Boss GX-700

After using many different processors in my rack, I was looking for a solution that would provide both the pre pre-amp (compressor, etc.) and post pre-amp (chorus, delay, reverb, etc.) effects that I normally use. I needed something that was easy to use, and programmable. After reviewing several units, the GX-700 seemed most suited to my application.

I've played around with many different setups for this unit, and finally decided that the following, while a little complicated, worked best for my situation. I plug my guitar (or wireless) into the GX-700. This allows the noise gate to get the uneffected guitar signal and the compressor, etc. to work on the guitar before the pre-amp. Then I run the GX-700 loop output into the input of my pre-amp (Mesa-Boogie). Then the pre-amp's effects send returns to the GX-700 loop return. This allows the delay-based effects to process the signal after the pre-amp. Finally, the output of the GX-700 is returned to the pre-amp's effects return, and the pre-amp out runs through a BBE 462 into my power-amp (Mesa-Boogie) and into my cabinets (Marshall 1960). The entire setup is perfect (for me) and the flexibility that the GX-700 provides greatly enhances my sound.

This setup enables me to get the best use of all the effects in the GX-700, while retaining the character of my pre/power amps. I'm quite pleased with all the effects, although the reverb is a little generic. I do wish that the unit had adjustable input levels for each effect (it does have individual output levels) and a few more continuous controller assignments would be nice. And I don't understand why the last 100 presets aren't programmable. Since I could restore them if I wanted (I've never found a preset I liked, anywhere, not just in this unit), I don't need access to them at all times. Maybe marketing thought that 200 presets sounded better than 100, even though 100 is really all you get.

Editing couldn't be easier. I found 90% of the functionality before I even cracked the user's manual. The manual is quite good, concise and to the point.

I've heard better sounding units, but never with the flexibility of this one. And it's not that it sounds so-so, either. The sounds I get out of this unit are quite good and comparable to the best of the mid-grade effects processors ($500 - $1000).

Some of the effects are a little noisy, but no more than to be expected (analog distortion effects are always noisy). The noise gate works wonderfully, taking it's trigger signal from the guitar input and applying it after all the analog effects (or wherever I choose to place it in the effect order). This lets my guitar retain complete sensitivity, while removing all the noisy generated by my pre-amp, etc. The sound is extremely sensitive to any noises I make with my guitar, doesn't inhibit the sustain of the instrument, and keeps everything nice and tight sounding without any noise.

I've been using the GX-700 both live and in the studio for over 4 years now and have never had a problem with it.

Without paying several thousand dollars for several different processors, I'd be hard pressed to find another single processor that would sound as good, give me the flexibility that I need, and be so easy to use. Too bad they don't make them any more...

This unit is very easy to use and program. The presets kinda suck. Start with a blank patch and work from there. I have seen other users recommend this approach as well. It's what I did and I have been pleased with the results. Its features like amp and speaker simulations are cool for direct recording and headphone practice, but I wouldn't use this as a stand alone preamp unless I was in a cover band. The tuner is cool. The thing I like best about this unit over say Digitech products is that it doesn't glitch between presets. The very pricey Lexicon guitar unit sounds better, but there's a one second glitch between presets. If you do a lot of abrupt changes like I do that simply won't do. There's no way I would spend over $1300 on a unit that glitches like that.

If you like the sound of Boss pedals you will like this unit. This is the first Boss rack that actually sounds like their pedals just less noisey. The distortions, compressions, wah, EQ are all analog just like the pedals. The digital effects like chorus and delay sound like the pedals (I don't use the digital preamp models live as I prefer analog distortion/overdrive for live sound)That being said, I'm not going to bother mentioning what styles I play or what kind of gear I have because if YOU wouldn't use Boss pedals for what you do musically or with the equipment you have, you wouldn't be using this unit anyway. Since just about every pedal Boss ever made is in this unit, it will suit most any style to various degrees. I have 2 of these units. One for my studio rack and one for live use. As of this posting I mostly use Fulltone pedals in a switching system, but I still find the GX700 to be useful. As far as sound quality goes It's really what you would expect from a bunch of Boss pedals no more, no less. It's the best glitch-free PRE preamp multi effects unit for the money. If Lexicon ever comes out with a guitar unit that doesn't glitch between presets, I'd probably buy that one. If Fulltone came out with a box that was programable, my GX700's would go in the trash.

