Boss GX-100: Gilmour Enthusiasts Thread

ndparse89

Member
Messages
771
I just bought a GX-100 with the hope of somewhat convincingly replicating my massive Gilmour rig and so far I've been very pleased with the results. So I'm creating this thread for other Gilmour enthusiasts to share their tips and settings. The fully flexible effects chain is a huge game changer for the dense, layered Gilmour style modulations.

For my base amp, I've been using the Natural model set to 30/middle gain, 40 bass, 60 mids, 40 treble, 60 presence, +5 sag, +5 resonance, and Hiwatt-Fane IR from Dr. Bonkers. I definitely recommend getting a good IR. The 4x12 speaker setting is decent but the IR really put the tone over the top.

For drives, I've found the Muff model to be very good, especially when boosted by an OD-1 or BD-2 model. I like it with the fuzz around 60, tone and bottom around -5. I haven't gotten along with the 60's fuzz model, but I've found the Muff does the big Pompeii buzzsaw sound pretty well with the fuzz maxed, the tone boosted to around +5 and the bottom around -10. For light overdrive, the D+ with the gain down around 10 sounds really nice. And I used the HM-2 model on the Sorrow clip below; gain at 100, tone at -10, bottom at +10, and boosted by an OD-1.

For compressors, the Orange comp is the only one I've found to be usable with distortion. I like it with all settings at 40. For the big squishy clean tone on Coming Back to Life I have all 3 compressors stacked, all with settings around 40.

The modulations have been fun to play with, the chorus and phaser were easy to dial in. The flanger took a little experimenting with to get in Mistress territory, I liked it with the depth between 60-75, resonance all the way down to 5, and manual at 0.

The flexible chain was really a game changer for adding rotary. I'm running 3 rotary effects together, all with slightly offset speeds. I put the first rotary before the split, and the next two in parallel after the split.

Delays are really fun with the Delay Plus option set in series. I've gotten a really cool sound that builds on the multi-head Echorec style delays by putting a tape echo followed by a pan echo, with the time for the pan echo set at 3x the first for heads 3+4 style delays, and 2 and 2/3rds times the first delay for heads 2+3 style delays (IE Run Like Hell, which I'm running at 380/1014mms.)

Here's some clips, apologies for the sloppy playing!

Mother


Sorrow


Run Like Hell


Time


Coming Back to Life
 
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jds22

Silver Supporting Member
Messages
3,372
Sounds good.
What a great way to start the morning.
Now I'm going to be listening to Floyd all day.

:cool:
 

RevDrucifer

Gold Supporting Member
Messages
3,233
Awesome!!!

I’m a Gilmour fanatic doing the same thing in Fractal land. It’s AWESOME to be able to pull off these tones without spending $25K on a rig!

The rotary speakers in parallel were the biggest “Oh snap!” part for me, the way they almost fade into the sustained/hanging notes (especially the “Sorrow” intro). I don’t spend a lot of time tweaking my own tones, but man, I’ve put months of work into the Gilmour tones. The other big realization for me was how much the Gilmour EMG’s have to do with those 87-94 tones, especially with “Coming Back To Life” or the live versions of “Shine On”.

I’m only using two compressors in my presets, one focusing on the initial attack and the other directly after focusing on the sustain aspect. I’ve been experimenting with both a Blues Driver and a Tube Driver before a Big Muff, both drivers and cross paths at certain points so it’s just figuring out exactly what works best for each song. My biggest hang up so far has been getting the vibe just right. I‘ve got a couple nice Vibe pedals (Dry Bell V3 and a Vibe Change) that gets it quickly, but replicating the exact sound in my AxeFX/FM9 hasn’t been achieved yet.

The first vid is my FM9 rig, coming out of actual 2x12’s, the 2nd is my AxeFX III which just sits in my studio coming out of Yamaha HS-5’s.




Every few days I get a little bit closer to the goal.
 

JiveTurkey

Trumpets and Tants
Silver Supporting Member
Messages
25,621
I love hearing people do the Floyd thing :love: Gilmour is such a patient, purposeful player with a calmness about him that really translates tohis playing.
 

terryseal

Member
Messages
15
I have a GX-100 on order (should arrive tomorrow) but always have looked to get/create Gilmour patches first on any modeler I've had before. To that point, I reached out to the guy who creates the Fremen presets, and he said he plans on having GX-100 versions of his Floyd ones next month. (He already sells GT-1000 versions as well as for other modelers.)
 

ndparse89

Member
Messages
771
I have a GX-100 on order (should arrive tomorrow) but always have looked
to get/create Gilmour patches first on any modeler I've had before. To that point, I reached out to the guy who creates the Fremen presets, and he said he plans on having GX-100 versions of his Floyd ones next month. (He already sells GT-1000 versions as well as for other modelers.)
The flexibility of the effects chain definitely makes the GX100 the best floor modeler for Gilmour, at least this side of the Helix/Fractal price point. You’re gonna have some fun with it. I wish it had just a -little- more DSP power for some of the things I want to do but it’s still pretty great.
 

