User Patches:

The patches are listed below, grouped by style, in the following format:

Fxx: Factor Algorithm Number (xx) used in this patch.
U: Custom User Algorithm used in this patch. The exact user algorithm number is irrelevant.

S/D: Indicates whether the patch is a single or dual disc patch.
vX.XX.XX: Indicates the software version required for this patch. Though a user may have v3.00.00 installed in his 2101, this does not necessarily imply that v3.00.00 is required to operate the patch. If omitted, it is assumed that the patch is compatible with all versions of the 2101 software.
SAP: Link to the SAP (S-Disc ASCII Protocol) text file of the patch. SAP is the accepted format for all text files.
INF: Link to information text file which describes the MIDI file. This text file does not necessarily contain information about the patch, but instead is usually intended as a breif explanation of the MIDI patch dump.
MIDI: Link to the raw MIDI program data downloaded from the 2101. Warning: the patch will upload to User Preset Number xx, as designated, thereby overwriting whatever currently resides there.
TXT: Link to a text file describing the patch (not in SAP format). This format is discouraged, but some older patches still exist in this hackneyed format.

Van Halen, Edward:
 

Edward Van Halen
Title	Fxx, S/D	Description	Author	Link
Mean Streets	Uxx, S, 2.02.01	Voodoo Queen - early version of Mean Street off bootleg '77 album	Thomas Hespos, 9/97	SAP
Van Halen/Iron Maiden	F9, S	Van Haen & Iron Maiden Patch (different voicing for different guitars)	Pedro Horsten, 5/95	SAP
Aint Talkin Bout Love	U, S	Van Halen Patch with flanger, delay, PEQ1, and MVerb.	WTFoley	SAP, MIDI
Dont Tell Me	U, S	This patch emulates Eddie Van Halen's post-OU812 guitar tone. Right after Eddie started using his Ernie Ball Music Man guitar, his tone changed drastically. Program this patch, then drop your low E-string to D and play the opening riff of "Don't Tell Me (What Love Can Do)." The sound comes pretty close, no?	Tom Hespos	SAP
Drop Dead Legs	U, S, 3.00.00	Van Halen Patch for Drop Dead Legs off of 1984. Utilizes CC-1 to toggle between intro part & ballsier verse part.	Curtis Pastor	SAP, INF/MIDI(100)

Vaughn, Stevie Ray:
 

Stevie Ray Vaughn
Title	Fxx, S/D	Description	Author	Link
Coop's Tone Wah	U, D, 3.00.00	This is a slightly dirty wah sound using the smooth wah module to create a Hendrixy, SRV Strat tone . The emphasis is on TONE. I wanted to create more of a crybaby sound so I used the smooth wah module in the 3.00 version software instead of the traditional wah that is used in the factory presets. For this I had to create a User Algorithm . I suggest trying it with the distorted tube setting and set it up like an overdrive.	Marc Cooper 1/97	SAP
SRV Rhythm	F9, S, 3.00.00	SRV Tone, ala Pride n Joy, Mary had a Little Lamb	nickpeter	SAP

Hendrix, Jimi:

"Watchtower" (?): Presumably "Along Along The Watchtower" patch. Anonymous.
MIDI(?)

Johnson, Eric:
 

Eric Johnson
Title	Fxx, S/D	Description	Author	Link
Trademark	Uxx, S	Eric Johnson's Trademark sound.	WTFoley3.	SAP, MIDI
Johnson Jam	F33, D, 2.01.01a	Eric Johnson tone	Alan Wade	SAP
Acid Wash C1	F9, S, 3.00.00a	Eric Johnson Clean Tone	Stefan Bukowski	SAP
Possessed to SkateC1	F9, S, 3.00.00a	Eric Johnson Clean Tone - more up-front	Stefan Bukowski	SAP
Eric Dist d1	F9, S, 3.00.00a	Eric Johnson Distorted Tone	Stefan Bukowski	SAP

Allman Brothers:

"Allman Bros Lead " (F17): I use this patch with my band to play two songs by the Allman Brothers - "No One To Run With," and "Back Where It All Begins." The cc-pedal controls the gain boost that is used for solos. Try it with your neck pickup, or in a split combination. Tom Hespos.
SAP

