I’m in the process of setting up a recording system to use in the Blues Immersion course. I was thinking about purchasing the Valeton GP 200 primarily for the amplifier modeling and effects but noticed that it has a USB out jack.
Can I use that for my computer interface instead of buying a separate unit like the Scarlet 2i2?
Is there any advantage to using a separate dedicated interface.
Looks like it will work as an asio interface, not sure about the quality or spec though
Looks like a POD Go clonish type thing at half the price. Go for it !
Wanted to answer your question even though this is an older thread:
First and foremost if you are not recording, and you are doing what I like to do most and playing along with Youtube, backing tracks etc in the comfort of your own home, this GP200 can’t really be beat. No it won’t be as good in terms of effects as an Axe FX3 MKii, which I owned and loved, or the Kemper Profiler/Stage, also which I had owned and would have loved if I didn’t loathe the interface… but for the money I don’t miss either of those devices one second now that NAM support has been added.
My problem is now that I am ready to record some songs I wrote (Thanks Justin for the program btw, 30 year player who never learned theory, you helped a lot) is as follows:
It seems as though this doesn’t actually work like an interface as you and I would know it. My 2i2 Gen3 blew up after a couple years of using it daily (Shouldn’t happen, and of course they only help they offered was a 15 dollar discount on a new one) I was looking for solutions… This is why I purchased the GP200. I needed a new Interface anyway, and sold my Kemper and Axe FX when I quit gigging.
Setup is an unbalanced TRS from guitar to the GP200
Balanced XLR to two Kali IN-8 Gen1 (if you use TRS do NOT buy these they HUM BAD and instead of a recall, Kali released a new version with a different transformer so unless you use XLR avoid older Kali generation monitors)
USB to a powered USB hub, which then goes to the AMD workstation I have at my desk running Reaper, via AISO driver from Valeton.
The Problem: You can’t really use plugins in your DAW, you can’t really hear what you record in real time, and the GP200 ALWAYS plays the patch you are on. You can’t send a monitor only signal, you can’t disable the GP200’s patch output to the XLR’s, so if you arm/record a track in Reaper, you won’t hear what Reaper is doing, you only hear what the GP200 is doing.
I wish it worked like a regular interface, where you can actually turn on and off monitoring like the 2i2 Gen3 had with a press of a button. Also, while using this, you can’t run other software like Cory Wong because you never get a true “Dry” signal. I know you can set each output in USB settings to wet or dry, but this process would also require you to set the PC audio out to the Valeton, requires a new patch where everything is disabled, and you have to change the wet/dry settings in the options if you ever want to listen to a patch again.
I’m not really sure what the point is, and it feels like it was designed by an engineer who didn’t really understand what an audio interface is, instead of being an interface its more of a “sound card” which might be why most youtubers who talk about this on Valeton’s behalf never call it an interface they always say “Sound Card”. I thought this was a translation thing at first since most of them are either South American, Asian or African, but it wasn’t. It really only works like a Computer sound card.
If anyone has had this experience and figure it out, I would be thrilled to hear how you did it because I have been around technology since the Radioshack Tandy TRS80 days, when our computers were running off regular ol’ audio tapes /laugh but this one has me stumped.
“audio interface” and “sound card” are synonyms. They are the same thing.
“Sound Card” is a throwback to the days where PCs didn’t have onboard audio so, if you wanted sound, you needed to open the PC case and install a “sound card” into one of the PCs card slots.
A popular “sound card” of the day was the Creative Technology Sound Blaster:
This stuff largely pre-dated USB and USB audio interfaces.
So, I’m not sure what you mean by your statement, because “sound card” and “audio interface” mean the same thing, with the latter term being more common these days (and more correct as USB audio devices are not installable cards).
Cheers,
Keith
In my mind it’s a Multi FX unit… no idea if it can function as an audio interface or not
The USB port is at least in part to allow you to connect to the PC software which effectively replicates the software on the device on a bigger screen. If your laptop happens to have a touch screen you gain touch screen controls on the GP200 (not on the GP200, through the laptop software, as every tweak you make on your PC is reflected in real time on the GP200)
Hi Keith,
This is not true. A Direct Interface is not the same as a sound card, a sound card decodes audio signal and a Direct interface routes a signal. I appreciate your response but let’s not lose focus on the intent of my post.
