BOSS Guitar Effects GuideBook Vol17

BOSS EFFECTS GUIDE BOOK Vol.17 with CD-Performed by-

Yutaka Nakano: Tracks 2-24, 43-44, 46-60, Opening tune (Guitar)Hiroshi Kondo: Tracks 25-29, Opening tune (Bass, Prog.)

Rei Shimizu: Tracks 30-42, 61-63Hideyuki Yonekawa: Track 45

Gundy Keller: Ending tune "Surprise Surprise"

Unauthorized duplication is a violation of applicable laws.FOR PROMOTIONAL USE ONLY

www.BossUS.com

All specifications and appearances are subject to change without notice.All trademarks are property of their respective companies.Printed in Japan Nov. 2002 RAM-3624 ERK-NK D-4

All specifications and appearances are subject to change without notice.All trademarks are property of their respective companies.Printed in Japan Nov. 2002 RAM-3624 ERK-NK D-4

Roland Corporation U.S.5100 S. Eastern Avenue, P.O.BOX 910921, Los Angels, CA 90091-0921Phone: (323) 890-3700 Fax: (323) 890-3701

Roland Corporation U.S.5100 S. Eastern Avenue, P.O.BOX 910921, Los Angels, CA 90091-0921Phone: (323) 890-3700 Fax: (323) 890-3701

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At BOSS, we have been making the world's first and foremost

line of compact guitar/bass effects and accessories

for over 25 years.

From classic effects like our

legendary chorus and delay sounds,

to the lastest cutting-edge tools for

modern music making...

When you're serious about your

sound, plug into a BOSS.

The Many Roles of Guitar Effects 4History of BOSS 6Add Distortion 8Boost Tips 18Guitar Amp Settings 20Add Acoustic Dimensions 22Modulate and Double Sounds 26Change Tonality of Sounds 33Regulate Gain Level 39Change a Sound's Pitch 41

Bass Effect Units 45Effects for Bassists 51Reduce Noise 53Change Connections 54Twin Pedal Series 57Challenge Yourself 66Multiple Effects 72Accessories 75Solution for Power Supply Problems 78CD Index 79

AB-2 2-Way Selector 55AC-2 Acoustic Simulator 38ACA-Series AC Adaptors 78AD-3 Acoustic Instrument Processor 73AD-5 Acoustic Instrument Processor 73AW-3 Dynamic Wah 35,51BD-2 Blues Driver® 12BF-3 Flanger 30,52CE-5 Chorus Ensemble 28CE-20 Chorus Ensemble 60CEB-3 Bass Chorus 47CH-1 Super Chorus 29CS-3 Compression Sustainer 40,52DB-12 Dr.Beat 74DB-66 Dr.Beat 74DB-88 Dr.Beat 74DS-1 Distortion 14DS-2 Turbo Distortion 15DD-3 Digital Delay 24DD-6 Digital Delay 23,52EQ-20 Advanced EQ 52,62FS-5L Foot Switch 75FS-5U Foot Switch 75FV-50H Volume Pedals 75FV-50L Volume Pedals 75FV-300L Foot Volume/Expression 75GE-7 Equalizer 34GEB-7 Bass Equalizer 48GK-2A Divided Pickup 64GKC-3/5/10 GK Cables 64GT-6 Guitar Effects Processor 72

GT-6B Bass Effects Processor 72LMB-3 Bass Limiter Enhancer 49LS-2 Line Selector 54MD-2 Mega Distortion 17,51ME-33 Guitar Multiple Effects 73MT-2 Metal Zone® 16NS-2 Noise Suppressor 53OC-2 Octave 44,51OC-20G Poly Octave 65OD-3 OverDrive 10OD-20 Drive Zone 52,58ODB-3 Bass OverDrive 46OS-2 OverDrive/Distortion 13PH-3 Phase Shifter 31,51PS-5 Super Shifter 43PSA-Series AC Adaptors 78PW-10 V-Wah™ 36,52RC-20 Loop Station™ 52,63RV-5 Digital Reverb 25,51SD-1 Super OverDrive 11SYB-3 Bass Synthesizer 50TR-2 Tremolo 32TU-2 Chromatic Tuner 56, 77TU-6 Guitar Tuner 77TU-8 Guitar & Bass Auto Tuner 77TU-12/12H Chromatic Tuners 76TU-15 Chromatic Tuner 76TU-70 Guitar & Bass Auto Tuner 77VF-1 24-Bit Multiple Effects Processor 73WP-20G Wave Processor 64

�� When you see the BOSS CD icon, itmeans that there is an audio sam-ple that corresponds to the productyou're reading about. Just advanceto the appropriate CD track numberto hear the product in action!

CS-3CompressorReduces the output of sounds over a set threshold relative to the strength of the input signal, making levels consistent and improving sustain.

LMB-3LimiterLimits the peak levels of sounds to precisely that of the threshold level.

OC-2OctaveCreates a signal one or two octaves lower than the original signal.

PS-5Pitch Shifter/HarmonistProvides intelligent, key-specific pitch shifting +/– 2 octaves, plus Tremolo Arm and Flutter effects to give you convincing whammy bar-type sounds.

NS-2Noise SuppressorEliminates noise resulting from connecting multiple effects units or using very high gain.

LS-2Line SelectorControls switching from solo to backing and also amp selection.

BOSS offers an extensive

selection of guitar effects that can

be used by guitarists to get any

kind of sound you can imagine.

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.

CE-5, CH-1, CEB-3, CE-20ChorusCombines a slight delay signal with the original signal and modulates it to create a thick, shimmering sound.

BF-3FlangerElectronically creates a slight delay and combines it with the original signal for a swirling “doubled” effect.

PH-3PhaserCombines an out-of-phase signal with the original signal to produce a sound similar to the “spinning” sound of a rotary speaker.

TR-2TremoloVaries the volume of the original sound cyclically to create a pulsating speaker effect.

RV-5ReverbAdds the natural acoustic ambiance present in rooms and halls.

GE-7, GEB-7, EQ-20EqualizerBoosts or cuts a particular frequency band for flexible tone control.

AW-3, PW-10WahProduces a distinctive "wah wah" effect by boosting or cutting a specific frequency range.

AC-2Acoustic SimulatorMakes an electric guitar sound like an acoustic.

SYB-3Bass SynthesizerMakes a bass guitar sound like a synthesizer.

DD-6, DD-3DelaySamples the original sound and plays it back delayed to produce natural—or artificial—sounding echo.

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Thumb through the following pages andget to know the complete effects lineupfrom BOSS... the only company that'ssold over 7 million effects pedals world-wide.

