BOSS OD-3, SD-1, BD-2, OS-2, ODB-3 User Manual

...

Download

Page 1

Vol.18

Guitar & Bass Effects / Tuners / Metronomes

Page 2

At BOSS, we have been making the world’s most recognized and respected line of compact guitar effects and accessories for nearly three decades. From classics effects such as our legendary chorus and delay sounds to the latest cutting-edge tools for modern

music making. . . . When you’re serious about your

sound, plug into a BOSS.

INDEX

The Many Roles of Guitar Effects 4

History of BOSS 6

Add Distortion 8

Boost Tips 18

Guitar Amp Settings 20

Add Acoustic Dimensions 22

Modulate and Double Sounds 26

Change Tonality of Sounds 33

Regulate Gain Level 37

Change a Sound’s Pitch 39

Bass Effect Units 43

Reduce Noise 49

Change Connections 50

Next-Generation Pedals 53

Acoustic Processors 64

Challenge Yourself 66

Multiple Effects 72

Accessories 74

Solution for Power Supply Problems

AB-2 2-Way Selector 51 AC-2 Acoustic Simulator 36 ACA-Series AC Adaptors 79 AD-3 Acoustic Instrument Processor 65 AD-5 Acoustic Instrument Processor 65 AD-8 Acoustic Guitar Processor 64 AW-3 Dynamic Wah 35 BCB-60 Pedal Board 74 BD-2 Blues Driver

12 BF-3 Flanger 30 CE-5 Chorus Ensemble 28 CE-20 Chorus Ensemble 56 CEB-3 Bass Chorus 45 CH-1 SUPER Chorus 29 CS-3 Compression Sustainer 38

Eight Million Pedals Str

Page 3

DB-12 Dr. Beat 78 DB-66 Dr. Beat 78 DB-88 Dr. Beat 78 DD-3 Digital Delay 24 DD-6 Digital Delay 23 DD-20 Giga Delay 58 DS-1 Distortion 14 DS-2 TURBO Distortion 15 EQ-20 Advanced EQ 60 FS-5L Foot Switch 75 FS-5U Foot Switch 75 FV-50H Volume Pedal 75 FV-50L Volume Pedal 75 FV-300L Foot Volume/Expression 75 GE-7 Equalizer 34

GEB-7 Bass Equalizer 46 GT-6 Guitar Effects Processor 72 GT-6B Bass Effects Processor 72 LMB-3 Bass Limiter Enhancer 47 LS-2 Line Selector 50 MD-2 Mega Distortion 17 ME-50 Guitar Multiple Effects 73 ME-50B Bass Multiple Effects 73 MT-2 Metal Zone

16 NS-2 Noise Suppressor 49 OC-3 SUPER Octave 42 OD-3 OverDrive 10 OD-20 Drive Zone 54 ODB-3 Bass OverDrive 44 OS-2 OverDrive/Distortion 13

PH-3 Phase Shifter 31 PS-5 SUPER Shifter 41 PSA-Series AC Adaptors 79 PW-10 V-Wah

RC-20 Loop Station

™

61 RV-5 Digital Reverb 25 SD-1 SUPER OverDrive 11 SYB-3 Bass Synthesizer 48 TR-2 Tremolo 32 TU-2 Chromatic Tuner 52, 77 TU-6 Guitar Tuner 77 TU-8 Guitar & Bass Auto Tuner 77 TU-12/12H Chromatic Tuners 76 TU-15 Chromatic Tuner 76 TU-80 Tuner & Metronome 77

Page 4

Add Distortion

Add Acoustic Dimensions

Modulate And Double Sounds

THE MAN Y ROLES OF GUITAR EFFEC TS

BOSS offers an extensive selection of guitar effects that can be used to create an incredibly wide and expressive range of sounds. Here is a quick reference guide to the type and function of each unit.

OD-3, SD-1, BD-2, OS-2, ODB-3, OD-20

Overdrive

Simulates the sound of an overdriven tube amp and responds to playing touch.

OS-2, DS-1, DS-2, MT-2, MD-2, OD-20

Distortion

Produces harder, metallic distortion with many upper harmonics.

Reverb

Adds the natural acoustic ambiance present in rooms and halls.

DD-6, DD-3, DD-20

Delay

Samples the original sound and plays it back delayed to produce natural—or artificial— sounding echo.

CE-5, CH-1, CEB-3, CE-20

Chorus

Combines a slight delay signal with the original signal and modulates it to create a thick, shimmering sound.

BF-3

Flanger

Electronically creates a slight delay and combines it with the original signal for a swirling “doubled” effect.

PH-3

Phaser

Combines an out-of-phase signal with the original signal to produce a sound similar to the “spinning” sound of a rotary speaker.

TR-2

Tremolo

Varies the volume of the original sound cyclically to create a pulsating effect.

RV-5

Page 5

Change Connections

Reduce Noise

Change a Sound’s Pitch

Change Tonality Of Sounds

Regulate Gain Level

GE-7, GEB-7, EQ-20

Equalizer

Boosts or cuts a particular frequency band for flexible tone control.

AW-3, PW-10

Wah

Produces a distinctive “wah wah” effect by boosting or cutting a specific frequency range.

AC-2

Acoustic Simulator

Makes an electric guitar sound like an acoustic.

SYB-3

Bass Synthesizer

Makes a bass guitar sound like a synthesizer.

CS-3

Compressor

Reduces the output of sounds over a set threshold relative to the strength of the input signal, making levels consistent and improving sustain.

LMB-3

Limiter

Limits the peak levels of sounds to precisely that of the threshold level.

OC-3

Octave

Creates a signal one or two octaves lower than the original signal.

PS-5

Pitch Shifter/Harmonist

Provides intelligent, key-specific pitch shifting +/– 2 octaves, plus Tremolo Arm and Flutter effects to give you convincing whammy bar-type sounds.

NS-2

Noise Suppressor

Eliminates noise resulting from connecting multiple effects units or using very high gain.

LS-2

Line Selector

Controls switching from solo to backing and also amp selection.

Page 6

History of BOSS

The history of BOSS reads like the history of guitar effects. From our legendary CE-1 Chorus pedal—the big, gray box that started it all in 1976—to the world’s favorite line of compact effects pedals, we’ve been responsible for more guitar innovations than just about anyone else. Our compact pedal lineup began 27 years ago in 1977 with the classic OD-1 OverDrive.

Its warm, smooth overdrive sounds and breakthrough BOSS pedal features— heavy-duty construction, rubber pads on top and bottom, recessed control knobs, silent switching, a built-in LED, and easy battery replacement—immediately set it apart from other stomp boxes on the market. And it established the masterful design for all other BOSS effects pedals since.

Indicator displays effect on/off status and battery check.

AC adaptor jack enables continuous, battery-free operation.

Electronic switch provides noise-free on/off switching.

Battery replacement is quick and easy.

Digital processing, the first ever offered on compact pedals, enables sophisticated effects such as delay, reverb, pitch shifter, and harmonist.

Page 7

Throughout the years, BOSS has continued to define the cutting edge of guitar effects. Innovative digital processing allowed pedals like our original DD-2 Digital Delay to deliver studio-quality effects comparable to rackmount units. Dual concentric knobs allowed a greater range of control. And from modern breakthroughs like the ultra-programmable

Twin Pedals to the obscenely heavy sounds of the MD-2 Mega Distortion, BOSS continues to push the envelope with every effects pedal we produce. Thumb through the following pages and get to know the complete effects lineup from BOSS . . . the only company that's sold over 8 million effects pedals worldwide.

Compact Pedal Effects Specifications

● Dimensions: 73 (W) x 129 (D) x 59 (H) mm (2-7/8" x 5-1/8" x 2-3/8")

● Weight: (Depending on the model) 400 to 450 g (15 oz. to 1 lb.)

● Accessory: Dry battery

● Option: AC Adaptor

Double concentric control knobs offer more sound creation options, surpassing the limitations of ordinary compact pedals.

Page 8

ISTORTION

String gauge or pitch influences guitar tonality.

Distortion effects change greatly depending on specific pickup types, such as single-coil or Humbucking.

Pickup position also counts. With the pickup close to the neck, a mellower, rounded sound is produced, while using the pickup near the bridge produces a sharper sound.

The tone control on the guitar helps to vary distortion effects.

The quality of the shielded cord affects the sound quality.

Guitar—offering more tonal depth than any other instrument

The guitar gives you expressive options that go beyond the amp, effect, or even the guitar model used. Everything from the type of pickup, string gauge, picking strength, and picking position cotributes to the overall tonality. That’s why playing rock guitar is so awesome—no other instrument gives you so much freedom to create your own signature sound.