"Crystal" (U): Simulates the shimmering clean glassy sounding electro-acoustic intro to Queensryche's "Take Hold of the Flame". Curtis Pastor 1996.
INF / MIDI(100)

"Flame" (U): Overly thick synthetic metal patch used for Queensryche's "Take Hold of the Flame" lead & rhythm parts. Curtis Pastor 1996.
INF / MIDI(100)

"Queensryche Aunch" (U): Simulation of Queensryche's "Aunch" tone from Operation MindCrime. Curtis Pastor 1996.
INF / MIDI(100)

"GreatWhite" (U, PPC-210): Simulates Great White's "Lady Redlight", their harder sound from Once Bitten. Note, this Dual-Alg eats Alg memory. Curtis Pastor 1996.
INF / MIDI(100)

"More Than A Feelin" (F36, v3.00.00, PPC-210): Boston patch. Jeff Smith 12/24/1996.
SAP

"Floydian Slip" (F22): This is a David Gilmourish effect, great for creating ambient sounds. Chords move up or down a half-step depending on where you position the expression pedal. Very ethereal! Coop 1/1997.
SAP

"Another Brick In The Wall" (F12): Simulates the cool delay/echo part of Pink Floyd's Another Brick in the Wall. Nathan Boerman.
INF / MIDI(100)

"Living Colour" (U): Simulates Living Colour's Vernon Reid's sound. PEQ3 provides tone shaping to give that "Reid"ish metal edge. You may want to reduce the Verb to get a more "in your face" copy of Reid's sound. Grunge Dist. Curtis Pastor 1996.
INF / MIDI(100)

"Carlos" (F5): The following patch will not provide a true Santana sound, but this is what I use for a psuedo-Santana sound. Perhaps it will allow others a starting point for creating a better emulation. Nick Roznak 5/1997.
TXT

"ZZ Tush Comp" (F7): This patch wil give you a tone similar to the early albums - First Album - Rio Grande Mud - Tres Hombres. I use it for songs like Wiskey'N Mama and Master of Sparks. Note that this patch is primarily for rhythm parts. Nick Roznak 5/1997.
TXT

"Sharp Dressed" (F5): The following patch can be used as a starting point for some of the newer ZZ Top music that is less bluesy and more techno. Although the sound is not perfect, I use this patch for Sharp Dressed Man. This patch also is primarily for rhythm parts. Nick Roznak 5/1997.
TXT

"CapN Crunch" (F29): No-digital patch reminiscent of Metallica circa Garage Days. Jeff Smith 12/24/1996.
SAP

"MetLife" (F4): A Metallica patch utilizing a pitch shifter to drop the guitar to E-flat tuning. Jeff Smith 12/24/1996.
SAP

"PsuedoMetallica" (U): Not overly accurate representation of Metallica's "Don't Tread" sound using Grunge Distortion. Curtis Pastor 1996.
INF / MIDI(100)

"Psycho Tube Lead" (U): Ballsy distortion to the brink of uncontrollability. That's the best way to describe this patch. With my Les Paul going directly from the GSP to the board via the XLR outputs, I am able to get a sound reminiscent of "Evenflow" from Pearl Jam's "Ten" album. I use this patch for a lot of hard rock songs. You may want to adjust the noise gate, though. Tom Hespos.
SAP

"Driven" (F9): This is a great patch for Test for Echo, Driven, Dog Years and several other songs on Rush's latest CD. Dave Toussaint 1/25/1997.
SAP

"Nuno's Extremities" (F10): This is modeled after Nuno's sound on Pornographitti. Mark Ribeiro, 4/4/1997.
SAP

"Reverb'd Leslie" (U): This is a Leslie effect similiar to the SRV LESLIE preset that I wrote for the 2101 but I've added REVERB and added more depth to the Tremelo and Dual Chorus. The expression pedal is linked to the speed of the tremelo and the chorus. Coop 1/1997.
SAP

"Fake Leslie" (U): Patch simulation of a B-3/Leslie. PBaker 1996.
SAP

"146 Leslie" (U): Not-quite-perfect simulation of a model 147 Leslie Speaker. PBaker 1996.
TXT

"DigiAnalog Delay" (U): A Digital Emulation of an old Anolog-Delay created with Low-pass filters to smooth out those delay repeats. Tom Owens 5/1997.
SAP