Our compact pedal line-up began 25 yearsago in 1977 with the classic OD-1 OverDrive.Its warm, smooth overdrive sounds andbreakthrough BOSS pedal features—heavyduty construction, rubber pads on top andbottom, recessed control knobs, silentswitching, a built-in LED and easy batteryreplacement—immediately set it apart fromother stomp boxes on the market. And itestablished the masterful design for all otherBOSS effects pedals since.

The history of BOSS reads like the history ofguitar effects. From our legendary CE-1Chorus pedal—the big, gray box that startedit all in 1976—to the world's favorite line ofcompact effects pedals, we've been respon-sible for more guitar innovations than justabout anyone else.

Throughout the years, BOSS has continued todefine the cutting edge of guitar effects.Innovative digital processing allowed pedals likeour original DD-2 Digital Delay to deliver studio-quality effects comparable to rackmount units.Dual concentric knobs allowed a greater range ofcontrol. And from modern breakthroughs like theultra-programmable Twin Pedals to the obscenelyheavy sounds of the brand-new MD-2 MegaDistortion, BOSS continues to push the envelopewith every effects pedal we produce.

Electronic switchprovides noise-free

on/off switching.

Battery replacementis quick and easy.

Indicator displays effect on/offstatus and battery check.

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Digital effects, the first everoffered on compact pedals,enable sophisticated effectssuch as delay, reverb, pitch

shifter and harmonist.

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

AC adaptor jack enables continuous,battery-free operation.

Double concentric control knobsoffer more sound creation options,

surpassing the limitations of ordinary compact pedals.

The guitar gives you expressive options that gobeyond the amp, effect, or even the guitar modelused. Everything from the type of pickup, stringgauge, picking strength, and picking positioncotributes to the overall tonality. That’s why playingrock guitar is so awesome—no other instrumentgives you so much freedom to create your ownsignature sound.

Guitar—offering more tonal depththan any other instrument

String gauge or pitch influences guitar tonality.

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

Pickup position also counts. With the pickup close tothe 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 distortioneffects.

The quality of the shielded cord affects the sound quality.

A key component of creating yoursound, distortion effects units fallinto two categories:

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

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

Back in the days when PA systems were designedstrictly for vocals, the only way to boost guitarvolume was to turn your amp up to 10. Distortioneffects occurred naturally as input signals over-loaded the vacuum tube preamp and output stageas well as the speakers. A beneficial side effectwas the unique tones that distortion created.

Distortion effects: Yesterday...

Distortion has evolved from simple overdrive intoa wide variety of effects. Consequently, today’sguitarists are very particular about effects units,amps, and the type of distortion they want. BOSSknows that and offers a wide selection ofOverdrive and Distortion units.

... and Today

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

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

Overdrive & Distortion

Wondering about the differences betweenBOSS' 8 OverDrive and Distortion pedals? Thefollowing chart will give you an idea as to eachpedal's sound.

For a great guitar sound, startwith the right distortion.

Distortion Chart

Metalic

Natural

SmoothRough

MT-2

DS-2 Turbo ll

DS-2 Turbo l

OS-2 Dist

OS-2 OD

DS-1

OS-2 Mix

SD-1

BD-2

OD-3

MD-2

ADDDISTORTIONADDDISTORTION

98

10

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

OD-3OverDrive

This setting gives you those full, crunchyoverdrive sounds that work so well withsingle-coil pickups. Tons of sustain, withthat expressive soulful overdrive sound.

SOUND DEMO

With this setting, the OD-3 will push youramp a little harder, producing a great naturaloverdriven blues sound. It preserves all ofyour guitar's natural tone and dynamicswhile giving you some extra drive.

For a bluesy, wide-open sound

When you really want your solos to punchthrough, crank the OD-3's Level and Drivecontrols to three o'clock. Then set theOD-3's Tone control as desired to get afat, round solo sound that'll have 'embegging for more!

For big, fat solos

For fat, crunchy Strat rhythms

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Set the DRIVE control at a lower level andavoid excessive TONE levels. Good for abluesy sound.

SOUND DEMO

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 effect for a classic guitar sound. A tone control is also provided for precise tonal adjustment.

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

To produce a hard overdrive sound

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

To use as a booster

SD-1SUPER OverDrive

To produce a mild overdrive sound

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

This setting brings out every nuance ofyour picking dynamics, and responds differently according to your guitar’s control settings. Set the TONE any wayyou like.

Perfect for hard rock with a bluesy touch.Turn GAIN to just about max with TONEset slightly lower.

For hard overdrive

Set DRIVE to a lower setting and turnLEVEL up. TONE should be adjusted tomatch your amp’s characteristics.

For using the BD-2 as a booster

BD-2Blues Driver®

To produce a mild overdrive soundSOUND DEMO

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

SOUND DEMO

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

Turn the COLOR control all the way to theDS side. With this setting, the OS-2 functions strictly as a distortion effect.Turn DRIVE all the way to MAX to obtain adistinctive distortion sound with a hardedge.

For nasty distortion

Set the COLOR control right in the middleto get a mixture of overdrive and distortionsounds. Apply a strong dose of DRIVE fora thick, versatile sound.

For a mixed overdrive/distortion sound

OS-2OverDrive/Distortion

For natural overdrive

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The DS-1 provides a harder distortion effect for guitar and keyboard sounds. Instead oftoneless, 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 allowsyou to tailor the overall sound to your liking.

DS-1Distortion

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

SOUND DEMO

For this setting you should use yourbridge pickup. When the TONE level israised, highs are strengthened and apowerful distortion effect results. Adjustthe amp and guitar volume carefully toavoid excessive effect depth.

For hard distortion

For mild distortion

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This setting gives you standard TurboMode I sounds. Even with DIST all theway up, you get a smooth, hard distortionwithout breakup. This is an effective setting for solos.

SOUND DEMO

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

Turbo Mode II gives you a full mid-rangesound. Set DIST at a moderate level toobtain a rough, street-level sound. Thissetting 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 soundwith distinctive filtering. Per fect for alternative and grunge music.

For a grunge fuzz sound

DS-2TURBO Distortion

For standard distortion

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Boost the highs and lows with EQ. Greatfor metal solos and riffs.

SOUND DEMO

Equipped with a dual gain circuit, the MT-2 provides super-long sustain and heavy mids andlows 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 LOWand cut MID. Set DIST fairly high. This isa no-holds-barred, aggressive sound idealfor thrash metal.