I haven't had the nightmareish problems that some users have had, but I used to work in a music store and I saw a couple of defective units get shipped to us so I'm not suprised to see that others have had problems. I've used them live and in the studio without any problems, but I'm glad that I have two of them just in case.

About what you would expect from a faceless multi-million dollar corporation.

Overall you can't go wrong with this unit if you use or plan to use a tuner and 3 or more Boss effects pedals or units of similar quality in your line up. With a used street price of $200 to $300 (this unit is no longer in production)It doesn't make that much sense to buy the individual pedals especially when you can set the unit up to respond like a pedal board via continuous control messages. Feel free to e-mail me if you would like some suggestions on how to use this unit in your rig.

To operate this unit is easy.
To get REALLY good sounds out of it is not.
I have a few damn descent sounds, and they took hours of tweaking to get right.
Controls are easy, and the menu system is very good.

I use an Ibanez JEM 7, an Ibanez RG 470 and a Epiphone G-400 through this orange box and into a Marshall 9100 dual monoblock 2x50 watt to a Marshall 1936 2x12 cab. Used to have a JCM900 instead of the 9100, but a poweramp does this unit MUCH more justice than an intergrated amp.
Some effects (Pre-amp, OD/DIST, Comp.) tends to be noisy, but the NS will fix this. The HARD thing is finding the balance between good sustain and quiet sound.
As for sounds, they are what you make them.
Compression is useful for adding sustain to noise-reducted sounds, while it can also "Spank" up clean sounds (like a compressor should...)
However, compared to Marshall's little chrome box compressor, it's pretty daft.
The distortions are useless at high gain ALONE, as are the preamps. BUT, the COMBINATION of a preamp and a distorion is where it's at, although you'll have to use some heavy EQ'ing and the Speaker sim to get it right.
For instance my favourite lead sound is something like this:

Metal distortion with drive at 40
Ms 1969 preamp with Gain on Medium or High, and Volume on 60
The MS STACK 2 with the closest mic placement and NO direct signal
EQ: Low +7 Mid 100hz +13 High: +5
This is the basis of my lead sound, and sounds a bit Vai/Petrrucci like. Still, the classic Vai sound is a boss DS1 through Marshalls and Bogners (The Legacy is to new for the "classic" sound), yet the Distortion sound (DS1 circuit I persume) didn't cut it, and the EQ was nescessairy to get the sound. Petrucci uses MESA/BOOGIE stuff, but the BG-LEAD didn't do anything but mud...

So the point is, use your ears instead of your eyes. If you look to cop an artists sound, don't think "What amp does he/she use?", and go for that simulator. This is part of why it's hard to find good sounds. They are all in there, but they take hours to find.
The chorus, Delay, Phaser and Flanger are all excellent. It's a bit easier to find good sounds in this departement than in the OD/DIST/PREAMP.
Reverb is not good. You can find very useable sounds, but it's not the same sound quality as in the other digital effects here.
The Pitch shifter and Harmoniser are presice, but the harmony-tones sound very synth like. You WONT get this to sound like 4 guitars, but you may get it to sound like 1 guitar and 3 synth pads.
The Ring modulator IS GOOD, people! Seriously; BUT: HOW OFTEN DO YOU NEED ONE?!? They should have dropped this, and used the space for better reverb circuits.
Humanizer is just Wah Wah with different vowels, so that can be a useful way to be creative with old concepts... (NO, I am NOT advising you to play Voodo Child (Slight Retusn) with a "YeeYee" instead of a "WahWah", although this is one rather blasfemous example of how it can be used!)