Page 9

Amp volume and tone control are crucial to getting your sound.

Amp sound characteristics depend not only on the output stage but on the cabinet and speakers as well.

Overdrive & Distortion

A key component of creating your sound, distortion effects units fall into two categories:

■ Overdrive: Produces the natural, warmsounding distortion like the sound of an overdriven tube amp.

■ Distortion: Creates harder distortion effects ideal for heavy metal and hard rock.

Distortion effects: Yesterday...

Back in the days when PA systems were designed strictly for vocals, the only way to boost guitar volume was to turn your amp up to 10. Distortion effects occurred naturally as input signals overloaded the vacuum tube preamp and output stage as well as the speakers. A beneficial side effect was the unique tones that distortion created.

... and Today

Distortion has evolved from simple overdrive into a wide variety of effects. Consequently, today’s guitarists are very particular about effects units, amps, and the type of distortion they want. BOSS knows that and offers a wide selection of Overdrive and Distortion units.

Distortion Chart

Metalic

Rough

Smooth

Natural

For a great guitar sound, start with the right distortion.

Wondering about the differences between BOSS’ 8 OverDrive and Distortion pedals? The following chart will give you an idea as to each pedal’s sound.

MD-2

MT-2

DS-2 Turbo II

DS-2 Turbo I

OS-2 Dist

DS-1

OS-2 Mix

BD-2

OS-2 OD

OD-3

SD-1

Page 10

The OD-3 is the ultimate BOSS OverDrive unit, capable of producing the widest range of smooth overdrive tones with a dynamic response which surpasses any other overdrive pedal on the market. Based on a dual-stage overdrive circuit, the OD-3 sounds bigger and fuller than previous pedals. Sustain for days with a tone to die for... that’s the OD-3.

OD-3

OverDrive

This setting gives you those full, crunchy overdrive sounds that work so well with single-coil pickups. Tons of sustain, with that expressive soulful overdrive sound.

USING THE OD-3

With this setting, the OD-3 will push your amp a little harder, producing a great natural overdriven blues sound. It preser ves all of your guitar’s natural tone and dynamics while giving you some extra drive.

For a bluesy, wide-open sound

When you really want your solos to punch through, crank the OD-3’s Level and Drive controls to three o’clock. Then set the OD-3’s Tone control as desired to get a fat, round solo sound that’ll have ’em begging for more!

For big, fat solos

For fat, crunchy Strat rhythms

Page 11

Set the DRIVE control at a lower level and avoid excessive TONE levels. Good for a bluesy sound.

USING THE SD-1

The SD-1 produces the warm, smooth distortion of an overdriven tube amplifier while maintaining the subtle nuances of your picking technique. BOSS’s unique asymmetric overdrive circuitry delivers a genuine overdrive ef fect for a classic guitar sound. A tone control is also provided for precise tonal adjustment.

Turn DRIVE all the way up and boost the highs with the TONE control.

To produce a hard overdrive sound

Set DRIVE at a lower level and turn LEVEL all the way up. With this setting, the SD-1 functions as a gain booster, augmenting amp distortion and providing deeper, thicker sounds.

To use as a booster

SD-1

SUPER OverDrive

To produce a mild overdrive sound

Page 12

The BD-2 is like having a bluesy, vintage tube amp in a compact effects pedal. Whether it’s warm, natural overdrive or full-blown distortion, the BD-2 delivers all the expressiveness your guitar is capable of, complete with all the subtle nuances of your playing style. Sound control is as easy as using your favorite amp.

This setting brings out every nuance of your picking dynamics, and responds differently accor ding to your guitar’s control settings. Set the TONE any way you like.

Perfect for har d rock with a bluesy touch. Turn GAIN to just about max with TONE set slightly lower.

For hard overdrive

Set DRIVE to a lower setting and turn LEVEL up. TONE should be adjusted to match your amp’s characteristics.

For using the BD-2 as a booster

BD-2

Blues Driver

To produce a mild overdrive sound

USING THE BD-2

Page 13

Turn the COLOR control all the way to the OD side. With this setting, the OS-2 functions strictly as an overdrive effect. Turn DRIVE all the way up to MAX to get hard distortion. This is a perfect sound for Humbucking pickups.

USING THE OS-2

The OS-2 gives you a choice of overdrive or distortion or lets you combine both—all in a single compact pedal. This integration gives you more options than using serially connected units, and provides hard distortion that maintains the subtle nuances of single-coil guitar pickups.

Turn the COLOR control all the way to the DS side. With this setting, the OS-2 functions strictly as a distortion ef fect. Turn DRIVE all the way to MAX to obtain a distinctive distortion sound with a hard edge.

For nasty distortion

Set the COLOR control right in the middle to get a mixture of overdrive and distor tion sounds. Apply a strong dose of DRIVE for a thick, versatile sound.

For a mixed overdrive/distortion sound

OS-2

OverDrive/Distortion

For natural overdrive

Page 14

The DS-1 provides a harder distortion effect for guitar and keyboard sounds. Instead of toneless, fuzzy distortion, the DS-1 faithfully reproduces all the subtle nuances of your playing dynamics, from whisper-quiet to screaming loud. The onboard TONE control allows you to tailor the overall sound to your liking.

DS-1

Distortion

This setting gives you mild, mellow distortion. For best results, use your pickup closest to the neck.

USING THE DS-1

For this setting you should use your bridge pickup. When the TONE level is raised, highs are strengthened and a powerful distor tion effect results. Adjust the amp and guitar volume carefully to avoid excessive effect depth.

For hard distortion

For mild distortion

Page 15

This setting gives you standard Turbo Mode I sounds. Even with DIST all the way up, you get a smooth, hard distortion without breakup. This is an effective setting for solos.

USING THE DS-2

The DS-2 features twin TURBO modes. TURBO Mode I produces warm and mellow distor tion with flat frequency response. TURBO Mode II provides biting distortion with a mid-range boost that’s great for leads. The built-in remote jack allows you to connect an external footswitch such as the FS-5L for instant, hands-free switching between modes.

Turbo Mode II gives you a full mid-range sound. Set DIST at a moderate level to obtain a rough, street-level sound. This setting is ideal for hard rock chord work.

For hard rock chord work

This is where Turbo Mode II really shines. Turn DIST and TONE all the way to right. The result is a savage distortion sound with distinctive filtering. Perfect for alternative and grunge music.

For a grunge fuzz sound

DS-2

TURBO Distortion

For standard distortion

Page 16

Boost the highs and lows with EQ. Great for metal solos and riffs.

USING THE MT-2

Equipped with a dual gain circuit, the MT-2 provides super-long sustain and heavy mids and lows like a stack of overdriven amps. With three-band EQ, a wide range of distortion textures is at your command.

To get the MT-2’s unique, extremely distorted sound, boost HIGH and LOW and cut MID. Set DIST fairly high. This is a no-holds-barred, aggressive sound ideal for thrash metal.

For aggressive thrash metal

This setting gives you a great '70s power rock sound with fat, power ful mids—great for arena-rock riffs. After boosting the mids, find the best sound by adjusting the FREQ control.

For '70s power rock

MT-2

Metal Zone

For a fat metal sound

Page 17

Watch out! The MD-2’s dual Distortion and Gain Boost circuits take thick, heavy sounds to a whole new level. Special Gain Boost and Bottom controls let you shape your tone for maximum volume and low–end punch—perfect for crushing “new school” metal sounds and beyond.

MD-2

Mega Distortion

This setting will give you a great sound for playing heavy rhythm par ts.

USING THE MD-2

Crank up the BOTTOM, DIST and GAIN BOOST knobs for some boosted, over-thetop sounds with massive low-end.

Powerful Low Boost

Use this setting to kick up your distortion levels without boosting the overall gain.

Solid Distortion

MD-2 Standard Sound

Page 18

For a crunch sound beyond what your stack-style guitar amp delivers, try the SD-1 coupled with a OS-2 for solos and melodic lines. For a bluesier type of overdrive sound, try the BD-2 into a medium-gain combo amp.

Combining boost effects with your guitar amp.

There are several ways to “boost” your overall signal level for guitar

solos and melodic lines. You can run an overdrive unit into a cranked amp, use two distortion pedals (or a distortion and overdrive pedal) simultaneously, or even use a compressor or equalizer pedal. Try one of the following pedal combinations and settings to really “cut through” at your next gig.

