, some folks will put the "dirt pedals" after the amp sims, so I'll be trying that. Oh, yeah - I also had the Johnson J12 foot controller with it in the past - really regret letting that go as well, perfectly matched for the They're stupid expensive now. Midi Quest. MQ Essentials.
Midi Quest one. Midi Quest One. Midi Quest includes all of the standard features you would expect to find in a GSP Librarian along with unique capabilities found nowhere else. Below is a small sampling of Midi Quest features.
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