The intent was to say, in too many words obviously, The GP200 lacks a Direct Monitor function so that you can switch between wet/monitor/combo on the fly. Have a blessed day.
-Mat
Thanks for the response, this is not what we are discussing at the moment. What the topic is about is using it as a studio interface for the manipulation, recording and editing of your music. You are correct, it does allow you to edit patches, but this was not what an interface is, that is what a multieffects unit is, and this has both! =) Have a great day.
I’m answering the question that the OP asked about the purpose of the USB port!!!
Regarding the GP 200 as an audio interface, I can’t comment specifically because I’ve never used it.
But I have experience of different multifx devices which have audio interface capability.
Almost all of them act as, at least, a 2in/2 out interface with those two channels typically being stereo LR in and stereo LR out. If no stereo effects are used, then the recording input will usually have the same signal on the left and right channels.
For the output, this can normally be used to pipe the audio output from the PC which can then be heard on headphones plugged into the unit, or an amp connected to the output of the unit.
In the case of digital modelling amps, there may be.some restrictions here (Katana amps, for some reason, will output PC audio to the headphones but not the speaker).
As far as “dry” recording, YMMV here as it is very dependent on the device. Some devices, like many of the Boss units (including the Katana) actually have two pairs of both recording and playback channels (effectively 4 in/4 out) with one stereo pair of each going through the effects and the other being “dry”).
With these units you can monitor using the onboard effects and have the dry channels recorded with or without local plugins.
There are other units I have seen where you only have one pair of input channels on the USB, but where you can adjust the amount of “wet” and “dry” on them. From your description, it sounds like the GP 200 is like this.
Monitoring the dry output that has been treated by PC based plugins on units like this is possible. The best way I have found for this is to create an empty patch (I call mine “bypass”) but you may still get the dry monitored signal overlayed with the PC audio, and there will always be a delay between the two, which may or may not be an issue.
Personally, if you are going to bypass all of the effects for both recording and monitoring, I think you should be using a standalone audio interface, as you are bypassing the whole point of these units supporting USB audio.
They are specifically designed to allow you to record the onboarding amp Sims and FX. They aren’t designed to act as a generic audio interface, which is what you may have meant by your “sound card” comment.
Cheers,
Keith
The issue isn’t that I, or anyone else would want a constant bypass of the effects in the unit while recording, its the effect of having the choice if I want to blend, alter or edit the track in real time the way the unit is setup now, you can’t.
You ALWAYS hear the current patch on the unit, regardless if you want to hear only what you are recording on a certain track that maybe you want to blend an effect into your music that the unit doesn’t have… this is why I gave the example of using a neural dsp vst on one track, while using the GP200 patch on another.
You will always hear the GP200, making editing the track that is not meant to have GP200 processing on it, almost impossible to edit or change in real time.
I hope this doesn’t come off rude cause it isn’t meant to be, but I DO own the unit, and I am discussing a problem with THE UNIT that was ask about as an interface in the OP. Other units don’t matter to this conversation because the conversation is about the GP200 and ITS function as an interface.
In the market there are are devices which are standalone “audio interfaces” and there are devices, like multifx systems and modelling amplifiers, which include “audio interface” functionality. Some of these devices include direct monitoring (indeed, it’s now commonplace in consumer audio interfaces) but not all do.
Just as some higher-end audio interfaces include onboard mixing and effects (like reverb).
Those are additional functions of the audio interface/sound card. The audio interface itself is defined by the function of converting analogue audio signals to digital ones that can be consumed by the PC, and vice versa.
Cheers,
Keith
For anyone who DOES own the unit, and DOES record music, and has a fix for the routing issues and monitoring issues I am experiencing if you have a work around for live tracking/monitoring please hit me up in pm’s.
And this is pretty common to all devices of this type. They are multifx pedals first and foremost and are designed to work in a specific way. The audio interface capability isn’t designed to act like a generic standalone audio interface, as I said before.
They don’t for example, usually allow you to connect non-instrument line-input or microphones (I know some do, but it’s uncommon).
If you want this sort of capability, you are best getting a separate audio interface and wiring the line out of the GP-200 to it.
Please note: I am trying to provide correct information, advice, and context based on 30+ years of working with digital audio and equipment and multiple vendors equipment.
Cheers,
Keith
This is from the manual.
Using GP-200 as an audio interface
When used as a USB audio interface, the GP-200 will be recognized by the system as a 6-in/4-out
USB device. Here we will show you how to use this function through listing two scenarios.