Page 19

For an extreme distortion sound with earth-shaking results, plug into the DS-2 for a nice pre-boost and then plug into the MT-2 to take it over the top. To get a milder sound suitable for blues and rock solos, use the BD-2 or OD-3.

CHECK

LEVEL

EQUALIZER

MIN

MAX

-15

+15

2005k5k

DIST

MIN

LOW

MIDDLE

MID FREQ

CHECK

TURBO

MIN

MAXLOLOHIHI

MIN

MAX

REMOTE

( )

An equalizer and compressor can also be great boosters. Using the equalizer will raise gain as well as emphasize distortion over a specific frequency range. Using a compressor can also create a distinctive boost by varying tone and attack.

When using the SD-1 to boost gain, set the SD-1’s DRIVE control lower and LEVEL higher. Set the BD-2 for normal distor tion. For backing, only switch on the BD-2. For solos, stomp on the SD-1 for harder-edged distortion. Remember that noise or feedback can occur depending on the effect’s settings when using it as a booster.

Using two distortion units (MT-2+DS-2)

As the signal input to the amp increases, the distortion gets harder. Using an overdrive unit, raise the input signal gain. Here are two typical setups. Setting the amp for crunch gets the best results.

Using an overdrive unit

Using two distortion units (SD-1+BD-2)

Using an equalizer or compressor

CHECK

LEVEL

EQUALIZER

DIST

MIN

MAX

-15

+15

200

MIN

MAX

HIGH

MIDDLE

LOW

MID FREQ

OUTPUT INPUT

CHECK

LEVEL TONE DIST

MIN

MAX

OUTPUT INPUT

MIN

MAX

REMOTE

( ) REMOTE

TURBO

Page 20

Turn MASTER up and use the guitar’s VOLUME to get the level you want, always keeping it below overdrive thresholds.

For a clean sound

Amp setups are a key element of your guitar sound, especially amps with the popular three volume stages. Typically, you set the amount of overdrive/distortion using GAIN and VOLUME and adjust the overall volume with MASTER.

Turn MASTER up just a little, and gradually increase GAIN and VOLUME. When the distortion is at the level you want, adjust the overall sound level with MASTER.

For hard distortion

With GAIN set at center position, raise VOLUME for a mild, fat overdrive. When the level is where you want it, shape your tone as desired with BASS, MIDDLE and TREBLE TONE controls.

For mild distortion

Guitar Amp Settings

Page 21

There are two main types of guitar pickups, and they form the basis of an electric guitar’s sound.

Single coil pickups are famous for their clear, biting tone. Some single-coil pickups include a built-in battery for increased output.

Single-coil pickup Humbucking pickup

Humbucking pickups are consist of two single coils aligned with

opposing magnetic fields. This type of pickup provides higher output, more distortion, and a darker, fatter sound compared to single coils.

Distortion varies depending on the type of guitar pickup

Page 22

Reverb Time sets the length of reverberation or decay, while Reverb Level controls reverb intensity. For clean, light reverb, reduce the reverb level and set a longer reverb time. More level and a shorter time provide reverb that’s thicker sounding. The TONE control can be used to add brightness or depth to the sound. Key to making a great sound is to start with milder settings and then go for more radical sounds.

Reverb Unit

You can achieve a wide range of sounds using BOSS delay pedals. To double a sound for unison duets, use short delay times (50ms or less) without any feedback. A longer, reverb-like delay can be obtained with five delays at 100-200ms. Matching a 300ms delay to your song’s tempo emphasizes the beat, creating interesting sequence effects. Finally, using delay times 800ms or longer allows you to play harmony lines over the delayed sound. Remember, keeping the direct sound and delayed sound separate creates a full, stereo effect.

Delay Unit

Reverb Unit

Tips

Delay Unit

Tips

ADD ACOUSTIC

DIMENSIONS

ADD ACOUSTIC

DIMENSIONS

Delay & Reverb

■ Delay: Digitally records the input signal and delays it for the time specified, then plays it back for a natural “echo” effect.

■ Reverb: Combines multiple digital delays to simulate different sound decay characteristics from small rooms to large halls.

Page 23

The DD-6 is BOSS’ top of the line compact delay pedal, with delay/hold times up to 5.2 seconds, sound-on-sound recording, and built-in tap tempo. It also includes unique Reverse and Warp delay effects—taking your sound to a whole new dimension.

DD-6

Digital Delay

USING THE DD-6

Using this setting, you can achieve a unique panning effect in which delays seem to “bounce” from left to right.

* The CHECK indicator flashes red in time with

the tempo being played.

Stereo Panning

This setting generates an inspiring reverse delay which can be used to emulate violins or the classic “backwards guitar” sounds of the '60s and '70s.

Reverse Delay Sounds

The DD-6’s unique “Warp” delay mode creates radical, expansive delays on the fly. Just step on the pedal during the chords and riffs you want to repeat them endlessly.

Amazing “Warp” Delay

MODE : 2600ms ➝ q

Page 24

USING THE DD-3

This compact pedal provides a digital delay effect with outstanding quality equivalent to that of a dedicated rack-mount delay unit. In addition to three delay time modes, a DELAY TIME control is furnished, giving you speedy, precise adjustment of delay time continuously within a range of 12.5ms to 800ms. The HOLD function repeats the delay indefinitely.

Great for starting a song with a guitar rif f. Delay time ranges from 50 to 200ms.

For a reverb-type effect

Turn the F.BACK control to MAX, then connect an unconnected plug to the direct out.

For a sitar-like effect

DD-3

Digital Delay

To produce a twin guitar sound

Set the MODE knob to 200ms. Turn the F.BACK control to MIN to get a single delay.

Page 25

The RV-5 Digital Reverb gives you six of BOSS’ best reverbs in a single stereo pedal. New reverbs include a stunning spring reverb simulation, gate reverb, and an all-new “Modulate” mode for sounds with incredible depth.

RV-5

Digital Reverb

USING THE RV-5

The RV-5 ser ves up some of the most convincing spring reverb simulations around—per fect for soulful solos, ballads, surf music, big chor ds and more. All without the hassles and maintenance of an actual spring reverb tank.

Incredible Spring Reverb

This setting produces a bright, shimmering reverb sound to add depth and texture to arpeggios and solo work. It’s perfect for cutting through the mix live or in the studio.

Brilliant, Shimmering Reverb

To really add dimension to your reverb sound, add a hint of chorus/modulation. You won’t believe your ears.

Reverb with Modulation

Page 26

Chorus: Adds spaciousness and dimension for a thicker, rich sound.

Flanger: Adds a swirling effect to create a modulated sound. Use a distortion unit at the same time to obtain powerful jet-like effects.

Phaser: Provides a unique effect similar to a rotary speaker. Compared to a flanger, the phaser produces a softer, fuller sound.

Tremolo: Varies the volume of the original sound cyclically to create a pulsating effect.

. .

MODULATE AND

DOUBLE SOUNDS

MODULATE AND

DOUBLE SOUNDS

Chorus, Flanger, Phaser, and Tremolo effects create various sounds from brilliant, shimmering textures to swooshing jet-plane effects.

Page 27

The chorus effect varies depending on whether it is used in mono or stereo. When used in mono, chorus provides a denser sound. When used in stereo, a spacious sound with less detuning is obtained.

Using different types of chorus

The basics of a chorus and flanger are similar to a delay, and so is the circuitry. For example, turning flanger resonance down to 0 produces a chorus sound, while zeroing out all flanger controls results in a unique short delay.

Use a flanger unit to create a short delay

If you combine a flanger and delay, you can add a flanger-created short delay as well as a long delay to the sound. The short delay and long delay sounds contain distinctive reverb which offer spaciousness and richness.

Combine short and long delays

When a guitarist and a keyboard player are both playing with a chorus effect, the sound can become muddy. Sometimes it sounds better to use a clean, “un-effected” sound when playing with a chorused synth or electric piano.

Using chorus with other players

Tips

Page 28

Set both the high- and low-cut filters to flat for a contemporary chor us sound with a wide frequency response.

USING THE CE-5

The CE-5 chorus covers a wide frequency range and features high- and low-cut filters. This lets you create any kind of chorus effect from a mild, natural chorus to the clear and penetrating stereo chorus effect popular in contemporary music.

Use the two filters to cut both high and low bands.

For a warm, vintage chorus

Turn the RATE to max and adjust the high-cut filter to produce mild vibrato. For a really great effect, match the vibrato rate to the tempo of the song you’re playing.