For aggressive thrash metal

This setting gives you a great ’70s powerrock sound with fat, power ful mids—greatfor arena-rock riffs. After boosting themids, find the best sound by adjustingthe FREQ control.

For ’70s power rock

MT-2Metal Zone®

For a fat metal sound

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Watch out! The MD-2's dual Distortion and Gain Boost circuits take thick, heavy sounds toa whole new level. Special Gain Boost and Bottom controls let you shape your tone for max-imum volume and low–end punch—perfect for crushing "new school" metal sounds andbeyond.

MD-2Mega Distortion

This setting will give you a great sound forplaying heavy rhythm parts.

SOUND DEMO

Crank up the BOTTOM, DIST and GAINBOOST knobs for some boosted, over-the-top sounds with massive low-end.

Powerful Low Boost

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

Solid Distortion

MD-2 Standard Sound

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

Combining boost effects with your guitar amp.

There are severalways to "boost"your overall sig-nal level for guitarsolos and melodic

lines. You can run an overdrive unit into acranked amp, use two distortion pedals (ora distortion and overdrive pedal) simultane-ously, or even use a compressor or equaliz-er pedal. Try one of the following pedalcombinations and settings to really "cutthrough" at your next gig.

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

CHECKCHECK

LEVELLEVEL EQUALIZEREQUALIZER

MINMIN MAXMAX -15-15 +15+15 200200 5k5k

DISTDIST

MINMIN MAXMAX

HIGHLOWLOW

MIDDLEMIDDLEMID FREQMID FREQ

OUTPUT INPUT

REMOTE

CHECKCHECK

OUTPUT INPUT

LEVEL TONE DIST

TURBOTURBOMINMIN MAXMAX LOLO HIHI MINMIN MAXMAX

REMOTEREMOTE( )( )

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

When using the SD-1 to boost gain, set the SD-1’sDRIVE control lower and LEVEL higher. Set the BD-2 fornormal distortion. For backing, only switch on the BD-2. For solos, stomp on the SD-1 for harder-edgeddistortion. Remember that noise or feedback can occurdepending on the effect’s settings when using it as abooster.

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

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

Using an overdrive unit

Using two distortion units (SD-1+BD-2) Using an equalizer or compressor

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

For a clean sound

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

Turn MASTER up just a little, and gradually increase GAIN and VOLUME. When thedistortion 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 thelevel is where you want it, shape your tone as desired with BASS, MIDDLE andTREBLE 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 theirclear, biting tone. Some single-coilpickups include a built-in battery forincreased output.

Single-coil pickup Humbucking pickupHumbucking pickups are consistof two single coils aligned with

opposing magnetic fields. This typeof pickup provides higher output,more distortion, and a darker, fattersound compared to single coils.

Distortion varies depending on the type of guitar pickup

Reverb Time sets the length of reverberationor decay, while Reverb Level controls reverbintensity. For clean, light reverb, reduce thereverb level and set a longer reverb time.More level and a shorter time provide reverbthat’s thicker sounding. The TONE controlcan be used to add brightness or depth to thesound. Key to making a great sound is tostart with milder settings and then go formore radical sounds.

Reverb Unit You can achieve a wide range of sounds using BOSSdelay pedals. To double a sound for unison duets,use short delay times (50ms or less) without anyfeedback. A longer, reverb-like delay can beobtained with five delays at 100-200ms. Matchinga 300ms delay to your song’s tempo emphasizesthe beat, creating interesting sequence effects.Finally, using delay times 800ms or longer allowsyou to play harmony lines over the delayed sound.Remember, keeping the direct sound and delayedsound separate creates a full, stereo effect.

Delay UnitReverb Time sets the length of reverberationor decay, while Reverb Level controls reverbintensity. For clean, light reverb, reduce thereverb level and set a longer reverb time.More level and a shorter time provide reverbthat’s thicker sounding. The TONE controlcan be used to add brightness or depth to thesound. Key to making a great sound is tostart with milder settings and then go formore radical sounds.

Reverb Unit Tips

You can achieve a wide range of sounds using BOSSdelay pedals. To double a sound for unison duets,use short delay times (50ms or less) without anyfeedback. A longer, reverb-like delay can beobtained with five delays at 100-200ms. Matchinga 300ms delay to your song’s tempo emphasizesthe beat, creating interesting sequence effects.Finally, using delay times 800ms or longer allowsyou to play harmony lines over the delayed sound.

Delay UnitTips

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.

2322

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

DD-6Digital Delay

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SOUND DEMO

Using this setting, you can achieve aunique panning effect in whichdelays seem to "bounce" from left toright.

* The CHECK indicator flashes red in time withthe tempo being played.

Stereo Panning

This setting generates an inspiringreverse delay which can be used toemulate violins or the classic "back-wards guitar" sounds of the '60s and'70s.

Reverse Delay Sounds

The DD-6's unique "Warp" delay modecreates radical, expansive delays onthe fly. Just step on the pedal duringthe chords and riffs you want to repeatthem endlessly.

Amazing "Warp" Delay

MODE : 2600ms ➝ q

2524

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

RV-5Digital Reverb

SOUND DEMO

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

Great for starting a song with a guitar riff.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 thedirect out.

For a sitar-like effect

DD-3Digital Delay

To produce a twin guitar sound

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Set the MODE knob to 200ms. Turn theF.BACK control to MIN to get a singledelay.

SOUND DEMO

The RV-5 serves up some of the mostconvincing spring reverb simulationsaround—perfect for soulful solos, bal-lads, surf music, big chords and more.All without the hassles and mainte-nance of an actual spring reverb tank.

Incredible Spring Reverb

This setting produces a bright, shim-mering reverb sound to add depth andtexture to arpeggios and solo work. It'sperfect for cutting through the mix liveor in the studio.

Brilliant, Shimmering Reverb

To really add dimension to your reverbsound, add a hint of chorus/modula-tion. You won't believe your ears.

Reverb with Modulation

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, aspacious 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 reso-nance down to 0 produces a chorus sound, while zeroingout 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 aswell as a long delay to thesound. The short delay andlong delay sounds contain distinctive reverb which offerspaciousness and richness.

Combine short and long delays

When a guitarist and a keyboard player are both playing with a chorus effect, thesound 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

Tips

Tips

Tips

Chorus: Adds spaciousness and dimension for athicker, rich sound.

Flanger: Adds a swirling effect to create a mod-ulated sound. Use a distortion unit at the sametime to obtain powerful jet-like effects.

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

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

.

.

.

.

MODULATE AND

DOUBLE SOUNDS

MODULATE AND

DOUBLE SOUNDS

Chorus, Flanger, Phaser, and Tremoloeffects create various sounds frombrilliant, shimmering textures toswooshing jet-plane effects.