"DigiAnalog Mod Delay" (U): Improves upon the Digital Anolog-Delay by adding a Modulation Delay to help simulate those old Echoplex's etc. Tom Owens 5/1997.
SAP

"Basically" (F7): A General Purpose Bass patch. Jeff Smith 12/24/1996.
SAP

"Baritone Guitar" (F4): This preset I created was to fulfill my fantasy of having a baritone guitar sound without having to change my regular favorite guitar (or having to change the tuning). I have always admired Allan Holdsworth and his use of those sounds so he was the inspiration for this. This is pitch shifted (chord shifting I call it) and adds a 4th below or a 5th below to every note you play . This is primarily a chordal rhythm preset with no distortion . Atmospheric,fat and rich ,it's recommended to try arpeggiating your chords with a pick and start off with Major, minor, suspended and add 9 chords . Then try Maj 7, min 7, all the way up to 13th chords. Coop 1/1997.
SAP

"Whammy Bass" (F16): This preset utilizes the Whammy pedal effect . I drop it an octave down to create a bass tone. The expression pedal is used to turn on the repeat/hold function to create a loop. Since I use a PPC-210 card , this preset is used to set up a loop with the bass tone and then switch to a new preset to solo ( or chord ) over, and the second preset uses different sounds and effects. Note that the PPC-210 is NOT required for this patch, but it IS required if you intend to use it as Marc has outlined above. Coop 1/1997.
SAP

"Fat 12-string" (U): This is a clean tube patch that uses the cc-pedal to switch from 6- to 12-string guitar. Utilizing a pitch shifter, the patch doubles each note played by the guitar and shifts it up one octave. It sounds like a 12-string run through chorus and reverb effects. Toe down on the pedal to switch to 12-string. Tom Hespos.
SAP

"Soft & Assertive" (F2): Another ringy acoustic style patch. Jeff Smith 12/24/1996.
SAP

"Shifty Chorus" (F4): A ringy chorusy patch that works well for Ovation Acoustics. Jeff Smith 12/24/1996.
SAP

"300ms Delay" (F3): This is a delay preset that utilizes a fast delay ( single repeat) tocreate an effect similiar to what Albert Lee does when it seems he is playing super fast. This works best when you don't use distortion . Play the notes with an even tempo and in staccato fashion. Accuracy is the key. The trick is to play in time, HALF the speed, and let the delayed note create the other note so it sounds like you are playing twice as fast. Playing in sync with the delay is important. When the expression pedal is pressed all the way down( maximum value) the delayed effect is on full . When the pedal is all the way up( minimum value ) it is just the dry signal. Coop 1/1997.
SAP

"Ambient Delay C" (F17): I've always loved the versatility of the 2101. The ability to create new age/ambient textures on the 2101 are endless. This preset is one of several ambient sounds I use. With the expression pedal set to the minimum, play repetitive stacato lines ( like a sequencer or keyboard arpeggiator ). With the expression pedal set to the maximum, play chords and hold them. The delay and the arpeggiators will carry them and give # them a shimmery effect. Keyboard players watch out! Coop 1/1997.
SAP

"Clean Or Bite" (F7): I went after a real clean tone and also one that you could add some dirt that has # more bite to it than a lot of distortion ( a la Danny Gatton, Roy Buchannan ). It also has some air to it via the Gigaverb reverb. This of course is all a matter of taste, you may want to lower the level of the reverb. This is set up like two different amps... with the expression pedal changing compression rates, EQ settings, turning on the clean tube (overdriving it ) and even changing the master volume levels depending on whether you want a "clean amp" or a " dirty amp".
SAP

"Frippertronics" (U, PPC-210): This is a wacky preset a la Robert Fripp and his frippertronics idea except that it's a very heavy sound that you can loop and solo over . When the expression pedal is pressed all the way down it loops the existing pattern that you have played . The sound is made with an arpeggio of a 5th below. It then adds another arpeggio of a 5th below that you can use to solo over the loop. Coop 1/1997.
SAP

"Raunchy Volume" (F7): This is a screamin' lead preset a la Gary Moore, Carlos Santana, etc. A real fat tone ! The expression pedal is used as a volume pedal. To keep it real quiet I used the expression pedal to also control the amount of gain and the level of the Gigaverb. Coop 1/1997.
SAP