For a vibrato effect

CE-5

Chorus Ensemble

For a contemporary chorus effect

Page 29

The CH-1 SUPER Chorus features sharp sounds with clear highs, and a stereo effect that varies depending on the spacing between the left and right speakers. The EQ function allows you to adjust the tonality from soft, mellow sounds to sharp, cutting sounds ideal for rhythm guitar.

CH-1

SUPER Chorus

This setting provides a beautiful and popular chorus ef fect. Turn EQ to the left to cut highs to create a milder chorus sound, which is unique to analog chorus.

USING THE CH-1

Turn DEPTH to the right to obtain an intense chorus ef fect. Boost the highs with EQ to get a brilliant effect.

When playing arpeggios

Turn RATE all the way up to obtain a light pulsating effect. Tr y matching the chorus rate to the song tempo.

For guitar solos with vibrato

To produce a popular chorus sound

Page 30

This sound, with maximum MANUAL and DEPTH settings and new ULTRA mode, will give you a deep flange unlike any other pedal.

USING THE BF-3

The new BF-3 gives guitarists and bassists an updated version of the classic BOSS flanger with the thickest stereo flanging sounds ever. Two new modes (Ultra and Gate/Pan) create stereo flanging with incredible depth—even Slicer-type effects and sounds that seem to “swirl” around the listener.

This setting approximates the sound of a rotating speaker by using the Gate/Pan mode and stereo outputs.

Rotary Flanger

By setting the BF-3 in Gate/Pan mode and only connecting one of the stereo outputs, you can get a killer gated flanging sound.

Gate Flanger

BF-3

Flanger

Ultra Flanger

Stereo Out

OUTPUT A (MONO)

Page 31

The PH-3 serves up vintage BOSS phasing effects including 4-, 8-, 10-, and 12-stage phasers, plus new “Rise” and “Fall” effects for unidirectional phasing. In Tap Tempo mode, you simply tap the pedal to sync the PH-3’s phasing effects to your music, or you can plug in an optional expression pedal.

PH-3

Phase Shifter

This setting emulates the sound of a vintage phaser pedal, complete with fourstage phasing and moderate DEPTH setting.

USING THE PH-3

By setting the STAGE control to 10-stage phasing, and bringing the resonance up to about 10 o’clock, you’ll get a very deep phasing sound.

Deep Phase Shift

New FALL and RISE modes give you unique phasing sounds never heard before, with DEPTH enough to cut through any mix.

Standard FALL/RISE Sound

Vintage Phase Shift 1

Page 32

This setting sounds like the built-in tremolo on vintage amps. Use a singlecoil pickup in the rear position and add reverb to get a classic surf-rock sound.

USING THE TR-2

The TR-2 gives you vintage tremolo sounds like the classic '60s amps with built-in tremolo. The secret is an LFO waveform with the duty ratio carefully set to an optimal value for guitar. The TR-2 also features a WAVE knob, which lets you alter the LFO waveform from triangle to square, allowing a wider range of tremolo variations.

To get the smooth tremolo sound used with electric pianos, set RATE low and WAVE to a triangular wave. The slow RATE is the key to getting a pronounced, hypnotic tremolo effect.

For an electric piano sound

Turn WAVE all the way to right for a stuttered, staccato tremolo sound.

For a “stuttered” sound

TR-2

Tremolo

For vintage tremolo

Page 33

When you use an equalizer before a distortion unit, connecting another equalizer after the distortion unit lets you add emphasis to cer tain frequencies to make solos “cut through.”

Equalization adds a new dimension to guitar solos

Use these effects to tonally shape your sound.

CHANGE TONALITY

OF SOUNDS

CHANGE TONALITY

OF SOUNDS

DD-3

GE-7GE-7 DS-2

Tips

■

Equalizer: Lets you boost or cut frequency bands. Two types of equalizers are available —a graphic equalizer that provides easy confirmation of set boost/cut points and a parametric equalizer with continuously variable boost/cut points.

■

Auto Wah: Automatically creates a foot wah effect depending on your picking dynamics.

■

Acoustic Simulator: Makes an electric guitar sound like an acoustic.

Equalizer, Wah & Acoustic Simulator

■

Auto Wah: Automatically creates a foot wah effect depending on your picking dynamics.

■

Acoustic Simulator: Makes an electric guitar sound like an acoustic.

When you use an equalizer before a distortion unit, connecting another equalizer after the distortion unit lets you add emphasis to cer tain frequencies to make solos “cut through.”

Equalization adds a new dimension to guitar solos

Page 34

Cut the middle frequency bands around 800Hz and boost at 1.6kHz.

USING THE GE-7

The GE-7 has seven bands ranging from 100Hz to 6.4kHz, ideal for guitar sounds, with boost/cut of +/- 15dB per band. This lets you completely control your sound and eliminate unwanted feedback, particularly when connected after a distor tion effect.

Boost the middle frequency bands slightly and connect the unit after distortion and overdrive. Set the LEVEL control a bit higher than normal.

For powerful guitar solos

Cut the middle band around 800Hz and boost the lower and higher frequency bands. Place the GE-7 after the distortion or overdrive unit.

For a metal sound

GE-7

Equalizer

For sharp rhythm sounds

Page 35

Adjust the SENS knob to match your picking strength, and the AW-3 will produce some very funky dynamic wah sounds.

USING THE AW-3

The AW-3 is the world’s first compact pedal to produce human-voice type wah sounds using a “Humanizer” effect. In addition to a wide range of killer auto wah sounds, there’s an EXP Pedal mode for easy foot control, plus a dedicated Bass input for use with a bass guitar.

To get more of a synth-type filter sound, adjust the SENS knob to suit your picking strength, and turn the MODE knob to SHARP.

Synth-like Picking Wah

The AW-3 can deliver some head-turning human voice-type wah sounds, with the VOWEL 1 and 2 knobs controlling the type of vowel sounds produced.

Human-like Voice

AW-3

Dynamic Wah

Standard Picking Wah

Page 36

The AC-2 is a revolutionary compact effects pedal that makes your electric guitar sound like an acoustic. You can get a variety of acoustic guitar sounds using the AC-2’s four modes: Standard, Jumbo, Enhance and Piezo. Two individual outputs allow switching between an acoustic sound and a direct electric sound with one stomp of the pedal.

AC-2

Acoustic Simulator

This gives you the unique resonance of an acoustic guitar along with wellbalanced dry sounds from the first and second strings. Try finger picking.

USING THE AC-2

Boost the BODY control to get more simulated body resonance. This setting lets you get bright sounds even when playing through an amp with limited highend response.

With a bridge-position single-coil pickup

Boost the highs with the TOP control, and cut the lows with BODY. Perfect for getting a sound with fat mids and lows.

With a bridge-position humbucking pickup

With a neck-position single-coil pickup

Page 37

While a limiter cuts only the peaks, a compressor acts on the entire signal for overall sound control and produces a sustain effect. Compressors are used to create different sounds—a mellow sound, sustained overdrive using an overdrive unit, or synth-like sounds by combining with a chorus effect. A limiter is mainly used for controlling an overall sound, such as balancing a rhythm sound, keeping an amp or VU meter from overloading, or blunting sharp edges of sounds.

A compressor vs. a limiter

.Compressor: Reduces hot signal levels and boosts low input levels

for a more consistent, balanced sustain with no distortion.

.Limiter: Works to cut only input peaks above a preset threshold,

leaving the original sound quality unchanged.

REGULATE

GAIN LEVEL

REGULATE

GAIN LEVEL

Tips

INPUT LEVEL

OUTPUT

LEVEL

TIME

Compressor & Limiter

LIMITER

COMPRESSOR

TIME

Page 38

The CS-3 compresses high-input signals while boosting low-input signals, giving you smooth sustain without degrading the quality of the original sound. A range of effects from gentle compression to squeezed sounds is at your command. Designed for outstanding low-noise performance, the CS-3 also provides EQ for precise sonic control.

CS-3

Compression Sustainer

This setting is ideal for solos in ballads or mellow songs. Add a chorus ef fect for even more depth.

USING THE CS-3

This setting balances the volume of each string for smooth chord accompaniment.

For chord work

Add Chorus and Delay after the Sustain effect. This setting is good when playing sustaining chords.

For thick, rich sounds

For a mellow sound

Page 39

An octave effect can be used to create a monster distortion sound when connected before a distor tion unit. To maintain accurate pitch, connect the Octave as close as possible to the guitar in the signal chain.

Using an octave effect before a distortion unit

Using an expression pedal, you can obtain convincing tremolo bar effects without a whammy bar. Just step on the pedal to bend notes up or down in real time. The PS-5’s Flutter effect can even simulate fast or slow up-and-down tremolo movement with adjustable timing and pitch.