Finally, I can say one thing: The more gain, the more Time.
The High Gain Vai/pettrucci-sound took several hours to tweak!
The spanky half overdriven rythm sound Steve Howe used on Roundabout by Yes took 10 minutes, and sounded pretty good.
Yet, this will never sound as good as a Tube amp!
The SANSAMP PSA-1 does this, however this unit has no other effects than being a preamp!
I'd rather suggest going for the BOSS and later addind a tube preamp, such as a MESA/BOOGIE Triaxis or a Soldano. I intend to buy such a preamp in the near future myself, in addition to my Boss.

I've had mine for about 4 years, dropped it a thousand times, and had it repaired once. This repair was a blown input after I misplaced a Jack that SHOULD have gone from an output....

Can't say. It was way out of warranty the ONE time it needed repair, so I took it to a local music shop.

I play mostly Progressive Rock, and since this requires a great array of sounds, it's just the unit I need.
Ive been playing for 8 years, and have owned several amps/distortion units/FX processors and this is the best of them. My gear is allready listed, and it works well together. The fun part is using the same sound with my three guitars... They all sound different, yet all sound good with my sounds.
If someone knicked my GX, I'd HAVE to get another one!
My favourite feature about this unit is the MIDI compatability. It's possible to use with a MIDI preamp, and connect the two in such a matter that one press of a footswitch will change the patch in both.
I compared this in store with top models from Zoom and Digitech, and the choise was easy. This unit is great, and the few minuses are nothing you can't get around in some ways...

A very easy unit to use. Plug it in, and play. Editing patches is not a problem. The manual is good, no problems really. My unit was purchased in 1995, about the first week it was released to the public. I have firmware 1.08. A big volume knob wouldn't hurt, in fact, there should be one. Therefore 8.

Excellent, sounds are very usable. Its very versatile. I use it with my Fender Hot Rod Deluxe. Its a good choice. I run the amp with a extension cabinet and the sounds are amazing. No noise, no trouble, no complaints. I can duplicate the sounds of any artist. There is a wesite (many of them) where you can download MIDI patches of your favorite artists. I nail the Boston sound, ZZ Top, Van Halen, Van Hagar, Rush, SRV, Hendrix. Of course, a good guitar doesn't hurt. The unit can be hooked up in 3 different ways.

1.) GX700 into the amp's input
2.) GX700 into the amp's Effect's loop (Return) this bypasses the Pre-amp and uses the amps Power amp.
3.) Guitar into the amp's input, Then the Send from the amp into the input of the GX700, then the output of the GX700 into the amp's Return. Use this for chorus, delay. Works well.

No problems.

They can't mail a product video to Canada? Why not. They told me to call Roland UK. Roland's Head Office is down my street but they wouldn't get one for me, and I was willing to pay for it!! I hope this thing doesn't break down.

You can use it for any style. I use it for Rock, Blues, Jazz, Hard Rock. I've been playing for 20 years, this thing is for real. I control it with the Roland FC 200. Good combination. There wasn't too much on the market that could compete with this when I bought this unit. Today, I'd buy the GE-3. Same thing, less price.

this is a very easy rack mount. if you can get a good sound out of boss pedals you should be able to get some great sounds with this. the only real downside is scrolling through all the screens

great sounds, the amp models may not sound just like what they say, but they sound great. i play it through a semi hollow tele w/ humbuckers into a fender dual showman head and marshall 4x12. i especially like the matchless cosm model and the step phaser

every gig its used with out any more backup than a distortion pedal and it's never let me down but i've only had it for three months

probably the best bang for the buck that i've found so far. i love it

As far as simplicity goes, take it home, plug it in, begin to jam...some of the presets I found to be over the top as far as processing. But that aside it's a simple one to start using. As far as editing goes you must read the manual or you're not going to get very far. The writers of the manual could have taken a little time to translate to all the non-engineers that may purchase this product how to simply get different tones from this processor.. more realistic headroom from the reverbs, room depth from the speaker emulator, just stuff like that.