2726

2928

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

CH-1SUPER Chorus

This setting provides a beautiful and popular chorus effect. Turn EQ to the leftto cut highs to create a milder chorussound, which is unique to analog chorus.

SOUND DEMO

Turn DEPTH to the right to obtain anintense chorus effect. Boost the highswith EQ to get a brilliant effect.

When playing arpeggios

Turn RATE all the way up to obtain a lightpulsating effect. Try matching the chorusrate to the song tempo.

For guitar solos with vibrato

To produce a popular chorus soundSet both the high- and low-cut filters toflat for a contemporary chorus sound witha wide frequency response.

SOUND DEMO

The CE-5 chorus covers a wide frequency range and features high- and low-cut filters. Thislets 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 andlow bands.

For a warm, vintage chorus

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

For a vibrato effect

CE-5Chorus Ensemble

For a contemporary chorus effect

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3130

The PH-3 serves up vintage BOSS phasing effects including 4-, 8-, 10-, and 12-stagephasers, 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 plugin an optional expression pedal.

PH-3Phase Shifter

This setting emulates the sound of a vin-tage phaser pedal, complete with four-stage phasing and moderate DEPTH set-ting.

SOUND DEMO

By setting the STAGE control to 10-stagephasing, and bringing the resonance upto about 10 o'clock, you'll get a verydeep phasing sound.

Deep Phase Shift

New FALL and RISE modes give youunique phasing sounds never heardbefore, with DEPTH enough to cut throughany mix.

Standard FALL/RISE Sound

Vintage Phase Shift 1This sound, with maximum MANUAL andDEPTH settings and new ULTRA mode,will give you a deep flange unlike anyother pedal.

SOUND DEMO

The new BF-3 gives guitarists and bassists an updated version of the classic BOSS flangerwith the thickest stereo flanging sounds ever. Two new modes (Ultra and Gate/Pan) cre-ate stereo flanging with incredible depth—even Slicer-type effects and sounds that seemto "swirl" around the listener.

This setting approximates the sound of arotating speaker by using the Gate/Panmode and stereo outputs.

Rotary Flanger

By setting the BF-3 in Gate/Pan modeand only connecting one of the stereooutputs, you can get a killer gated flang-ing sound.

Gate Flanger

BF-3Flanger

Ultra Flanger

StereoOut

OUTPUT A(MONO)

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

Equalization adds a new dimension to guitar solos

Use these effects to tonallyshape your sound.

CHANGE TONALITY

OF SOUNDS

CHANGE TONALITY

OF SOUNDS

DD-3 GE-7GE-7 DS-2

Tips

■ Equalizer: Lets you boost or cut frequencybands. Two types of equalizers are available—a graphic equalizer that provides easyconfirmation of set boost/cut points and aparametric equalizer with continuouslyvariable boost/cut points.

■ Foot Wah: Provides pedal control over thefilter’s midrange with a sharp peak.

■ Auto Wah: Automatically creates a footwah effect depending on your pickingdynamics.

■ Acoustic Simulator: Makes an electric gui-tar sound like an acoustic.

Equalizer, Wah & Acoustic Simulator

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This setting sounds like the built-intremolo on vintage amps. Use a single-coil pickup in the rear position and addreverb to get a classic surf-rock sound.

SOUND DEMO

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 triangleto square, allowing a wider range of tremolo variations.

To get the smooth tremolo sound usedwith electric pianos, set RATE low andWAVE to a triangular wave. The slow RATEis the key to getting a pronounced, hyp-notic 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-2Tremolo

For vintage tremolo

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Cut the middle frequency bands around800Hz and boost at 1.6kHz.

SOUND DEMO

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

Boost the middle frequency bands slightlyand connect the unit after distortion andoverdrive. Set the LEVEL control a bithigher than normal.

For powerful guitar solos

Cut the middle band around 800Hz andboost the lower and higher frequencybands. Place the GE-7 after the distortionor overdrive unit.

For a metal sound

GE-7Equalizer

For sharp rhythm sounds

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Adjust the SENS knob to match your pick-ing strength, and the AW-3 will producesome very funky dynamic wah sounds.

SOUND DEMO

The AW-3 is the world's first compact pedal to produce human-voice type wah sounds usinga "Humanizer" effect. In addition to a wide range of killer auto wah sounds, there's an EXPPedal 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 pickingstrength, and turn the MODE knob toSHARP.

Synth-like Picking Wah

The AW-3 can deliver some head-turninghuman voice-type wah sounds, with theVOWEL 1 and 2 knobs controlling thetype of vowel sounds produced.

Human-like Voice

AW-3Dynamic Wah

Standard Picking Wah

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To get a cool analog synth-type sound, set the TYPE toCUSTOM, give it a medium WAH RANGE, and add a tonof DRIVE.

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

"Talking" modulation sound

In VOICE mode, you can up the WAH RANGE and DRIVEcontrols to go from a "talking" wah to all-out "yelling!"

Oh Yeah!

Analog synth-like soundThe PW-10 V-Wah is the world's first programmable mod-eling wah pedal, giving you instant access to six classicand modern wah pedal sounds, as well as all-new "DoubleResonance," "Uni-V" and "Voice" modes! It also featuresoverdrive/booster effects, three digital memories forstoring sounds, noise-free infrared operation and more.

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

SOUND DEMO

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

Combination of UNI-V and distortion

Combination of wah and distortion

While a limiter cuts only the peaks, a compressor acts on the entire signal for overallsound control and produces a sustain effect.Compressors are used to create differentsounds—a mellow sound, sustained overdriveusing an overdrive unit, or synth-like sounds bycombining with a chorus effect. A limiter ismainly used for controlling an overall sound,such as balancing a rhythm sound, keeping anamp or VU meter from overloading, or bluntingsharp 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

INPUTLEVEL

OUTPUTLEVEL

TIME

Compressor & Limiter

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LIMITER

COMPRESSOR

TIME

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

AC-2Acoustic Simulator

This gives you the unique resonance ofan acoustic guitar along with well-balanced dry sounds from the first andsecond strings. Try finger picking.

SOUND DEMO

Boost the BODY control to get more simulated body resonance. This settinglets you get bright sounds even whenplaying through an amp with limited high-end response.

With a bridge-position single-coil pickup

Boost the highs with the TOP control, andcut 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

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An octave effect can be used to create a monster distortion sound when connected before a distortionunit. To maintain accurate pitch, connect theOctave as close as possible to the guitar in thesignal chain.