Pitch shifting with attitude

■ Octave Unit: Produces sound that’s one and two octaves lower than the original signal. These are heard along with the dry sound for a much bigger sound.

■ Pitch Shifter: Lets you easily shift pitch at various intervals for different effects.

Tips

Octave & Pitch Shifter

These effects change the pitch of the original sound and can simultaneously output it with the dry signal to produce harmonies.

CHANGE

A SOUND’S PITCH

CHANGE

A SOUND’S PITCH

Page 40

Use a conventional pitch shifter for:

Use an intelligent pitch shifter for:

A conventional pitch shifter’s effect conforms to the direct sound, always maintaining the pitch interval you’ve set. But an intelligent pitch shifter automatically detects guitar signal pitch and adds correct harmony to the notes played by altering the pitch shift amount as required for more musical enhancement. You can make your choice depending on your specific application.

.rock riffs with pitch shifted up a fifth and down a four th

.a synth-like sound by going up a fifth and up one octave

.whammy bar effects in conjunction with an expression pedal

.incredibly beautiful twin-guitar harmonies

.quick single-note passages

.rich guitar orchestration

Conventional pitch shifter vs. intelligent pitch shifter

Page 41

PS-5

Super Shifter

The PS-5 is really two effects in one—an intelligent pitch shifter/harmonist which also gives you wild Tremolo Arm/Flutter effects. Key-specific pitch shifting is possible up to +/-2 octaves. The Tremolo Arm effect bends notes up or down to a pre-selected value, while the Flutter effect simulates a fast or slow slap of a tremolo bar.

For 12-String Guitar Sound1For Standard Harmony

This setting produces a 12-string guitar sound with a brilliant tone— perfect for ballads and clean, acoustic-style strumming.

Use this setting to produce a superaccurate key-specific harmony on your melodic leads and solos.

For Arm Down

For Simulated Cricket

This setting simulates the sound of a “dive bomb” on a tremolo bar, dropping your guitar’s tuning down to -2 octaves.

Use this setting to simulate a fast or slow slap or slam of the tremolo bar—without the tuning headaches afterwar ds!

For Hawaiian

For Detuned Sound

Produces a lap steel sound with heavy vibrato characteristic of Hawaiian music.

The direct signal is overlapped with a slightly pitch-shifted signal for a thick, rich guitar sound.

USING THE PS-5

Page 42

A triple threat—this setting allows unaffected guitar sounds on the first four strings, and unison guitar and bass on the others. You can blend guitar sounds from strings 1–4 and bass sounds from strings 5–6 by setting Range in Poly octave mode.

USING THE OC-3

Transform your tone with the OC-3—the world’s first compact pedal with true polyphonic octave functionality. The OC-3 features three expressive and power ful performance modes: Poly mode, Drive mode with distortion, and the original OC-2 mode, capable of producing 1- and 2-octave layers. Poly mode allows you to process chords, and designate a note range.

This applies thick distortion to the original sound, and adds a second tone one octave below. You can also pass the original sound through the Direct Out simultaneously.

Simulate a guitar synthesizer

Layer a second tone one octave below the original, and a third tone two octaves down. Dial in distortion for an aggressive edge. Bassists will enjoy the extra-heavy bottom this setting provides.

Heavy-bottom 3-octave unison

OC-3

SUPER Octave

Unison performance with guitar and bass

Page 43

BOSS bass pedals are specially designed for the wide frequency band of the bass guitar, including six-string basses. For example, on a regular graphic EQ, the frequency bands are equally divided. On a bass pedal such as the GEB-7 the frequency bands are divided into optimal ranges for

bass guitar. On the CEB-3, a special circuit applies chorus only to the highs of the bass sound. This provides a colorful chorus effect while preserving the powerful low end of the bass sound. All models of the series are exclusively dedicated to bass guitar players.

The diagram shows a standard connecting order of five different bass effect units. Connect the CEB-3 Chorus after the ODB-3 Overdrive. To color the overall sound, connect the GEB-7 after the ODB-3. To specifically change distortion characteristics, connect it before the ODB-3. This allows certain frequency ranges to be applied with heavier distortion to give you different types of

sounds. Use the SYB-3 in stereo to handle the effected signal and the direct sound separately.

AMP

MIXER

AMP

CEB-3 GEB-7 ODB-3 LMB-3 SYB-3

When multiple bass effect units are combined, the effect is multiplied as well.

Tips

Designed exclusively for bass frequencies

Page 44

One of the great features of the ODB-3 is an extremely wide GAIN range. For this particular setting, however, set the GAIN at a minimum level to create a natural overdrive. Cut the highs with HIGH EQ. Turn BALANCE to the OD side.

USING THE ODB-3

The ODB-3, a standard overdrive unit for bassists, works over the entire bass guitar frequency range including 5-string basses. By mixing the effected sound with the bass signal you always get great sounding distortion while maintaining all the power and presence of the regular expansive bass sound. The ODB-3 also makes a good gain booster.

Center BALANCE and increase GAIN to achieve harder distortion. This setting is ideal for riffing on a heavy beat.

For riffs

Raise LEVEL and set BALANCE slightly toward OD. Set GAIN to max.

For a more over-the-top sound

ODB-3

Bass OverDrive

For natural overdrive

Page 45

The CEB-3 features a low filter, so you can select the frequency band to which the chorus effect is applied. This lets you get all kinds of chorus effects, from a light chorus on harmonics only to a heavy chorus on all frequency bands. The space synthesis effect incorporated on the CEB-3 guarantees a natural and spacious chorus effect.

CEB-3

Bass Chorus

Setting LOW FILTER to FLAT adds full chorus to even the lowest notes. The way you use the low filter is the key to obtaining the chorus effect you want.

USING THE CEB-3

With LOW FILTER set to center, increase DEPTH just a bit and set RATE for a slower chorus speed.

For a light chorus sound

Turn up RATE slightly, and set DEPTH and E. LEVEL to max. Then cut the effected sound’s lows with LOW FILTER.

For a deeper chorus

For a modern chorus sound

Page 46

This setting gives you a nice, full sound, with a boost at 500Hz and moderate boosts at 400Hz and 800Hz. Cutting 50Hz and 4.5Hz eliminates muddiness and rounds out the tone.

USING THE GEB-7

The GEB-7’s usable frequency range extends all the way from 50Hz to 10kHz, allowing it to accommodate just about any type of bass guitar, even 5-string basses. Precise tonal adjustment is available through seven frequency bands, providing more control over the

all-important midrange which is crucial for achieving a great bass sound. Each band can be boosted or cut over a +/-15dB range for the exact tonal shaping you want.

This setting cuts midrange at 400Hz, while boosting the lows a bit at 50Hz for a bottom-heavy slap. Boosting the highs at 4.5kHz and 10kHz gives you a razorsharp pop.

For slap bass

Cutting the high frequency bands gives you a round sound that effectively simulates the sound of a bass amp.

To simulate a bass amp

GEB-7

Bass Equalizer

For standard rock

Page 47

The LMB-3 eliminates harsh volume peaks and keeps your sound smooth and controlled, even when using dynamic pop and slap techniques. RATIO and THRESHOLD controls give you precise control over limiting parameters.

LMB-3

Bass Limiter Enhancer

USING THE LMB-3

Raise RATIO to change the original bass sound’s envelope for natural compression.

For finger picking

Add more ENHANCE for greater clarity and presence to make a much more powerful slap sound.

For slap bass

For use as a limiter

Set ENHANCE to MIN and turn RATIO fully to : 1 to get a consistent, stable bass sound across its wide dynamic range.

Page 48

USING THE SYB-3

The world’s first bass synthesizer in a standard-sized stomp box, the SYB-3 turns your bass guitar into a synth bass for hip-hop, dance, or urban funk styles. Two separate outputs let you mix a straight bass sound with synth bass, and 11 different modes give you a variety of synth-bass effects. A HOLD function sustains a synth note while you play over the top of it, and a T-Wah effect provides a classic synth-wah tone.

SYB-3

Bass Synthesizer

SYB-3 MODES

A sharp-edged sound.

(

SAW):

A softer sound than Mode 1.

(

SQR):

The square wave of Mode 2 is modulated to make a thicker sound.

(

PWM):

A sawtooth wave one octave below the Mode 1 sound.

(

-1oct):

The Mode 1 sound added with noise.

+Noise:

The Mode 3 sound added with noise.

+Noise:

The Mode 4 sound added with noise.