My set up consist of my Gibson Les Paul Custom Shop Classic, GX-700 thru my computer for recording onto Calkwalk software. As for live , any clean loud amp will do just fine. I do have concerns with the sheilding of the electronics do to the AC noise that you get when not playing, but that's not as big an issue to not give it a try. As for simulations, only the real thing will get you off when standing in front of the speakers as you play. Again for recording, it gets the job done better than most rack units I've played. My greatest advice to tweaking effects or settings is to start with nothing turned on and build your sound from listening in your head what you want to produce. Play with distortion, add some reverb,listening to the changes in characters as you adjust settings and don't over do it with the effects.

I've had mine for over two years and though I may sometimes get tired of it's processed tone, I still rely on it for alot of my recording tone. It's nice to be able to record without blowing your ears out.

Never had a days problem with it.

Overall I'd have to say if it broke, got stolen, or lost I would replace it with one of those new modeling amps from Johnson. This area has advance leaps and bounds since my purchase two years ago and though I rely on my GX-700 daily I would still have to consider the MT-50 amp by Johnson. My playing style ranges from Metal to Jazz/fusion. So I guess it's just what mood I'm in as to what style I want to play.

Relatively simple and straight forward, unfortunately I did not get a manual with mine. This is the second one I have owned.

Sound quality is realitive too each own's past exposure. Some of the preamp modeling is superb, that is if this unit is matched to the right support tools. I have been playing now for twenty six years, so I have fortunately been exposed to some of the real amps they are trying to model. I use mine with a early sixty's S.G. standard, to the GX700, to a BBE sonix maximizer, too a 1973 Hiwatt DR103, too a Marshall 1960AV with vintage thirties. The blending of this whole outfit brings out some very rewarding tones. I also sometoimes use a second process by another make through an early Marshall MK II and this is even better. I never really try and sound like someone else so
that has never been my pursuit.

Dependability is questionable, The first one crapped out within three months of the original purchase. By the time I had purchased it,it was already out of production so I got the stores demo. So I can not rightfully say it was Boss's doing.

Tech support was awlful, again through the store in Portland I could not put blame on Roland, the store chose to try and repair it themself. Not cool.

My styles vary drastically because of my interest. My main tones are toward Shred, Metal, Fusion, clear to open tunings and mandolin which I also use the reverb / chorusing / amp modeling. Besides the all above I tote along a lot of gear including Lexicon, Marshall, Hiwatt, Orange, T.C. Eletronics. I still find myself using this as a part of blending or defining some of my tones. So much I have two, one as a back up. So I guess one every crapped out again I would be out looking for another.

It's definitely easy to use and every sound u want is achieveable.
Editing patches is easy too blablabla!

Distortions are great, especially the METAL Distortion, which is exactly the METALZONE stompbox! Cool to imitate Death, Slayer,Kreator Sepultura, Dissection or Dimmu Borgir. Effects are cool to, clean sounds are terrific! I use a JMP-1 too, but this damned thing beats it all!

I mostly use it in studio, with hellish sounds!

Don't know it dudes!

I play Metal for about 7 years now and it's the only thing u need for it.

UPDATE !!!
As I wrote earlier for some months ago I planned to go and buy an second gx-700... and now there's two orange possible-to-give-weird-sounds-rackprocessors in my rackcase !

these fxs are really easy to use... 'cause you "see" all the time what happening on the frontpanel when switching sounds...

