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

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Vol.18

Guitar & Bass Effects / Tuners / Metronomes

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

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

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

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.

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.

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.

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.

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

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

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

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

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

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

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

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

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

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.

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

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

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

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.

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

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.

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