"The Chase" (U): This is a really cool studio patch I developed when I was in a crazy mood. It utilizes two Autopanners to produce a wild stereo effect that sounds like two delay taps "chasing" one another across the stereo sound stage. The patch sounds okay through a mono rig, but really shines in stereo. Tom Hespos.
SAP

"Eerie Soundtrack" (U): Can be used to create some weird non-guitar sounds like wailing ghosts and poltergeists. It uses a loop containing delay and chorus, which is morphed in by the cc-pedal. Finally, the whole signal passes through a BigVerb for a really surreal effect. Start by playing a few notes or a chord. Then, gradually toe down on the pedal. The loop will do some gruesome things to the sound. You'll have to wiggle the cc-pedal around a little bit to control the rising sound volume. Kinda fun. Tom Hespos.
SAP

"Silver Surfer Solo" (U): Please realize that this patch is not intended to make you sound like Joe Satriani. I was goofing around in the studio one night, came up with this highly-distorted lead tone, and couldn't come up with a cool name for it. Satriani's "Surfing With The Alien" was laying face-up on my mixing console, and it gave me the idea. Still, this patch's reverb/delay makes it sound pretty otherworldly... Surf away!!! Tom Hespos.
SAP

"ChorDtn&Wait" (F3): Nice for interesting acoustic lines & arpeggios. Jeff SMith 12/24/1996.
SAP

"Heavy Thrash (F6): Sound that comes close to heavy thrash group sounds. Essentially a modified Metal Tremolo patch with some bass emphasis. John Drohan 10/21/1996.
SAP

"Jam Man" (U): Text schematic for the creation of an algorithm with the idea of implementing a sampler/playback loop similar to the JamMan. Paride Zizzari 11/5/1996.
TXT

"RampTremCho" (U): The tremolo ramps in as picking dynamics increase. THe ducker is used to simulate a RAMP waveform which is no available on the 2101. Chris Sherwood 12/13/1996.
SAP

"RampTremCho2" (U): Some revision to the notes, but otherwise similar/identicle to RampTremCho. Chris Sherwood 12/13/1996.
SAP

"Swelling Membranes" (F4): Lush, synthy swelling patch good for chords. Bill Reid 1/18/1997.
SAP

"Tile-ographic" (F23): Mod-delay + verb create a short, sharp reverb similar to a small tiled room. Chris Sherwood 11/13/1996.
SAP

"Chordal Mist" (U, PPC-210): Shimmering guitar synth patch utilizing arpeggios. Mark Vermette 5/24/1996.
SAP

"Backwards Mask" (F22): This patch imitates a backward masking effect using the Noise Gate. Tom Diecidue 6/10/1996.
SAP

"Heavenly Chorus" (U, PPC-210): 16-voice chorus patch. Anonymous.
SAP

"Death by Jazz" (U, v3.00.00): Harmonizer/Pitch shifter utilized to create 3 note harmonies. Tom Owens 6/11/1996.
SAP

"Lotus-Lead Modified" (F17): Dreamlike variation of the original factory patch. Keith Moore 5/19/1996.
SAP

"Bass Ackwards" (U): Reverse masking effect utilizing the Gated Reverb. mperry.
SAP, MIDI

"Dave's Main Sound" (F15): Grunge, 3 band EQ, 2T-Dly, 2 MFxVerbs. Dave Nason.
TXT, MIDI

"Clean Chorus" (F9): Clean Tube, St Chorus, and MFxVerb. Dave Nason.
TXT

"BluesOvdrv" (unknown): Standard bluesey overdriven sound. Anonymous.
INF / MIDI(09)

"Plinky" (F21?): Modified "Phaser in space" patch. Essentially a clean, bluesey, phasor'd sound with a plinky-compressed snap. IMHO this sounds great for upper neck blues solos with the neck pickup. Curtis Pastor.
INF / MIDI(100)

"Plinky's Pissed" (F21?): Plinky put in Distorted Tube mode. Sounds best with neck pickup only and playing in the 12th or higher position. A warm, psychotic, swooshy bluesey, gritty, mellow lead sound. Curtis Pastor.
INF / MIDI(100)

"CSolo 2" (U, PPC-210): Lead Guitar Patch based on "Them Bones" Patch but wth additional EQ, Delay, Chorus, etc. Rick Currence, 6/1996.
INF / MIDI(100)

"Clean Tube" (F9): Very utilitarian clean tube patch. Tube warmth and compression sound great with pickups in Center+bridge/neck positions. Curtis Pastor 1996.
INF / MIDI(100)

"Them Bones" (U, PPC-210): Inspiried by Jerry Cantrell's tone on Dirt. Rick Currence, 6/1996.
INF / MIDI(100)

"Estimated Prophet" (?): Unknown. Anonymous.
MIDI(?)