+Noise (-oct):

The cutoff frequency of the filter shifts higher based on the level of the input sound.

Up:

The cutoff frequency of the filter shifts lower based on the level of the input sound.

Down:

The cutoff frequency of the filter shifts higher based on the level of the input sound.

Up:

The cutoff frequency of the filter shifts lower based on the level of the input sound.

Down:

1 2 3 4 5 6 7 8

9 10 11

INTERNAL SOUND Pitch and attack data is detected from the input sound to trigger the internal DSP sound source.

WAVE SHAPE The input sound is directly processed to create the synthesizer sound.

T WAH An auto-wah effect is added to the bass sound.

On the SYB-3, first select the sound character using the mode switch. Then, use SENS/DECAY and FREQ/RES to tailor the sound to your taste. For Modes 1 through 7, SENS/DECAY controls the decay of the filter. For Modes 8 through 11, SENS/DECAY controls how much the input sound is effected. FREQ contr ols the cutoff frequency of the filter while RES controls the feedback amount of the filter.

Page 49

The NS-2 effectively eliminates noise and hum of the input signal while preserving the original sound’s tonality. The natural attack and envelope are unaffected thanks to BOSS’s unique noise detection circuit that precisely separates the guitar sound and the noise components.

NS-2

Noise Suppressor

An effect unit which is a potential sour ce of noise is connected to the Send/Return jack. Connect a delay after the NS-2, not to the effects loop, in order to pr eserve its natural quality. When connected to an AC adaptor, the NS-2 supplies power to other effect units.

USING THE NS-2

*Use a Roland PCA-20A (8-PIN parallel) power connection cable.

Page 50

LS-2

Line Selector

The LS-2 makes it easy to switch settings among several effects and to route input and output signals. Two line loops and six looping modes provide a wide variety of applications. Used with an AC adaptor, the LS-2 can also supply 9V DC power to several BOSS compact pedals. This makes it an ideal power supply and master switching unit for multiple effects setups.

Effects you use for your backing sound are connected to Loop B, while Loop A is used for solos and riffs.

A <

–––

> B mode

USING THE LS-2

* Use a Roland PCA-20A (8-PIN parallel) power connection cable.

A + B MIX/ BYPASS mode

This setting lets you mix a solo sound on Loop A and a backing sound on Loop B.

Page 51

The AB-2 2-Way Selector can be configured as a two-1/4" inputs/one 1/4" output selector or a two-1/4" outputs/one 1/4" input selector—letting you freely switch between two instruments or two amplifiers, for example.

This setup is for switching between an effects loop and tuner. Switch to mode B during live performance for silent tuning.

A <

–––

> B mode

This setup lets you choose between two or three outputs such as switching from a tube amp to a transistor amp to a monster stack, etc.

OUTPUT SELECT mode

This setup lets you switch between Strat and Les Paul-type guitars or between a guitar and synthesizer.

–––

> B / BYPASS mode

Page 52

USING THE TU-2

The TU-2 Chromatic Tuner features world-renowned BOSS TU-Series tuning technology in a convenient, easy-to-use pedal. As with all BOSS compact pedals, the TU-2 is both sturdy and reliable, and its bright 7-segment LED ensures that you can read note/string information quickly and easily on the darkest of stages.

TU-2

Chromatic Tuner

Tuning with the “Stream” meter

Connect your amplifier and effects to the TU-2’s Output jack. When the tuner is activated (by stomping), its output will be muted, so you can tune the guitar without sending any signal to your amp. If you connect to your amp and effects using the Bypass jack, your guitar signals will be transmitted continuously regardless of the on/of f status of the tuner.

Use the TU-2 with a PSA-series adaptor and a PCS-20A parallel DC cord to supply power for a maximum of seven* compact pedals.

*The total current draw of the effects connected should be under 200 mA.

Supplying power to the other effects

Silent tuning

The TU-2’s bright 11-point LEDs and a convenient Stream Meter help you stay in tune even in low-light settings or under bright stage lights.

●

When the LED movement is fast and toward the right, the note is sharp.

●

LED movement gets slower as pitch becomes more accurate.

●

When the note’s pitch is perfect, the LED movement will stop and the two yellow arrows will flash simultaneously.

Page 53

NEXT-GENERATION

PEDALS

Power and precision unite in the Next-Generation pedal series. More feature-packed than your standard compact pedal, each Next-Generation-series pedal is built to excel at a specific task, as opposed to handling multi-effect duties. Currently in the lineup:

■

Twin Pedal Series: Double your foot power with these unique 2-pedal effects: the RC-20, EQ-20, CE-20, OD-20, and DD-20.

■

V-Wah®: The ultimate funk machine! If you’re looking for the new King of Wah, this is your box.

■

Twin Pedal Series: Double your foot power with these unique 2-pedal effects: the RC-20, EQ-20, CE-20, OD-20, and DD-20.

■

V-Wah®: The ultimate funk machine! If you’re looking for the new King of Wah, this is your box.

Page 54

The OD-20 Drive Zone uses advanced COSM®technology to model the sound of classic overdrive/distortion pedals, as well as creating new sound of its own. There are 22 models to choose from, plus new “Attack Shape” and “Heavy Octave” parameters for dialing in subtle nuances or extreme tones. You can even switch amp channels remotely using the OD-20’s Amp Control jack.

This original overdrive setting is per fect for a slightlyedgy rock sound with an octave being produced on the low notes.

LOUD

Not lit

USING THE OD-20

Page 55

This is a smooth lead sound with just enough drive and sustain to have you ripping into a tasty solo.

LEAD

This setting produces the classic sound of the BOSS OD-1 OverDrive pedal, world renowned for its smooth tone and sustain.

OD-1 modeling sound

Not lit

This setting gives you the sound of a stack of tube amps, perfect for all styles of har d rock with just enough gain and dynamics.

STACK

Not lit

This custom sound has lots of bottom and enough topend and gain to shred through ever ything from newschool metal to punk.

Fairly bright metal sound

Lit

Not lit

Page 56

From vintage chorus effects to totally modern sounds, the CE-20 is the ultimate programmable stereo chorus pedal. Start with six distinct chorus modes—from acoustic guitar and bass—optimized sounds to classic “Dimensional D” and “CE-1” effects—then tweak your sounds and save them into memory for instant recall.

This full, rich chorus sound is about as lush as it gets, yet remains musical enough for a variety of playing.

SUPER RICH

USING THE CE-20

Page 57

This chorus sound is per fect for heavy riffing, complete with boosted LOW and a slower RATE.

CHORUS FOR HEAVY RIFFS

This setting produces maximum chorus depth and a hint of AMBIENCE for rounding out the overall sound.

DEEP CHORUS

In DIMENSIONAL D mode, the CE-20 yields the classic sound of the Roland SDD-320, with the RATE knob selecting between the various settings.

DIMENSIONAL D modeling sound

When “DIMENSIONAL D” is selected as the MODE, the RATE knob provides for selection among the SDD-320’s 1, 2, 3, 4, 1+4, 2+4, and 3+4 settings.

123+4

2+4

3 1+4

This mode produces the vintage CE-1 chorus sound, complete with INTENSITY control.

CE-1 modeling sound

(CE-20 ←Overdrive ←Electric Guitar)

Page 58

Strap on a seatbelt for BOSS’ most powerful delay pedal. The DD-20 offers up to 23 (!) seconds of true stereo delay, 11 delay modes (including modeled analog and tape delay, and sound-on-sound recording), Smooth and Twist modes for subtleto-radical delay effects, a memory function for changing delay modes seamlessly, and a new push-button knob for setting delay time in fine or coarse increments.

A beloved blast from the past—this patch emulates Roland’s renowned Space Echo RE-201. It’s a classic dual tape-head effect.

Tape echo sound

USING THE DD-20

Page 59

Using the Twist mode, you can modulate the delayed sound in wildly expressive ways. Here’s a color ful cyclic effect that accelerates steadily as you stomp the pedal.

Amazing twist sound

In this mode, you can record up to 23 seconds of performance material and overdub as many new layers as you like!

Sound-on-sound recording

The DD-20 offers stereo input and output paths. By combining stereo chorus ef fects from pedals such as the CE-20, you can create incredibly rich, immersive textures and ambiences.

Stereo setup

DD-20Guitar Amp CE-20 OD-3 Guitar

The DD-20’s input and output levels can be switched from –20 or +4dB, making it compatible with virtually any guitar or bass amp’s Send/Return path.

Loop setup

DD-20 GuitarGuitar Amp

Sounds are overdubbed during loop playback only while the pedal is held down. Continue to hold the pedal down as you play the phrase you want to record.