terryseal

Member
Messages
15
The flexibility of the effects chain definitely makes the GX100 the best floor modeler for Gilmour, at least this side of the Helix/Fractal price point. You’re gonna have some fun with it. I wish it had just a -little- more DSP power for some of the things I want to do but it’s still pretty great.
I actually have a helix floor, but (as I mentioned it in the main GX-100 thread) I was looking for a smaller/lighter alternative, but still with enough preset switches and exp pedal (which ruled out the HX stomp.) Since Sweetwater has a good return policy, thought I’d give it the GX a try. Obviously, the GX doesn’t have a Hi-Watt model (vs the Helix which does and what I mainly use now) but it may not matter, assuming I can find a suitable replacement amp model.
 

ndparse89

Member
Messages
771
I actually have a helix floor, but (as I mentioned it in the main GX-100 thread) I was looking for a smaller/lighter alternative, but still with enough preset switches and exp pedal (which ruled out the HX stomp.) Since Sweetwater has a good return policy, thought I’d give it the GX a try. Obviously, the GX doesn’t have a Hi-Watt model (vs the Helix which does and what I mainly use now) but it may not matter, assuming I can find a suitable replacement amp model.
I'd start with the Natural amp, it's a good, neutral clean amp with headroom, much like Dave's Hiwatts. A good IR definitely helps too.
 

terryseal

Member
Messages
15
I'd start with the Natural amp, it's a good, neutral clean amp with headroom, much like Dave's Hiwatts. A good IR definitely helps too.
Thanks... that was a good suggestion! I got the unit yesterday and spent a couple hours with it. I was able to create a new patch that is my take on Gilmour's "Rattle That Lock" sound. On the Helix I was using the HiWatt amp with a Fulltone OCD and Tube Screamer models (Fulltone for leads, Tube Screamer for crunch, just the amp for clean) with delay and reverb in the stock Hiwatt cab. I tried to recreate it using the Natural amp (low gain) with stock 4x12 cab - SM57 mic, a ProCo Rat and Tube Screamer models on the Boss, and it turned out quite well! I was kind of impressed on how easy it was to dial in and get a really good tone. (Added Delay+ and Plate reverb at the back end. Also had wah in there turned off and noise gate both up front. The "Slow Dance" had an eq block which I removed.) A lot less tweaking getting a usable tone vs. the Helix and it sounded really good so far.

I have only used headphones for this, so the next test will be at volume with the Headrush FRFR. After that it will need a test with a band setting, which I should be able to do a week from today.
 
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ndparse89

Member
Messages
771
Awesome!!!

I’m a Gilmour fanatic doing the same thing in Fractal land. It’s AWESOME to be able to pull off these tones without spending $25K on a rig!

The rotary speakers in parallel were the biggest “Oh snap!” part for me, the way they almost fade into the sustained/hanging notes (especially the “Sorrow” intro). I don’t spend a lot of time tweaking my own tones, but man, I’ve put months of work into the Gilmour tones. The other big realization for me was how much the Gilmour EMG’s have to do with those 87-94 tones, especially with “Coming Back To Life” or the live versions of “Shine On”.

I’m only using two compressors in my presets, one focusing on the initial attack and the other directly after focusing on the sustain aspect. I’ve been experimenting with both a Blues Driver and a Tube Driver before a Big Muff, both drivers and cross paths at certain points so it’s just figuring out exactly what works best for each song. My biggest hang up so far has been getting the vibe just right. I‘ve got a couple nice Vibe pedals (Dry Bell V3 and a Vibe Change) that gets it quickly, but replicating the exact sound in my AxeFX/FM9 hasn’t been achieved yet.

The first vid is my FM9 rig, coming out of actual 2x12’s, the 2nd is my AxeFX III which just sits in my studio coming out of Yamaha HS-5’s.




Every few days I get a little bit closer to the goal.

Yeah I wish the GX had a Tube Driver model (also no one seems to have anything resembling a Colorsound Power Boost). Thinking I might play around with the Boogie Combo model for the more aggressive overdrive sounds, since a Mark II head was what he was using before he started using the Tube Driver (and kind of what the Tube Driver was based on - check out pictures of the early iterations of the Tube Driver that got B.K. a cease and desist letter from Mesa!). Blues Driver and D+ work nice for the low gain warm overdrives. Maybe I'll try boosting one of them with an OD-1 for the heavier overdrives.
 

fremen

Muad' Thib
Vendor
Messages
1,394
I have a GX-100 on order (should arrive tomorrow) but always have looked to get/create Gilmour patches first on any modeler I've had before. To that point, I reached out to the guy who creates the Fremen presets, and he said he plans on having GX-100 versions of his Floyd ones next month. (He already sells GT-1000 versions as well as for other modelers.)
Hi there !
My Pink Floyd presets for the GX-100 would have already been released, if there wasn't that IR issue. Finally, I decided that I will release them anyway, with two versions included : one using IRs, which will sound better when the bug will be fixed, and another with stock cabs. Usually, I only use IRs, as they are a key part of my tones - I've been using and making my own IRs for over 15 years now

Here's some videos made with the Core versions :




I posted another version of the presets after recording those videos, with a warmer/less "gainy" drive tone

Currently, because of the IR issue, the GX-100 IR version sounds darker.
 

dlc86

Member
Messages
325
My biggest hang up so far has been getting the vibe just right. I‘ve got a couple nice Vibe pedals (Dry Bell V3 and a Vibe Change) that gets it quickly, but replicating the exact sound in my AxeFX/FM9 hasn’t been achieved yet.
I didn't find it that difficult to get a good floydian vibe on the axe fx 3...

 
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