As soon as I got my second one to the rackcase I started to copy all files from the first one to the new one... ( which is "easy" done... )
now here is a another strange thing about gx-700...
when you "download" the information it'll show you that it's working/receiving...
but for some reason it doesn't show you when it have finish the copy-process... in the manual it reads that this is correct...
but the "thing" is that YOU have to end it by pushing the PLAY-button
so far everything seems OK... BUT ( as the manual says ) you have to remember that when you're pushing the button it's POSSIBLE that the gx-700 still receiving information... which you may "cut-off"
( which in other words could mean that the gx-700 will not work properly all the time... )

In my experience... it doesn't work properly all the time... 'cause when I tested them... the second one could suddenly switch to bypass or to the tuner...
SO... I had to redo this process a couple of times ( download ) and try to wait a little longer...

I think it worked... 'cause I haven't had any problem since then...
but I have become a little bit more chicken... that this problem will occur at stage... suddenly one gx-700 go bypass... ( NIGHTMARE !!! )

Sounds... mmh... how sweet they can become...
Here's ( a part of ) my rig:

Gibson les paul/Squire supersonic goes into an old dist-box which is not in use for more than the fact it got stereo outputs...
( I use it as an split in other words )

from there each of both signals goes to each of the gx-700s...
NOW HERE we're talking independent stereo processing as you've got the ability to make an stereo field ( exactly the same program on both )
or make to an double mono field ( totally different program on both )

from these two units I send one of the stereo outputs from both processors to two Laney VC50 ( each amp gets it own gx-700... )

You should believe me when I'm talking 'bout that you can almost dial in ANY sound you want... from super-clean to mega-super-monster distorsion and everything in between...
OR why not both at the same time... you hear a huge dist but you're still able to hear all the notes in the chords ( 'cause the other amp goes on a clean sound ) this method is very much in use on pop records
I think it will be very much in use by me too !!!
WELL... now there is only three limits of the sounds you can develop !
1. the FX:s ( there's always something you want which isn't in your processor... )
2. the store slots ( you've only got a hundred of them in each gx-700... which means that you can't make more sounds than these... )
3. YOUR imagination of what sound you want to create...

Reliability... ?

I'm not sure anymore... 'cause of the problem I've told you before with one of the processors going bypass suddenly...
but you could say that one of them would be possible to backup the other one... ( if they don't fail at the same time of course... )

I put an 7 in this category 'cause the first one have worked just fine for a couple of years now... ( hopefully the other will too )

I have never been in touch with Roland or Boss...

but they still haven't put out the manuals ( of any product they have )on internet... or even an email-adress... so you at least could mail any questions...

I think this is really stupid... but it isn't my problem if they loose customers...

actually I haven't got the need for any support... so I don't know !

I'm playing modern pop/rock music which is also include some
"dance beats"... I've been playing guitar for 8 years now and these units fit me well in playing/making music...

As I said before... it's always something you haven't got in you rackprocessor... which you have to add with other models...
but the GX-700 gives you 21 stompbox effects at the same price as three/four new real stompboxes... ( I know which way I go... )

And you can actually use it to more than just only guitars...

I have even used one of the gx-700 to process drums in recording
it gave some interesting Smashing Pumpkins sound-alike drums
e g the drums on some of the songs on the album Adore...
So these strange fxs in gx-700 can get usable after all...

-perfect... strangers when we meet...

Quite easy to use...For each effect there is a LED and it contains tons of parameters for each effect. The turning knob has become a standard on rack units, and the display is very clear. However changing the internal effects chain can seem complicated. I didn't try the MIDI facilities yet.

Good overall perfomance here. On the high settings the noise gate is too eager to cut off sustained notes, and the lower settings let too much hissing and purring pass. Distortions are OK, chorus are better, and the harmonist may need some work. The unit works best in a full-blown band, and not alone in your room. It really sounds better when a drummer is kicking out his bass drum. In these cases the little negative points are blown away.

The best...I used some Boss stomp boxes too...
You could throw it from a 10' building and it would still work...

Didn't find anything yet of patches ...

For a wide array of genres (Jazz to Trash), this thingie can handle it all...