"Kleen JB Cho" (?): Presumably a clean chorusy JB sound. Anonymous.
MIDI(?)

"Krunch Lead" (?): Presumably a crunch lead tone. Anonymous.
MIDI(?)

"Silky Solo" (U): I use this program for a Harem Scarem lead guitar sound. Will work with a mono set up but should be used with stereo output for panning effect. Sounds great in the neck pickup position too for silky smooth blues passages. Colin Pinner 1/1997.
SAP

Other 2101 Patch-Sites:

Tom Hespos: Tom has his own page of personal GSP-2101 patches.

FTP Site: Steve Schow's GSP-Users Archive has an FTP site which contains most all these patches. If you really want a bundle of patches, download the old patch bundle.

GSP-2101 Software Version 2.xx.xx Factory Patches. These are archived at Steve's FTP site for Version 3.00.00 (Artist) owners who miss some of the older patches that have been replaced in the upgrade.

Soundbites:
 

Patch Information	Description	Author	Date	Link
GSP-2101, various	Rush song fragments using the GSP-2101	Dave T.	Sept 1997	Html
SGS-2112, originals	Original Recordings with the SGS-2112	Mike Teague	Sept 1997	Html

User Advice/Input:

Mike Devirgilio 1/23/97:
My rig (experiemented a LOT and does well for me):
Guitar
Cry-Baby Wah into y-cord
one end into 2101 input one end into Mesa Boogie Tri-Axis input
Tri-Axis output into BOTH 2101 fx returns
2101 outputs into BBE 422A
Sonic Maximizer BBE outputs into Mesa Simul-Class 2:90
Ampeg Stereo 4 x 12 cab
This setup does this for me: the separate pre-amp (either from the Tri-Axis or the amp head) can keep it's character - no compression from the 2101, EQ, global EQ - available. I found this to keep that tone exactly as before the GSP comes in.

To change the routing of the signal, I set up the foot controller to go change the fx loop to "NO SUM" (which gave me the Tri- Axis, or the amp head preamp) or "BYPASS" which gives me just the 2101. I now set this for a screaming lead tone from the Tri-Axis (totally best preamp in the universe), or over to a clean sound through the 2101.

Nick Roznak 1/14/97:
I have an LE with the original GT's and am happy with the sound most of the time. But I have my rig set a little different. I don't use the GSP compressor or noise gate for distorted sounds.

I send the effects out to a dbx 1066 compressor (love those knobs!) and then back to the returns. I run all my EQ flat prior to going to the compressor and let the compressor chop the sound before going to the EQ. I add a 15 band EQ into the front of the algorithm to reshape the sound. If space won't permit, I use a PEQ5.

This gives me a rounder sound than I find with the compressor and gate "post-EQ." Later this week I'll give you some settings I use for a Santana kind of sound.

Bill Foley 1/8/1997:
I'd like to involve you in an interesting quest I've undertaken. Eric Johnson is a big influence on me. I really admire his tone as I'm sure many of you do. Perhaps what impresses me most about his sound, however is not his tone (sweet as it is - like a stratovarious violin), but his AFTERTONE. W hat I'm referring to here is difficult to describe in words but easy to detect with a listen. It's basically nothing more than delay and reverb, but it's extremely dynamic, and really adds a depth to his playing. I am trying to approximate that aftertone on the 2101 and would appreciate your thoughts, comments, and suggestions. If we can get it, I think many of us will want to make use of the result.

First, let me try to help you understand what I'm after. Eric's playing is interesting in that he smoothly translates from an ongoing rhythm guitar riff or chord set to a lead or short lead fill. As he does this, his AFTERTONE sustains his former phrase in a way that can be described as "layered and sustaining, but clear and distinct from the new phrase." Unlike straight reverb, the AFTERTONE often captures a segment of the former phrase - as a delay might. It's not just delay, however, and seems to manifest itself more dominantly only at the spots where it should, which is during the aforementioned phrase changes and during soft playing or breaks.