Scene 1: Using the built-in re-amp function in the DAW to record or adjust the tone
Also
Can i listen to the daw effects and bypass my valeton effects?
Yes, you can absolutely listen to DAW effects and bypass your Valeton’s internal effects. This is a common and flexible way to work, especially when you want to use high-quality VST plugins in your DAW for amp simulation, effects, or re-amping.
Here’s how you generally achieve this with a Valeton multi-effects unit that functions as a USB audio interface (like the GP series):
The Core Concept: USB Input Routing
Your Valeton, when connected via USB, provides multiple audio streams (channels) to your computer. Typically, these include:
Dry Input: The raw, unprocessed signal from your guitar (or instrument) before it hits any of the Valeton’s internal effects. This is usually the first input channel or pair of channels (e.g., USB In 1 or USB In 1/2).
Wet Input: The signal that has been processed by the Valeton’s internal effects (amp models, cabs, reverbs, delays, etc.). This is often a stereo pair of channels (e.g., USB In 3/4).
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Steps to Listen to DAW Effects and Bypass Valeton Effects:
Connect Valeton via USB: Plug your Valeton multi-effects pedal into your computer via USB.
Install ASIO Driver (Windows): If you’re on Windows, make sure you’ve installed the specific ASIO driver for your Valeton unit. This is crucial for low-latency performance when monitoring through your DAW. Mac users generally don’t need a special driver.
Configure DAW Audio Settings:
Open your DAW (Logic Pro, Ableton Live, Reaper, Cubase, Pro Tools, etc.).
Go to your DAW’s Audio Preferences/Settings.
Select your Valeton as the Input Device and Output Device.
Ensure that all the available Valeton USB input channels (especially the dry ones) are enabled in your DAW’s input routing.
Create Tracks in Your DAW:
Create an audio track for recording your guitar.
Set this track’s input to the dry signal from your Valeton (e.g., “Valeton USB In 1” or similar, depending on your Valeton model and DAW’s labeling).
Crucially, ensure that monitoring is enabled for this track in your DAW. This allows you to hear the signal coming into that track.
Bypass Valeton’s Internal Effects (for monitoring):
On your Valeton pedal itself, you have a few options:
Select a “Clean” or “Bypass” Preset: Many multi-effects units have presets designed to be completely clean or “bypassed,” meaning they don’t apply any internal effects. Find or create such a preset.
Turn off all effects in your current preset: Go into the preset you’re using on the Valeton and manually turn off the amp, cabinet, and all effects modules. This effectively makes the Valeton pass a clean signal.
Global USB Dry Output Setting (if available): Some advanced units might have a global setting that determines what signal is sent out the USB outputs. Ensure the “dry” signal is always available.
The goal here is to ensure that the Valeton is sending a completely dry signal to your computer on the designated “dry” USB input channel(s).
Apply DAW Effects:
On the audio track in your DAW that is receiving the dry signal, insert your desired VST plugins (amp sims, overdrive, delay, reverb, etc.) into the track’s insert slots.
Now, when you play your guitar, the dry signal will go into your DAW, and you will hear the sound processed by your DAW’s plugins.
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Benefits of this setup:
Ultimate Flexibility: You can experiment with countless VST plugins and change your guitar tone entirely after recording, without having to re-record the performance.
High-Quality Plugins: Leverage the power and quality of high-end DAW plugins.
Mixing Control: All your effects are in the DAW, making mixing and automation much easier and more integrated.
Lower Latency (often): While you’re processing through the DAW, modern DAWs and ASIO drivers are very efficient. If you experience too much latency, you can still record the dry signal and monitor through the Valeton’s wet signal (as described in the previous answer), then disable the Valeton’s effects later and apply DAW effects for mixing.
This setup is ideal for studio recording where you want maximum control over your guitar tone in post-production.
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This setup is ideal for studio recording where you want maximum control over your guitar tone in post-production.
Apologies for the cut and past job but hopefully the info you need is in there.
No need to apologize my friend.
These options unfortunately are not what I need in my setting. However, you did give me an idea, which ended up being the answer so thank you!
FOR THOSE OF YOU WITH THIS ISSUE:
Set the Valeton in Tuner mode, do not select bypass or Through, instead leave it on MUTE. This will disable ALL direct monitoring of the Valeton, and allow you to do the monitoring in the DAW like a regular interface works.