Using an octave effect before a distortion unit

Using an expression pedal, you can obtain con-vincing tremolo bar effects without a whammy bar.Just step on the pedal to bend notes up or down inreal time. The PS-5’s Flutter effect can even simu-late fast or slow up-and-down tremolo movementwith 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 Tips

Octave & Pitch ShifterThese effects change the pitch ofthe original sound and can simul-taneously output it with the drysignal to produce harmonies.

CHANGE

A SOUND’S PITCH

CHANGE

A SOUND’S PITCH

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The CS-3 compresses high-input signals while boosting low-input signals, giving yousmooth sustain without degrading the quality of the original sound. A range of effects fromgentle 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-3Compression Sustainer

This setting is ideal for solos in ballads ormellow songs. Add a chorus effect foreven more depth.

SOUND DEMO

This setting balances the volume of eachstring for smooth chord accompaniment.

For chord work

Add Chorus and Delay after the Sustaineffect. This setting is good when playingsustaining chords.

For thick, rich sounds

For a mellow sound

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PS-5Super Shifter

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

For 12-String Guitar Sound1 For Standard Harmony2

Use a conventional pitch shifter for:

Use an intelligent pitch shifter for:

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

.rock riffs with pitch shifted up a fifth and down a fourth.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

This setting produces a 12-stringguitar sound with a brilliant tone—per fect for ballads and clean,acoustic-style strumming.

Use this setting to produce a super-accurate key-specific harmony onyour melodic leads and solos.

For Arm Down3 For Simulated Cricket4This setting simulates the sound ofa "dive bomb" on a tremolo bar,dropping your guitar’s tuning downto -2 octaves.

Use this setting to simulate a fast orslow slap or slam of the tremolobar—without the tuning headachesafterwards!

For Hawaiian5 For Detuned Sound6Produces a lap steel sound withheavy vibrato characteristic ofHawaiian music.

The direct signal is overlapped witha slightly pitch-shifted signal for athick, rich guitar sound.

SOUND DEMO

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BOSS bass pedals are specially designedfor the wide frequency band of the bassguitar, including six-string basses. Forexample, on a regular graphic EQ, the frequency bands are equally divided. On abass pedal such as the GEB-7 the frequencybands are divided into optimal ranges for

bass guitar. On the CEB-3, a special circuitapplies chorus only to the highs of the basssound. This provides a colorful choruseffect while preserving the powerful lowend of the bass sound. All models of theseries are exclusively dedicated to bassguitar players.

The diagram shows a standard connecting orderof five different bass effect units. Connect theCEB-3 Chorus after the ODB-3Overdrive. To color the overallsound, connect the GEB-7 afterthe ODB-3. To specifically changedistortion characteristics, connectit before the ODB-3. This allowscertain frequency ranges to beapplied with heavier distortion to give you different types of

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

AB

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

Turn up the volume level of OCT 2 to simulate playing in octaves with a bassguitar. Use with a distortion unit for thickersound.

SOUND DEMO

Three separate tones are reproduced by the OC-2—the original tone, a second tone oneoctave below the original, and a third tone two octaves below the original. With just a single guitar, you can obtain sounds three octaves thick, and each part has a separate volume control. The OC-2 features natural, clear octave sounds with stable pitch even forstaccato picking sounds.

Turn the OCT 1 control all the way up toproduce a thick sound.

To simulate a guitar synthesizer

Turn up the volume of OCT 1 and add distortion and overdrive effects.

For fat guitar riffs

OC-2Octave

To simulate unison guitar and bass

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One of the great features of the ODB-3 isan extremely wide GAIN range. For thisparticular setting, however, set the GAINat a minimum level to create a naturaloverdrive. Cut the highs with HIGH EQ.Turn BALANCE to the OD side.

SOUND DEMO

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 toachieve harder distortion. This setting isideal for riffing on a heavy beat.

For riffs

Raise LEVEL and set BALANCE slightlytoward OD. Set GAIN to max.

For a more over-the-top sound

ODB-3Bass OverDrive

For natural overdrive

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The CEB-3 features a low filter, so you can select the frequency band to which the choruseffect 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-3Bass Chorus

Setting LOW FILTER to FLAT adds full cho-rus to even the lowest notes. The way youuse the low filter is the key to obtainingthe chorus effect you want.

SOUND DEMO

With LOW FILTER set to center, increaseDEPTH just a bit and set RATE for a slowerchorus speed.

For a light chorus sound

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

For a deeper chorus

For a modern chorus sound

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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 giveyou precise control over limiting parameters.

LMB-3Bass Limiter Enhancer

SOUND DEMO

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

For finger picking

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

For slap bass

For use as a limiterSet ENHANCE to MIN and turn RATIO fullyto : 1 to get a consistent, stable basssound across its wide dynamic range.

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This setting gives you a nice, full sound,with a boost at 500Hz and moderateboosts at 400Hz and 800Hz. Cutting50Hz and 4.5Hz eliminates muddinessand rounds out the tone.

SOUND DEMO

The GEB-7’s usable frequency range extends all the way from 50Hz to 10kHz, allowing itto accommodate just about any type of bass guitar, even 5-string basses. Precise tonaladjustment 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 beboosted 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 fora bottom-heavy slap. Boosting the highsat 4.5kHz and 10kHz gives you a razor-sharp pop.

For slap bass

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

To simulate a bass amp

GEB-7Bass Equalizer

For standard rock

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SOUND DEMO

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

SYB-3Bass Synthesizer

SYB-3 MODESA 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:

1234567891011

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

WAVE SHAPEThe input sound is directly processed to create the synthesizer sound.

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

On the SYB-3, first select the sound character using the modeswitch. Then, use SENS/DECAY and FREQ/RES to tailor the soundto your taste. For Modes 1 through 7, SENS/DECAY controls thedecay of the filter. For Modes 8 through 11, SENS/DECAY controlshow much the input sound is effected. FREQ controls the cutoff frequency of the filter while RES controls the feedback amount of thefilter.

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Don't Let Guitarists Have All the Fun!Just because the following pedals don't say "Bass" on them doesn't mean bassistscan't tap in to their unique effects. In fact, some of these pedals are "must-have" effectsfor any serious bassist.

Effects for

Bassists

PH-3 Phase Shifter

Both retro and future-minded bassists

can find inspiring phasing sounds in

the PH-3.

MD-2 Mega Distortion

When nothing but insanely huge

distortion sounds will do, stomp on

an MD-2.

AW-3 Dynamic Wah

If funk is your game, you owe it to

yourself to check out the AW-3

Dynamic Wah.

