TEST: Boss GT-1000

 What has been announced over the last few years has now finally become reality. The guitarist guild is divided into two camps. The first faction indulges in the classic amplifier - box - loudspeaker - microphone principle, as it has been practiced for almost 70 years. The result is a lot of moving air, an excellent sound with the right components, but this comes at the cost of all the disadvantages such as high weight and setting up/dismantling the equipment. The other faction, spurred on by the immense success of the Kemper amp, pays homage to the same or one of its competitors, such as the Ax FX or the Line 6 Helix, detached from any form of physical experience and freed from lugging around the components. For the second faction, industry giant Boss now has the Boss GT-1000 effect processor available, which wants to give emulation fans one more competitor with even better modeling of the analog originals.

Modeling Bible…

To start with, I personally always have big problems with the statement “sounds exactly like” in the modeling field because it is simply not possible. This statement has NOTHING to do with whether a sound sounds good or bad, but just as even the best in-ear system cannot reproduce the exact same sound of a speaker you are standing in front of, a modeling amp can reproduce the original Reproduce the form of an amplifier, box, etc. Physics sets irrefutable limits here.

This is not a judgment, just a statement. In this test I will avoid making a direct comparison between e.g. B. a black or brownface, Plexi or whatever as a measuring stick, as it would simply be unfair to the modeler. Manufacturers like to flirt with names for their presets that clearly create an association with the original, but in my opinion this is a huge mistake because they can only lose. Therefore, with these products it is only about their sound and their conception, which as we will see is more than just remarkable.

The Boss GT-1000 can also be used as a classic mine collection or switched into the FX return of an amp. However, we will primarily focus on the D.I. The sounds of the product concern us, as this is also where the Boss GT-1000 is intended to be used.

The structure of the Boss GT-1000

The first impression of the Boss GT-1000 is promising. A lot of sheet steel, resilient plastic on the side panels and a large display with dimensions (W x D x H): 462 mm x 248 mm x 70 mm ensure a weight of 3.6 kg, which is an impressive size for a floor pedal. With a retail price of 850 euros, the product is one of the more expensive of its kind and has to deliver accordingly, but the extensive connection peripherals on the back of the case suggest that there are some extras.

In addition to the input and stereo out for the Amp FX Loop, a total of 11 jack sockets also enable the switchable insertion of two separate FX devices, the connection of 2 expression pedals, the connection of headphones and the channel switching of a connected amp. There is also USB for DAW operation, MIDI in/out and as a focus, two symmetrical XLR sub outputs, which output the frequency-corrected modeler signal. Very nice, once again 2 D.I. Boxes saved for live operation. There is also an expression pedal, also made of metal, which of course also performs wah-wah functions, the movement of which can be adjusted using a knurled screw on the side. The stepped design of the two rows with a total of 10 foot switches also speaks for a well thought-out design. First impression, very good!


The signal processing of the Boss GT-1000

We get to the menu navigation of the Boss GT-1000 via 6 rotary controls, all of which also include push functions. As expected, the product offers everything that the current Boss product range offers, which after a rough estimate resulted in almost 100 different effects, which are found in the standards such as compressor, distortion, modulation and room effects. There are also 16 amplifier simulations.

The signal chain is freely configurable, i.e. you can move the effects in any order. The assignment of the individual buttons can also be freely configured, which is a huge advantage in practice.

Bluetooth and more

The editing was done very nicely with the Boss Tone Studio app, which can be controlled both from your home computer and on the go using iOS products. The clarity increases again massively here, with the iOS solution offering another bonus for live operation.

Provided you play directly into the console and have a transmitter or a correspondingly long cable, you can edit the sounds on the Boss GT-1000 in real time using your smartphone during the sound check in the infield and adapt the sound to the respective room conditions, e.g. B. by taking back the reverb or drive portion after consultation with the FOH.


The Boss GT-1000 in practice

The editing options of the Boss GT-1000 are so extensive that you can only take a very, very small selection of sounds into account. If you have a lot of time, you can put together and save your own personal setup for every song you want to interpret. Whether you have several sounds for each song, e.g. B. for intro / verses / solo or similar per bank, or assigning only one sound to each song, is up to each musician.

Already with the first tones you can see a significant improvement in the response behavior of the product. The processor also hangs nicely on the guitar's volume control for a modeler and integrates the reduced level very neatly into the desired sound. In fact, the AIRD technology gives the individual sounds more dynamism and a better representation of one's own style, but unfortunately the sounds themselves, especially the high gain sounds, do not get any better, even if the product offers a significant leap in quality compared to its predecessor models .

As is almost always the case with all modelers, almost all of the distorted sounds on the Boss GT-1000 sound a bit “occupied”, which means that the openness and immediate attack of a real amplifier - box - loudspeaker constellation is missing here too. Even if the CPU never gives the feeling of working at its limits, the distorted amp modules are not really convincing. The sound itself is sufficient for a home session or to record a quick demo, but in a real band constellation, compressed sounds of this type cannot prevail.

Even the often touted all-for-one solution for studio, stage and rehearsal room only works up to a certain level of professionalism. A well-booked dance band will certainly find appropriate quality in the product, especially since the focus is usually not on high-gain sounds and they usually have the solo from “Walking By Myself” in their repertoire as maximum distortion. A Kemper, on the other hand, if there is already a D.I. If it has to be an amplifier, the Boss GT-1000 can't hold a candle.

Even in the studio, Boss has to come to terms with reality. A really good solution for ambitious home recording, every professional record production will always rely on a microphone solution. That's not to say that the Boss GT-1000 sounds bad in any way. On the contrary, in the modeling class it undoubtedly takes one of the top places in terms of sound. But you should know where the limits of the product are and not be blinded by the various advertising videos packaged as test reports so that you can sell all of your amplifiers and cabinets from now on.

