TEST: Boss GT-100

 What hasn't happened in recent years when it comes to “stompboxes”. If you had told me a few years ago that the days of 19 inch guitar products for the live sector were apparently numbered, I would have called you crazy. However, if I look at the current landscape, one could easily come up with the idea. What some time ago was happy in terms of computing power if it could squeeze a single effect into the AD/DA algorithms reasonably well, let alone generate a real multi-effects product, today boasts of the computing power of a home PC and the storage capacity of a hard drive.

Established studio technology veterans bring out stop boxes that can really stand up to their rack brothers in terms of sound, and the “big names” of floor pedals also regularly upgrade their products, mostly in terms of sound quality and workmanship. The BOSS company, which has always been at the forefront of floor multi-effects devices for years, is now bringing the successor to the legendary GT-10 onto the market, which, with a new computing chip and new technology, has added one more zero to the GT-100 product name .



construction

With dimensions of 542 mm x 271 mm x 80 mm, the GT-100, which is manufactured in Taiwan, is already one of the larger representatives of its category, and its weight of just under 5 kilograms suggests its massive construction. Completely made of metal, the board appears to be rock-solid in its design, especially since it rests on 4 very solid and soft rubber feet, which ensure sufficient stability even on smooth surfaces. A 9V power supply is included; due to the complex electronics, the GT-100 is not designed for battery operation.

As with almost all current products, complex floorboard solutions like the GT-100 can no longer be described as a stompbox in the true sense. Rather, using current modeling technology, the entire signal train from the preamplifier of an amplifier to the last link in the chain, the loudspeaker, is emulated and adjusted to the respective needs. In collaboration with the new DSP-2 chip developed by Boss itself, the magic word from the BOSS development department is COSM technology, which, according to the company, can reproduce the sound of even the difficult vintage models much better.

At the same time, the ambitious guitarist will have to think about choosing his setup. Of course, you can also connect the GT-100 in front of a classic amp, but it remains to be considered whether, when designing a modeling amp, it would be better to just use the power amplifiers of your amp plus speakers via the return loop or an external power amplifier with a box . Given the countless presets, you can usually only use a completely clean amp anyway, where the preamp causes more adjustment problems than enriches the sound.

By the way, it can't be mentioned often enough, I can only recommend that every manufacturer uses a leaflet and every user to find out about the exact concept of a speaker simulation and to deactivate it when using it with a regular amplifier! I know countless musicians, even colleagues, who send the sounds designed for direct in on their home PC through their amplifier and are then surprised by the rather thin and weak sound.

The front of the product offers a veritable flood of connection peripherals. From left to right there is first the input socket (converted with a 24-bit/44.1 kHz A/D converter), followed by an aux-in, which enables the connection of an MP3 player or similar. This is followed by two outputs, which can be used in both stereo and mono mode (left socket) and the obligatory headphone out, which was pleasantly designed as a 6.3 mm jack stereo socket and not as a mini jack. This is followed by an external FX loop (In/Out), which was usefully equipped with ground lift if necessary. Sometimes mains hum can occur when operating within an FX loop of an amp, which can be prevented with the same switch.

An Amp Control socket allows you to integrate the amplifier's footswitch insert into the switching process, which is helpful when changing channels within the amp combined with changing effects within the GT-100. External expression pedals or switches can be included in the management of the product via Sub Control / Sub Exp. The GT-100 is connected to a PC via a mini-USB port protected with a protective plug, followed by two MIDI in/out sockets. A power switch, the power supply connection socket secured by a strain relief and a Kensington theft protection complete the connection panel.

On the front, the GT-100 comes with eight switches, which manage the total of 400 patches (200 user + 200 preset) as well as an internal looper and an Accel effect for the respective sound. The internal electronics are managed using two displays, eight endless controls, six pressure switches and, last but not least, a master volume output or expression pedal. The entire device appears extremely tidy and, despite the immense editing options, is never overloaded or even convoluted.



Practice

As soon as you switch the device on for the first time, the GT-100 boasts the clarity already described. All functions can be managed intuitively via the two displays and allow quick access to all parameters. The letters and numbers are very legible and can be easily seen even in direct sunlight. The remaining hardware is the BOSS technology that has been established for years, robust foot switches, an expression pedal made of metal and potentiometers that can easily handle the occasional accidental shoe strike.

When it comes to sound, BOSS is actually opening new doors with the new DSP when it comes to the depth of sound and authenticity of the models. The infamous digital “scratch”, which is still present on most modeling boards, has actually completely disappeared on the GT-100. Even when fed directly into the computer, the new speaker emulation algorithms are convincing. I have rarely heard a modeling process that simulates a working loudspeaker so well.