OC-2 Octave

This classic Octave pedal has found

its way into more professional bass

rigs than any other.

RV-5 Digital Reverb

For ballads and big, rich bass sounds,

the RV-5 is tough to beat.

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

NS-2Noise Suppressor

An effect unit which is a potential source of noise is connectedto the Send/Return jack. Connect a delay after the NS-2, notto the effects loop, in order to preserve its natural quality.When connected to an AC adaptor, the NS-2 supplies power toother effect units.

USING THE NS-2

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

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™

Sound on Sound

The first half of sound demo

The latter half of sound demo

Bass sound changes every 4 measures1. Direct Bass sound2. Phaser (PH-3)3. GATE mode (RV-5)4. Direct Bass sound5. Wah (AW-3, MODE: UP)6. Arm up to +2 Oct. (PS-5)7. Phaser (PH-3)8. Pitch Shifter (PS-5)9. Scratch noise of strings

10. REVERSE (RC-20)11. Direct Bass sound

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BF-3 Flanger

When you really want to let your bass

stand out in the mix, step on a BF-3

Flanger using the dedicated Bass input.

CS-3 Compression Sustainer

The CS-3 is the perfect pedal for

smoothing out your tone and giving

you maximum punch.

DD-6 Digital Delay

The DD-6 can add dimension and

texture to any bass sound.

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The OD-20 puts a collection of the world's finest

overdrive and distortion pedals at your feet.

™

The PW-10 brings the world's premier modeling wah technology

to the bass domain. Things just got a lot more funky!

This top-of-the-line programmable EQ pedal is perfect for

quickly selecting between solo and backing bass sounds,

acoustic-electric tones and more.

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The AB-2 2-Way Selector can be configuredas a two-1/4" inputs/one 1/4" outputselector or a two-1/4" outputs/one 1/4"input selector—letting you freely switchbetween two instruments or two amplifiers,for example.

LS-2Line Selector

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

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

A <–––> B mode1

USING THE LS-2

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

A + B MIX / BYPASS modeThis setting lets you mix a solo sound on Loop A and a backingsound on Loop B.

2

This setup is forswitching between aneffects loop and tuner.Switch to mode B dur-ing live performancefor silent tuning.

A <–––> B mode3

This setup lets youchoose between two orthree outputs such asswitching from a tubeamp to a transistor ampto a monster stack, etc.

OUTPUT SELECT mode5

This setup lets youswitch between Stratand Les Paul-type gui-tars or between a gui-tar and synthesizer.

A –––> B / BYPASS mode4

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Looking for the absolute finest ineffects pedals? Then BOSS' TwinPedal Series is for you! These top-of-the-line pedals give guitarists andbassists unrestricted access to someof the finest effects on the planet, withprogrammable digital memories—per-fect for musicians who simply wantthe best that BOSS has to offer.

TWIN PEDAL SERIESTWIN PEDAL SERIES

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Using the TU-2

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

TU-2Chromatic Tuner

Tuning with the "Stream" Meter

Connect your amplifier and effects to the TU-2's Output jack. When thetuner is activated (by stomping), its output will be muted so that you cantune the guitar without sending any signal to your amp. If you connectto your amp and effects using the Bypass jack, your guitar signals willbe transmitted continuously regardless of the on/off status of the tuner.

Use the TU-2 with a PSA series adaptor and a PCS-20A parallel DC cordto supply power for a maximum of seven* compact pedals.* The total current draw of the effects connected should be under 200mA.

Supplying Power to the Other Effects

Silent Tuning

The TU-2's bright 11-point LED's and a conve-nient Stream Meter help you stay in tune evenin 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.

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The OD-20 Drive Zone uses advancedCOSM® technology to model thesound of classic overdrive/distortionpedals, as well as creating newsound of its own. There are 22 mod-els to choose from, plus new "AttackShape" and "Heavy Octave" parame-ters for dialing in subtle nuances orextreme tones. You can even switchamp channels remotely using the OD-20's Amp Control jack.

This original overdrive setting is perfect for a slightly-edgy rock sound with an octave being produced on thelow notes.

LOUD

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

LEAD

This setting produces the classic sound of the BOSSOD-1 OverDrive pedal, world renowned for its smoothtone and sustain.

OD-1 modeling sound

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This setting gives you the sound of a stack of tubeamps, perfect for all styles of hard rock with justenough gain and dynamics.

STACK

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This custom sound has lots of bottom and enough top-end and gain to shred through everything from new-school metal to punk.

Fairly bright metal sound

Lit

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SOUND DEMO

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From vintage chorus effects tototally modern sounds, the CE-20 isthe ultimate programmable stereochorus pedal. Start with six dis-tinct chorus modes—from acousticguitar and bass—optimized soundsto classic "Dimensional D" and"CE-1" effects—then tweak yoursounds and save them into memoryfor 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

This chorus sound is perfect for heavy riffing, completewith boosted LOW and a slower RATE.

CHORUS FOR HEAVY RIFFS

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

DEEP CHORUS

In DIMENSIONAL D mode, the CE-20 yields the classicsound of the Roland SDD-320, with the RATE knobselecting 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. 1

2

3+4

2+4

3 1+44

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

CE-1 modeling sound

SOUND DEMO

(CE-20 ← Overdrive ← Electric Guitar)

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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

EQ-20 Electric GuitarGuitar Amp

CLEAN

EQ-20OverDrive/Distortion

Guitar Amplifier Electric Guitar

OverDrive/Distortion

EQ-20Guitar Amplifier Electric Guitar

• Guitar Clean Cutting • Mid Boost for the Lead

• Thrash/Metal • Acoustic • Jazz Guitar

This innovative pedal gives gui-tarists, bassists and other live per-formers 10 bands of programma-ble EQ with stellar sound quality.Physical sliders make instant EQtweaks easy, and a straightfor-ward Write function permitsinstant storage of EQ settings intothe nine memory locations.

Finally, a phrase recording andsampling pedal that's easy to use!A long sampling time of up to 5min. 30 seconds, helpful GuideClick and Loop Quantize func-tions, Realtime Tempo Changeand hands-free control make theRC-20 Loop Station an essentialtool for creating and playing backsampled loops on the fly.

™

SOUND DEMO

SOUND DEMO “Sound on Sound”

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The WP-20G Wave Processor produces fat synth-type sounds in a compact pedal designed for 13-pin GK pickup-equipped guitars. A total of six unique sounds are provided—including Saw Lead,Square, Ring Mod, Slow Gear, Sitar and Acoustic—as well as 11 chorus and delay effects, plussimple knobs for easy tweaking.* Requires optional GK-2A Divided Pickup.