Page 60

• Guitar Clean Cutting • Mid Boost for the Lead

• Thrash/Metal • Acoustic • Jazz Guitar

This innovative pedal gives guitarists, bassists and other live performers 10 bands of programmable EQ with stellar sound quality. Physical sliders make instant EQ tweaks easy, and a straightforward Write function permits instant storage of EQ settings into the nine memory locations.

USING THE EQ-20

CLEAN

EQ-20

Electric Guitar

OverDrive/

Distortion

Electric Guitar

OverDrive/

Guitar Amplifier Electric Guitar

Distortion

Guitar Amp

Guitar Amplifier

EQ-20

Page 61

Riff (4 measures) Riff (4 measures) Riff (4 measures) Riff (4 measures)Riff (4 measures)

Auto loopRecording

Overdub a gliss Gliss Gliss Gliss

Overdub a high note riff

High note riff High note riff

Overdub an arpeggio

Arpeggio

Overdub a solo

Finally, a phrase recording and sampling pedal that’s easy to use! A long sampling time of up to 5 min. 30 seconds, helpful Guide Click and Loop Quantize functions, Realtime Tempo Change and hands-free control make the RC-20 Loop Station an essential tool for creating and playing back sampled loops on the fly.

™

USING THE RC-20 “Sound on Sound”

Page 62

The PW-10 V-Wah is the world’s first programmable modeling wah pedal, giving you instant access to six classic and modern wah pedal sounds, as well as all-new “Double Resonance,” “Uni-V” and “Voice” modes! It also features overdrive/booster effects, three digital memories for storing sounds, noise-free infrared operation and more.

Combining the VO-WAH mode with a moderate DRIVE setting can give you some classic wah sounds from the '60s.

USING THE PW-10

The UNI-V mode is great for achieving that classic swirling effect, complete with a moderate WAH RANGE and a touch of DRIVE.

Combination of UNI-V and distortion

Combination of wah and distortion

Page 63

To get a cool analog synth-type sound, set the TYPE to CUSTOM, give it a medium WAH RANGE, and add a ton of DRIVE.

To make your wah pedal talk, set it to VOICE mode with a low WAH RANGE and a healthy dose of DRIVE.

“Talking” modulation sound

In VOICE mode, you can up the WAH RANGE and DRIVE controls to go from a “talking” wah to all-out “yelling!”

Oh Yeah!

Analog synth-like sound

Page 64

AD-8

Acoustic Guitar Processor

A dream machine for acoustic guitarists who want to improve their sound, the AD-8 can enhance any piezo-equipped steel-string with the warmth and tonality of the world’s finest acoustic guitars via COSM modeling. Six guitar models are provided. The AD-8 also lets you control body resonance and overtone with the Body and String Enhance knobs, and offers automatic feedback elimination, high-quality reverb, 4-band active EQ, an onboard chromatic tuner with Mute, four preset memory locations for switching sounds instantly, and balanced XLR outputs.

ACOUSTIC

PROCESSORS

Enhance the clarity, warmth, and richness of your acoustic instruments with these powerful processors.

This setup employs Body Type 2, and provides solid lows and a clear, distinct overall sound with reverb. The String Enhance function can be used to sculpt the tonal characteristics.

Using Body Type 3, this responsive patch impar ts a unique seasoned tone, with rich lows and bright, clear highs.

Strum-picking styleFinger-picking style

USING THE AD-8

Page 65

AD-5

Acoustic Instrument Processor

The legendary AD-5 is your ticket to lush, rich acoustic sounds. It offers a specially voiced preamp, 4-band EQ, reverb, multi-band chorus, anti-feedback, and the innovative Acoustic effect, which can turn the sterile sound of a piezo pickup into the rich, “airy” sound of a mic’d acoustic. Also included: separate piezo and magnetic pickup inputs, 1/4" effects inser t jack, and stereo 1/4" unbalanced and balanced XLR outs.

AD-3

Acoustic Instrument Processor

The BOSS AD-5 raised the bar in studio-quality acoustic instrument processing. Now, with the AD-3, you get a floor-mount, performance-friendly version of the AD-5. Quite simply, this floor-based unit is the gigging guitarist’s best friend. The footswitchable bi-stereo chorus offers split-frequency processing (Low and High), the studio-quality reverb provides clear, deep reverberation, and the dual Anti Feedback function ensures a squeal-free performance. Connect directly to a guitar amp, as well as to a PA via stereo out.

Page 66

Some basics for making the most of effect units

Use these guidelines when connecting effects pedals.

AMP

Modulation

Equalizer

Distortion

Compressor /Limiter

Reverb Chorus Delay

Volume Pedal

Guitar

Octave

Noise Suppressor

Wah Pedal

Auto Wah

Some basics for making the most of effect units

Use these guidelines when connecting effects pedals.

CREATING NEW SOUNDSCREATING NEW SOUNDS

There’

There’s nothing more satisfying for a guitarist

than creating your own original sounds using a

combination of effect units. Here are some

samples of different effects settings, from

creating your own cool sounds.

classic rock sounds to special effects. Use

these as a reference and a motivation for

creating your own cool sounds.

•

Effect units that detect an envelope, such as auto wah and octave, should be connected close to the guitar. The wah pedal is generally connected before the distortion pedal so it can regulate the distortion, though hooking it up after the distortion still sounds good. The wah effect varies depending on whether it’s before or after the distortion in the signal chain. Tr y it both ways to see the difference.

•

Connect EQ after your distortion so you can totally shape your sound.

•

Connect reverb units toward the end of the chain for maximum effect.

•

Decide where to connect chorus/delay/reverb by careful monitoring of the resulting sound.

•

Connect a volume pedal before delay effects so that the volume can be lowered without cutting off thereverberation. If connected before the distortion pedal, the volume pedal controls the distortion intensity.

•

Connect a noise suppressor to remove distor tion and modulation noise.

•

Connect EQ after your distortion so you can totally shape your sound.

•

Connect reverb units toward the end of the chain for maximum effect.

•

Decide where to connect chorus/delay/reverb by careful monitoring of the resulting sound.

•

Connect a noise suppressor to remove distor tion and modulation noise.

Page 67

This setup is as basic as it gets, providing just the right amount of crunch and depth (courtesy of the R V-5) for serious riffing and power chords.

Straight-Up Distortion

This setup gives you just enough bite to make your chords and riffs cut through, live or in studio. Add in just a touch of color with the CH-1 Super Chorus and some depth with the DD-6 Digital Delay, and you’re all set to rock.

Classic Overdrive Sound

This setup provides a very versatile guitar sound. The OD-3 is used when you need a natural overdrive tone. The MT-2 is used when you need full-out thrash metal. Use the DD-3 as a doubler set at about 20ms. For chorusing add the versatile CE-5. Its filtering gives you a classic CE-2 warm chorus or a more contemporar y sound depending on the settings.

Versatile Setup

Page 68

By combining the OD-20 Drive Zone in classic “OD-1” modeling mode, then connecting a CE-20 Chorus Ensemble, you’ve got that classic overdriven-chorus sound that launched a thousand ballads.

Big Ballad Tone

To r eally ride the wild surf, there’s no easier way than this tight setup. The BD-2 produces the tube-driven tone, while the RV-5’s Spring mode makes things shimmer.

Classic Surf Sound

When nothing but the fattest, meanest distortion tones will do, this setup is what you want. Start with the insanely huge MD-2 Mega Distorion, throw in a NS-2 Noise Suppressor to clean things up, then add a “doubling” effect with the DD-6.

As Fat as It Gets

Page 69

This combo will give you some very skankin’ tones for reggae and ska. Plug into the CS-3 Compression Sustainer first, then patch into the AW-3 Auto Wah. Set the DD-3 Digital Delay with a very short delay time, and add the CH-1 Stereo Super Chorus for some sparkle.

Rippin’ Reggae Tones

This tight little setup will have your crowd movin’ and groovin’. It starts with the popular PW-10 V-Wah™and then adds a touch of rhythmic delay cour tesy of the DD-6.

Funk Time

This unusual pedal setup simulates a keyboard’s signal path, with the sound being generated by the PS-5 Super Shifter and going through the PH-3 Phase Shifter and DS-2 Turbo Distortion for a ver y futuristic and aggressive synth-type sound. Welcome to the future.