In the effects area, too, the sound gains significantly in resolution and depth, everything seems a bit more intense than you were used to. The expression pedal does a good job, although the control path is a little shorter than you are used to with most stand-alone pedals. The ACCEL/CTL switch is also very nice, which allows you to briefly change a selected sound in terms of volume, FX component or gain for a solo passage or a small effect change, all of which is of course freely configurable.


Conclusion

With the GT-100, floorboard expert BOSS is bringing its latest battleship in terms of sound output onto the market. The specially developed DSP-2 and the new COSM technology actually deliver what the marketing promised before the market launch. Spatial effect depth at the highest level and very authentic amp modeling make the GT-100 an all-purpose weapon in the live sector.

Especially when things have to happen quickly, with direct feed into the P.A. or when used to save time in the project studio, the GT-100 shows its great strengths. It has rarely been so easy to generate such a good sound in such a short time.

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Additional Informations:

In the expansive landscape of modern music, few brands have etched as indelible a mark as BOSS, a division of the Roland Corporation, known for its groundbreaking effects pedals that have redefined the soundscapes of genres across the spectrum. The story of BOSS is a saga of innovation, resilience, and an unwavering commitment to musicians worldwide, from the bedroom guitarist to the stadium-filling rock star. This narrative delves into the origins, development, and enduring legacy of BOSS pedals, a staple in the arsenal of musicians seeking to push the boundaries of their sonic expression.

### The Prelude: Roland's Visionary Beginnings

The genesis of BOSS can be traced back to the early 1970s, within the innovative milieu of the Roland Corporation, founded by Ikutaro Kakehashi in Osaka, Japan. Kakehashi's vision was to create instruments and devices that would transcend the limitations of traditional music production, making new sounds and techniques accessible to artists around the globe. Roland quickly distinguished itself with a series of synthesizers and electronic musical instruments that captured the imagination of musicians and producers alike.

### The Birth of BOSS: A Brand is Born

In 1973, the BOSS brand was officially launched as a response to the burgeoning demand for high-quality, reliable, and user-friendly effects units. The first product to bear the BOSS name was the B-100 The Boss, a clip-on preamp and pickup for acoustic guitars. However, it was the release of the CE-1 Chorus Ensemble in 1976 that truly cemented BOSS's place in music history. The CE-1, derived from the chorus effect in Roland's JC-120 Jazz Chorus amplifier, offered guitarists the ability to replicate the lush, shimmering sounds that had become increasingly popular in studio recordings, directly from a compact pedal unit.

### Innovation and Expansion: The 1980s Boom

The 1980s marked a period of explosive growth and innovation for BOSS. The introduction of the compact pedal series, with the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum (a parametric equalizer), in 1977, revolutionized the effects pedal market. These units were not only rugged and roadworthy, thanks to their metal casing and rubber-stomp activation, but they also provided musicians with an unprecedented level of control over their sound.

The decade saw the release of some of BOSS's most iconic pedals, including the DS-1 Distortion (1978), a staple in rock and metal genres; the DD-2 Digital Delay (1983), the world's first compact digital delay pedal; and the MT-2 Metal Zone (1991), renowned for its rich, complex distortion. Each new pedal was a response to the evolving needs of musicians and a testament to BOSS's commitment to quality and innovation.

### The Digital Revolution and Beyond

As digital technology advanced in the late 1980s and 1990s, BOSS continued to innovate, embracing new possibilities to enhance the functionality and versatility of its products. The introduction of the GT series multi-effects processors in the 1990s provided guitarists with a comprehensive solution for their effects needs, combining dozens of effects, amp modeling, and programmability in a single unit.

Despite the proliferation of digital modeling and software-based effects, BOSS's compact pedals remained highly sought after for their distinctive sound, durability, and ease of use. The company's dedication to innovation was further demonstrated with the introduction of the Waza Craft series, offering premium versions of classic BOSS pedals with enhanced sound quality and additional features.

### A Legacy of Excellence

Today, BOSS's catalog boasts an extensive range of products, from stompboxes to multi-effects processors, wireless systems, and more. Yet, at its core, BOSS remains dedicated to the same principles that guided its inception: innovation, reliability, and a deep understanding of musicians' needs.

BOSS pedals have become more than just tools for musical expression; they are integral components of the musician's identity, capable of transforming a straightforward guitar signal into a landscape of sonic textures and tones. The brand's influence extends beyond individual products, shaping the development of music production and performance technology as a whole.

### The Road Ahead

As BOSS continues to navigate the future of music technology, its legacy serves as a foundation for ongoing innovation. With advancements in digital processing, connectivity, and user interface design, BOSS is poised to remain at the forefront of the industry, providing musicians with the tools to explore new horizons of creativity.

The story of BOSS is a vibrant chapter in the history of music, marked by a series of innovations that have expanded the possibilities of sound. It is a narrative of how vision, ingenuity, and an unwavering commitment to quality can create a legacy that resonates across generations.