The OC-20G Poly Octave is the world’s first polyphonic octave pedal for use with GK pickup-equipped guitars. Octaves can be assigned to different strings for simulated guitar/bass combos,and built-in electric and acoustic guitar simulations—plus thick distortion—add to the sonic pos-sibilities. This pedal even accommodates playing chords while using octaves!

* Requires optional GK-2A Divided Pickup.

SOUND DEMO SOUND DEMOSAW LEAD

SITAR

ACOUSTIC

Warm Octave Sound

Acoustic Sound (String 5, 6: Bass)

Heavy Distortion SoundDivided Pickup

Enter the GK world with this divided pickup for electricand steel-stringed acoustic guitars. User-installable.

GK Cables GKC-3/5/10 (3/5/10 m)

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Some basics for making the most of effect unitsUse these guidelines when connecting effects pedals.

AMP

Modulation Equalizer DistortionCompressor/Limiter

Reverb Chorus Delay VolumePedal

GuitarOctaveNoiseSuppressorWah Pedal Auto Wah

Some basics for making the most of effect unitsUse these guidelines when connecting effects pedals.

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

classic rock sounds to special effects. Use

these as a reference and a motivation for

creating your own cool sounds.

CREATING NEW SOUNDSCREATING NEW SOUNDS








CREATING NEW SOUNDS












CREATING NEW SOUNDS




•Effect units that detect an envelope, such as autowah and octave, should be connected close to theguitar. The wah pedal is generally connected beforethe distortion pedal so it can regulate the distortion,though hooking it up after the distortion still soundsgood. The wah effect varies depending on whetherit's before or after the distortion in the signal chain.Try it both ways to see the difference.

•Connect EQ after your distortion so you can totallyshape your sound.

•Connect reverb units toward the end of the chain formaximum effect.

•Decide where to connect chorus/delay/reverb bycareful monitoring of the resulting sound.

•Connect a volume pedal before delay effects so thatthe volume can be lowered without cutting off there-verberation. If connected before the distortion pedal,the volume pedal controls the distortion intensity.

•Connect a noise suppressor to remove distortionand modulation noise.

•Effect units that detect an envelope, such as autowah and octave, should be connected close to theguitar. The wah pedal is generally connected beforethe distortion pedal so it can regulate the distortion,though hooking it up after the distortion still soundsgood. The wah effect varies depending on whetherit's before or after the distortion in the signal chain.Try it both ways to see the difference.

•Connect EQ after your distortion so you can totallyshape your sound.

•Connect reverb units toward the end of the chain formaximum effect.

•Decide where to connect chorus/delay/reverb bycareful monitoring of the resulting sound.

•Connect a volume pedal before delay effects so thatthe volume can be lowered without cutting off there-verberation. If connected before the distortion pedal,the volume pedal controls the distortion intensity.

•Connect a noise suppressor to remove distortionand modulation noise.

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This setup is as basic as it gets, provid-ing just the right amount of crunch anddepth (courtesy of the RV-5) for seriousriffing and power chords.

Straight-Up Distortion

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

Classic Overdrive Sound

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This setup provides a very versatile guitarsound. The OD-3 is used when you need anatural overdrive tone. The MT-2 is usedwhen you need full-out thrash metal. Usethe DD-3 as a doubler set at about 20ms. For chorusing add the versatile CE-5. Itsfiltering gives you a classic CE-2 warmchorus or a more contemporary sounddepending on the settings.

Versatile Setup

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TrackTrack 51

By combining the OD-20 Drive Zone inclassic "OD-1" modeling mode, then con-necting a CE-20 Chorus Ensemble, you'vegot that classic overdriven-chorus soundthat launched a thousand ballads.

Big Ballad Tone

To really ride the wild surf, there's noeasier way than this tight setup. The BD-2produces the tube-driven tone, while theRV-5's Spring mode makes things shimmer.

Classic Surf Sound

When nothing but the fattest, meanestdistortion tones will do, this setup is whatyou want. Start with the insanely hugeMD-2 Mega Distorion, throw in a NS-2Noise Suppressor to clean things up, thenadd a "doubling" effect with the DD-6.

As Fat as It Gets

6968

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This combo will give you some veryskankin' tones for reggae and ska. Pluginto the CS-3 Compression Sustainerfirst, then patch into the AW-3 Auto Wah.Set the DD-3 Digital Delay with a veryshort delay time, and add the CH-1Stereo Super Chorus for some sparkle.

Rippin' Reggae Tones

This tight little setup will have your crowdmovin' and groovin'. It starts with thepopular PW-10 V-Wah™ and then adds atouch of rhythmic delay courtesy of theDD-6.

Funk Time

This unusual pedal setup simulates akeyboard's signal path, with the soundbeing generated by the PS-5 Super Shifterand going through the PH-3 Phase Shifterand DS-2 Turbo Distortion for a very futur-istic and aggressive synth-type sound.Welcome to the future.

Techno Synth Sounds for Guitar

INPUTINPUT

EXP

OUTPUTOUTPUT B

OUTPUTOUTPUT A MONOMONO( )( )

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TrackTrack 56

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This setting employs a classic OC-2Octave pedal with a CS-3 CompressionSustainer. The result is a deep, rich basssound in the vein of the classic analogsynths of the '70s. Perfect for deep, funky,nasty grooves.

A Deep, Groovin' Bass Tone

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TrackTrack 62

This setting starts with a healthy amountof DS-1-type distortion and adds anoctave above the original sound courtesyof the PS-5, making it great for in-your-face bass solos. Toward the end of themusic example, the BF-3 Flanger is added(in "Ultra" mode) for an effect that will cutthrough any mix.

An In-Your-Face Bass Solo Sound

INPUTINPUT

EXP

OUTPUTOUTPUT B

OUTPUTOUTPUT A MONOMONO( )( )

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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 somekiller jet phasing sounds. It's perfect foreverything from retro rock to techno.

Killer Jet Phasing Sounds

Line Out

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7170 With this setup, you can get your stan-dard electric guitar to sound like a lushacoustic-electric. Just plug into the AC-2Acoustic Simulator and then add a hint ofchorus with the flagship CE-20 ChorusEnsemble. You won't believe your ears!

Big, Rich Acoustic Tone

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Connect a DS-2 to the input of an LS-2.Set the LS-2 to A + B Mix mode and con-nect 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 soundwith your lead sound as desired.