The ear is the best descriptor. Listen to the following:

Trademark: just after the briefly crunch-distorted A chord. (notice the preservation of the distorted sound after he switches to clean) Cliffs of Dover: Between thematic riffs and fills/leads/melodies. S.R.V: throughout the song, but especially after the low E string note at the end of the main theme riff. Anywhere on Eric's Guitar Instruction Video (This is a great place to hear it) Camel's Night Out: Right after the low E string note preceeding the breaks, among others.

So the question: What is it? How does Eric set up his rig to produce this AF TERTONE? It's not a mix trick because he gets it live and throughout the instructional video - so it's part of his regular sound. But the thing's so damn dynamic! It seems to change and respond to his playing in a way. In magazing interviews, Eric comments that his rig (though a 3-amp, stomp box nightmare - I saw four roadies trudge out carying a black plywood pedalboard the size of a pingpong table at the G3 concert setup) consists of a custom Brett Butler/Paul Chandler tube driver or a Fuzz Face into a Marshall, Dumble, or Fender Twin with a t.c. electronics 2290 delay (sometimes he uses an MXR digital delay) and a Lexicon PCM reverb. Eric also says he uses Echoplex's alot (I get the feeling they're part of his main rig) and I know he has a VOX wah and an MXR flanger. So we know most of the main elements of his rig and can assume that he's got em all multi-switched and looped together in some Frankensteinish way (you sometimes get a really short peek of the board in magazine studio shots or on the video). We don't really know the "linking", however, and none of this really helps much in figuring our how to get the AFTERTONE. It is clear, however, that the responsible equipment comes after the gain setting of his entire rig because the AFTERTONE preserves his initial tone if he switches to another tone (like dist to clean) as it rings out. This is very clear at the spot I referenced above in Trademark.

I'm thinking a ducker might help out in there somewhere. It seems to be ducker, delay (a pseudo-analog delay via eq. or lo/hi pass filters would probably get the AFTERTONE tone closest), and reverb in some combination and setting. Here's where I run short.

I've tried delaying the reverb with a digital delay. No Cigar. I've tried reverbing the delay. Nope - just muddies it up - Erics is very clear and separate from the main signal (could it be an independant amp rig chunking along with the AFTERTONE only at all times?). I've even played around with applying a very slight amount of flange to the reverb or delay to give it some dyamic. No luck there either.

If you listen to the AFTERTONE, the regeneration on the delay is really critical. It doesn't fade out linearly like we're used to on the delays on the 2101 do. It seems to go through a few repeats at near constant level, and then fade sharply out to nothing (but it's not a total chop-off end either). The reverb is in there subtly too. It might be slightly delayed as well by some means (no early reflections?). I'm also thinking that the delay part of the AFTERTONE consists of a couple of delays of different levels and times. This dominant repeat is usually about 250 - 400 ms, depending on the song I think. But I hear a more complex interaction of delay patterns there behind the main delay. The tone of the overall AFTERTONE is really cool too. Compared to the tone of the main hot signal, I'd have to describe it as "similar but different".

So that's were I stand. I didn't intend on such a long message (I hate having to read 'em), but, as you can tell, I'm really interested in nailing this and thought you might be too. It's a big challenge. Anyone up to taking it on with me? Comments welcome!

Mike ([email protected]) 12/12/96:
I bought an Ampulator and FINALLY figured out how to get the best sound (IMHO) from it. I have it in effects loop of the GSP. If there's any raspyness in the GSP distortion, you can set the Ampulator to slightly compress (different sound entirely than pre tube compressor of the GSP) the signal. The result is a fluid, cleaner, rounder sounding singing distortion ala Larry Carlton, Robben Ford. The "feel" improves also, I think someone else stated it best...."makes the strings fell rubbery". In addition, the Ampulator adds balls that I don't believe you can get EVEN WITH a tube power amp, unless it's CRANKED TO FULL (or almost full). IMHO the most benefit obtained from a tube power amp is with it maxed out.

I tried to get close to the Ampulator effect with EQ and GSP compression, and nothing comes close.

Go to GSP-2101 FAQ Table of Contents

Written by Curtis LeMay Pastor,
[email protected] or [email protected]
Last revised as of January 16, 1998.