Conclusion

With the Boss GT-1000, one of the strongest names in the pedal sector has a very good modeler on offer, which, with a wide selection of sounds, puts it at the forefront of D.I. Recording area occupied. With a high degree of flexibility, you can cover a very wide range of areas of application, from the control center in the live area, to the personal workstation for finger exercises, to direct recording in the home studio.

In terms of sound, the AIRD technology scores with better dynamics and a better reproduction of the more personal style. If you are looking for an ambitious multifunctional device, you should definitely give the Boss GT-1000 a try.

———————-

Boss is a Japanese company that manufactures effects pedals and other musical equipment. It is a division of Roland Corporation, which was founded in 1972. Boss was founded in 1977 by Roland's founder, Ikutaro Kakehashi.

The first Boss pedals were the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum. These pedals were designed to be affordable and easy to use, and they quickly became popular with musicians around the world. In the years that followed, Boss released a wide variety of pedals, including the DS-1 Distortion, CE-2 Chorus, and DD-3 Digital Delay. These pedals became essential tools for guitarists of all genres, and they helped to define the sound of modern music.

In the 1980s, Boss began to expand its product line to include other types of musical equipment, such as amplifiers, synthesizers, and drum machines. The company also began to release more specialized pedals, such as the MT-2 Metal Zone and the BF-3 Flanger. These pedals appealed to a wider range of musicians, and they helped to solidify Boss's reputation as a leading manufacturer of musical equipment.

In the 1990s, Boss continued to innovate with the release of new pedals, such as the RC-2 Loop Station and the GT-6 Guitar System. These pedals offered new features and capabilities that were not available from other manufacturers, and they helped to keep Boss at the forefront of the music technology industry.

In the 2000s, Boss began to release digital pedals, such as the DD-7 Digital Delay and the RV-5 Digital Reverb. These pedals offered high-quality sound and a wide range of features, and they quickly became popular with musicians who were looking for more advanced effects.

Today, Boss is one of the most popular and respected manufacturers of musical equipment in the world. The company offers a wide variety of pedals and other products that are used by musicians of all levels, from beginners to professionals. Boss is known for its innovative products, its high-quality sound, and its commitment to customer satisfaction.

**The following is a timeline of some of the most important events in the history of Boss pedals:**

**1972:** Roland Corporation is founded by Ikutaro Kakehashi.

**1977:** Boss is founded as a division of Roland Corporation.

**1978:** The first Boss pedals are released: the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum.

**1981:** The DS-1 Distortion is released.

**1982:** The CE-2 Chorus is released.

**1983:** The DD-3 Digital Delay is released.

**1986:** The MT-2 Metal Zone is released.

**1990:** The BF-3 Flanger is released.

**1995:** The RC-2 Loop Station is released.

**2000:** The GT-6 Guitar System is released.

**2005:** The DD-7 Digital Delay is released.

**2010:** The RV-5 Digital Reverb is released.

**2015:** The Waza Craft series of pedals is released.

**2020:** The Boss 500 series of pedals is released.


## Beyond the Timeline: Digging Deeper into the Boss Legacy

**From Humble Beginnings to Global Domination:** While the timeline provides a solid overview, the story of Boss goes beyond a list of dates and model numbers. Here's a closer look at the key factors that shaped the company's rise and cemented its place in music history:

**1. Ikutaro Kakehashi's Vision:** The founder, Ikutaro Kakehashi, was not just an entrepreneur but a passionate musician himself. This personal connection to music fueled his vision for **accessible, affordable effects units** that musicians could easily carry and use on the go. This accessibility factor became a core tenet of Boss's philosophy, setting it apart from more complex, studio-bound equipment.

**2. Design Philosophy: Form Follows Function:** The iconic look and feel of Boss pedals didn't happen by accident. The compact, durable design with easy-to-use knobs and switches prioritized **functionality and practicality**. This user-friendly approach resonated with musicians of all skill levels, making even complex effects attainable and encouraging experimentation.

**3. Uncompromising Quality:** While affordability was important, Boss never compromised on quality. The pedals were built with **robust metal enclosures and reliable circuitry**, ensuring they could withstand the rigors of gigging and touring. This emphasis on durability established a long-lasting reputation for reliability, a key factor in Boss's enduring popularity.

**4. Evolution Through Innovation:** While some might associate Boss with classic, "vintage" sounds, the company never stagnated. From analog to digital, from stompboxes to multi-effects processors, Boss consistently **pushed the boundaries of technology**, staying relevant and appealing to new generations of musicians. The 2015 Waza Craft series and the 2020 Boss 500 series exemplify this continued commitment to innovation and reimagining classics.

**5. Artist Endorsements and Cultural Impact:** From Jimmy Page's iconic DS-1 distortion on Led Zeppelin's "Immigrant Song" to Kurt Cobain's haunting chorus tones with the CE-2 on Nirvana's "Come As You Are," countless artists have utilized Boss pedals, shaping countless iconic sounds and contributing to the company's **influential role in popular music**. This association with legendary musicians further boosted the brand's appeal and mystique.

**6. Community and Legacy:** Today, Boss pedals are not just tools; they're a gateway to a **global community of musicians** connected by shared experiences and sonic explorations. Online forums, fan groups, and countless tutorials showcase the passion and creativity these pedals inspire. This community keeps the Boss legacy alive and ensures its continued relevance for years to come.

**In Conclusion:** The history of Boss pedals is more than just a list of specifications and milestones. It's a story of innovation, passion, and a commitment to making music accessible and empowering for everyone. This dedication has earned Boss a loyal following and a place of honor in the hearts and rigs of musicians worldwide. With its continued emphasis on quality, adaptability, and community, the Boss legacy looks poised to shape the future of music creation for generations to come.