Techno Synth Sounds for Guitar

INPUT

OUTPUT

MONO

( )

OUTPUT

( ) MONO

OUTPUT

EXP

Page 70

With this setup, you can get your standard electric guitar to sound like a lush acoustic-electric. Just plug into the AC-2 Acoustic Simulator and then add a hint of chorus with the flagship CE-20 Chorus Ensemble. You won’t believe your ears!

Big, Rich Acoustic Tone

Connect a DS-2 to the input of an LS-2. Set the LS-2 to A + B Mix mode and connect a TR-2 using a short wave to Loop A. Then connect a PH-3 to Loop B for leads. You can now blend your tremolo sound with your lead sound as desired.

Tremolo Sound

To get a monstrous seven-string metal sound, start with the MT-2 Metal Zone

and add the EQ-20 Programmable EQ on preset four to tighten up the low end. Use the NS-2 Noise Suppressor to wipe out any excess noise, and finish off with the BF-3 Flanger for some metallic icing on top.

Seven-String Metallicious

Page 71

This setting employs an OC-3 Octave pedal with a CS-3 Compression Sustainer. The result is a deep, rich bass sound in the vein of the classic analog synths of the '70s. Perfect for deep, funky, nasty grooves.

A Deep, Groovin’ Bass Tone

This setting starts with a healthy amount of DS-1-type distortion and adds an octave above the original sound courtesy of the PS-5, making it great for in-yourface bass solos. Toward the end of the music example, the BF-3 Flanger is added (in “Ultra” mode) for an effect that will cut through any mix.

An In-Your-Face Bass Solo Sound

INPUT

OUTPUT

MONO

( )

By combining the popular “Heavy Octave” sound from the OD-20 and some rich, sweeping phaser tones from the PH-3, this pedal combination serves up some killer jet phasing sounds. It’s perfect for everything from retro rock to techno.

Killer Jet Phasing Sounds

OUTPUT

( ) MONO

OUTPUT

EXP

Line Out

Page 72

The striking GT-6 Guitar Effects Processor star ts with BOSS’s most advanced COSM modeling engine ever—complete with 30 amp models, plus world-famous COSM OverDrive/Distortion Pedal Modeling and Wah Modeling. Add to this effects such as “Un-V” and “De-Fretter,” plus superb 24-bit sound quality, and you’ve got the best-sounding, most powerful floor multi-effects processor in history.

The GT-6B is BOSS’s newest bass multi-effects processor. This professional floor-based unit offers COSM Bass Amp Modeling with modeled compression, plus other “must have” effects, such as COSM overdrive/distortion, COSM wah, and reverb/delay. There’s also a true analog bypass, plus XLR and digital outputs for recording applications—making the GT-6B the leader in high-quality multi-effects for bass.

Guitar Effects Processor

Bass Effects Processor

Page 73

What you see is what you get on the ME-50. This superfriendly multi-effects processor for guitar is built tank tough, and packed with features. In addition to real-time programmability, dozens of pro-quality presets are built in, including delay, reverb, compressor, COSM overdrive/distortion, modulation, and more. Dedicated knobs are provided for each effect section. There’s also a builtin expression pedal, and inputs for two footswitches. If you want great-sounding effects without programming hassles, the ME-50 can’t be beat.

Bass players, this one’s for you. The ME-50B takes the best of the ME-50 and caters it for the bottom end. In addition to COSM compressor/limiter and drive effects, the ME-50B offers T-Wah, Slow Gear, Defretter effects, and more. The innovative Sound Hold function sustains a low note while you jam over it, and the sound-on-sound recording feature, complete with Kick Drum ef fect, makes keeping time a breeze.

Guitar Multiple Effects

Bass Multiple Effects

Page 74

ACCESSORIES

PEDAL BOARD

BCB-60

Pedal Board

The BOSS BCB-60 Pedal Board is a convenient way to set up and transport all your compact pedals. The unique padded interior can be customized to fit a wide range of gear—from BOSS compact and Twin Pedals to effects from other manufacturers. A convenient AC adaptor supplies power for up to seven devices.

Page 75

ACCESSORIES

FOOT CONTROLLERS

FV-300L

Foot Volume/Expression

The FV-300L is a sturdy, stage-ready volume pedal with a low-impedance design that’s perfect for connecting after effects pedals and for use with keyboards.

FS-5L

Foot Switch

FS-5U

Foot Switch

There are two types of BOSS Foot Switches to choose from depending on the application. The FS-5U (momentary type) engages a function while you hold down the switch. The FS-5L (latch type) changes the on/off status each time you press the switch.

FV-50L

Volume Pedal

FV-50H

Volume Pedal

Control anything from effects units to violin volume. The high-impedance FV-50H is designed for connection before guitar effects units, while the low-impedance FV-50L is designed for connection after effects units for use with keyboards.

Page 76

TUNERS

TU-12/12H

Chromatic Tuners

The worldwide standard used by top musicians everywhere, thanks to their extremely accurate, easy-to-use tuning. The TU-12 offers a tuning range from C1 to B5, while the TU-12H’s extended range of C1 to B6 is perfect for the high-range instruments such as flutes.

TU-15

Chromatic Tuner

The TU-15 is BOSS’ ultimate tuner, offering renowned needle-point accuracy, a backlit display, flat tuning, and a host of “world’s first” features not found in any other tuner. Especially noteworthy is the new “Accu-Pitch” function, which sounds a note when the correct tuning is reached.

TU-12H TU-12

ACCESSORIES

Page 77

ACCESSORIES

TUNERS

TU-6

Guitar Tuner

TU-2

Chromatic Tuner

A compact, affordably-priced tuner with Mode selector for tuning guitar or bass, plus a high-sensitivity mic for tuning acoustic instruments.

TU-8

Guitar & Bass Auto Tuner

Accommodates the widest range of instrument tunings— from guitar to six-string bass—plus flat, double-flat, and open D, E, G and A tunings.

TU-80

Tuner & Metronome

Lock your tuning and timing down tight with the ultra affordable, portable, and reliable TU-80 LCD tuner/metronome. The TU-80 tunes across an 8-octave range, and can even support 7-string guitars and 6-string basses.

The TU-2 Chromatic Tuner features world-renowned BOSS TU-Series tuner technology in a convenient, easy-to-use compact pedal design. As with all BOSS compact pedals, the TU-2 is both sturdy and reliable, and its bright 7-segment LED ensures that you can read note/string information quickly and easily on the darkest of stages.

Page 78

ACCESSORIES

METRONOMES

DB-66

Dr.Beat

DB-88

Dr.Beat

DB-12

Dr.Beat

The DB-12 is one of the easiest, most compact and affordable metronomes on the market today. For those who need basic timekeeping and helpful practice features, the DB-12 is the ticket.

The DB-66 sets the standard for professional digital metronomes and is used worldwide in schools, studios and in the hands of thousands of serious musicians. Independent slider-based control of note volume and precise tempo-keeping features make the DB-66 a powerful tool for rhythm training.

The DB-88 is the flagship metronome of the Dr. Beat Series. Packed with professional features like programmable beat and tuning memories, a loop function, a rotary dial, two headphone jacks and a human voice count, the DB-88 is the ultimate digital metronome.

Page 79

ACCESSORIES

Use the LS-2, NS-2 or TU-2 with PSA-Series adaptor and a parallel DC cord (Roland PCS-20A) to supply power for a maximum of seven compact pedals.

PCS-20A

Solution for compact pedal power supply problems.

Use BOSS accessories to obtain optimal performance from multiple compact pedals

To power two or more compact pedals

Tips

AC ADAPTORS

ACA

Series

PSA

Series

All of BOSS’ new compact pedals are compatible with the PSA-Series adaptors, but there is a possibility that the following products might require an ACA-Series adaptor: SD-1, BF-2, GE-7, OC-2, DS-1, PH-2, CS-3. This compatibility depends on the production period; pedals manufactured after August 1997 are compatible with the PSA-Series. You can tell the difference from the sticker attached to the pedal and car ton box.

Composite Object Sound Modeling

Once a musical instrument generates sound vibrations, it reaches the human ear through various mediating, objects, each of which significantly affects the sound. The material and configuration of the instrument, the electric/magnetic amplifying system, the air and the reverberation of the room all affect the final sound. Sound modeling, the latest DSP technology, “virtually” reconstructs these objects. Roland’s breakthrough Composite Object Sound Modeling (COSM

) uses the advantages of multiple modeling methods and succeeds in accu-

rately emulating existing sounds, as well as producing sounds that have never before been created.

Page 80

All specifications and appearances are subject to change without notice. All trademarks are property of their respective companies. Printed in Japan May. 2004 RAM-3791 ERK-NK C-4

www.bosscorp.co.jp