Tremolo Sound

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TrackTrack 58

To get a monstrous seven-string metalsound, start with the MT-2 Metal Zone®

and add the EQ-20 Programmable EQon preset four to tighten up the lowend. Use the NS-2 Noise Suppressor towipe out any excess noise, and finishoff with the BF-3 Flanger for somemetallic icing on top.

Seven-String Metallicious

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7372

The striking new GT-6 Guitar Effects Processorstarts with BOSS' most advanced COSM® mod-eling engine ever—complete with 30 amp mod-els, plus all-new COSM Overdrive/DistortionPedal Modeling and Wah Modeling. Add to thisall-new effects like "Uni-V" and "De-Fretter,"plus superb 24-bit sound quality, and you'vegot the best-sounding, most powerful floormulti-effects processor in history.

The GT-6B Bass Effects Processor is BOSS'first new bass multi-effects processor in overfive years. This fully professional floor-basedunit offers new COSM® Bass Amp Modelingwith new modeled compression, plus other"must-have" effects like COSM overdrive/dis-tortion, COSM wah and reverb/delay. There'salso a true analog bypass, plus XLR and digitaloutputs for recording applications—makingthe GT-6B the leader in high-quality multi-effects for bass.

Studio-quality acoustic-electric guitar preamp/DI box speciallyvoiced for acoustic instruments. Includes anti-feedback controls,mic distance and body resonance simulation, plus onboardreverb and chorus.

As BOSS' most powerful multi-effects processorever, the half-rack VF-1 is a 24-bit monster designedfor endless sonic manipulation. You get 404 patch-es (202 Preset, 202 User)—including everythingfrom COSM® Guitar Amp and Microphone Modeling to cutting-edge Groove effects likeLo-Fi and Slicer. There's even a dedicated Hi-Z Guitar input and built-in chromatic tuner.

Jam-packed with features yet surprisingly affordable, this multi-effects powerhouse sports 24 different BOSS effects (9 simul-taneous), onboard COSM® Amp Modeling, and 6 Quick Editknobs for fast tone tweaking. There's also an onboard expres-sion pedal, an EZ Tone feature, and killer 24-bit sound quality.

Incorporates many of the AD-5's outstanding features—likeanti-feedback processing and chorus effects—into a rugged,floor-based unit with stompbox simplicity.

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ACCESSORIES

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ACCESSORIES

METRONOMES

DB-66Dr.Beat

DB-88Dr.Beat

DB-12Dr.Beat

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

The DB-66 sets the standard for professional digitalmetronomes and is used worldwide in schools, studios and in the hands of thousands of serious musi-cians. Independent slider-based control of note volumeand precise tempo-keeping features make the DB-66 apowerful tool for rhythm training.

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

FOOT CONTROLLERS

FV-300LFoot Volume/Expression

The FV-300L is a sturdy, stage-ready vol-ume pedal with a low-impedance designthat’s perfect for connecting after effectspedals and for use with keyboards.

FS-5LFoot Switch

FS-5UFoot Switch

There are two types of BOSS Foot Switches to choosefrom depending on the application. The FS-5U (momen-tary type) engages a function while you hold down theswitch. The FS-5L (latch type) changes the on/off sta-tus each time you press the switch.

FV-50LVolume Pedal

FV-50HVolume Pedal

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

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ACCESSORIES

TUNERS TUNERS

TU-6GUITAR TUNER

TU-2Chromatic Tuner

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

TU-12/12HCHROMATIC TUNERS

TU-8GUITAR & BASS AUTO TUNER

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

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

TU-70GUITAR & BASS AUTO TUNER

TU-15CHROMATIC TUNER

The world's first compact guitar and bass tuner with abacklit LCD and smooth needle movement for the mostaccurate tuning in its class.

The TU-15 is BOSS' ultimate tuner, offering renowned needle-point accuracy, backlit design, flattuning, and a host of "world's first" features not found in any other tuner. Especially noteworthyis the new "Accu-Pitch" function, which plays a note when the correct tuning is reached.

TU-12H TU-12

ACCESSORIES

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

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ACCESSORIES

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

+ +or orPCS-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

ACASeries

PSASeries

All of BOSS' new compact pedals are compatible with the PSA-Series adaptors, but there is a possibility thatthe following products might require an ACA-Series adaptor: SD-1, BF-2, GE-7, OC-2, DS-1, PH-2, CS-3. Thiscompatibility depends on the production period; pedals manufactured after August 1997 are compatible withthe PSA-Series. You can tell the difference from the sticker attached to the pedal and carton 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, theelectric/magnetic amplifying system, the air and the reverberation of the room all affect the final sound. Soundmodeling, the latest DSP technology, "virtually" reconstructs these objects. Roland's breakthrough CompositeObject 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.

CD INDEX

Creating New Sounds "Challenge yourself"Track 49 Classic Overdrive Sound ................................Page 67

Track 50 Straight-Up Distortion ......................................Page 67

Track 51 Versatile Setup.........................................................Page 67

Track 52 Classic Surf Sound...............................................Page 68

Track 53 Big Ballad Tone ........................................................Page 68

Track 54 As Fat as It Gets .....................................................Page 68

Track 55 Funk Time ......................................................................Page 69

Track 56 Rippin' Reggae Tones ........................................Page 69

Track 57 Techno Synth Sounds for Guitar ..........Page 69

Track 58 Tremolo Sound .........................................................Page 70

Track 59 Big, Rich Acoustic Tone ..................................Page 70

Track 60 Seven-String Metallicious .............................Page 70

Track 61 An In-Your-Face Bass Solo Sound .........Page 71

Track 62 A Deep, Groovin' Bass Tone .......................Page 71

Track 63 Killer Jet Phasing Sounds.............................Page 71

Track 64 Ending tune “Surprise Surprise” ©2002 A-Town Recordings

Track 1 Opening tune©2002 Roland Corporation

For GuitaristsTrack 2 OD-3............Page 10

Track 3 SD-1..............Page 11

Track 4 BD-2 ............Page 12

Track 5 OS-2 ............Page 13

Track 6 DS-1..............Page 14

Track 7 DS-2.............Page 15

Track 8 MT-2 ............Page 16

Track 9 MD-2............Page 17

Track 10 DD-6 ............Page 23

Track 11 DD-3 ............Page 24

Track 12 RV-5 ............Page 25

Track 13 CE-5.............Page 28

Track 14 CH-1..............Page 29

Track 15 BF-3.............Page 30

Track 16 PH-3.............Page 31

Track 17 TR-2 .............Page 32

Track 18 GE-7.............Page 34

Track 19 AW-3............Page 35

Track 20 PW-10 ..........Page 36

Track 21 AC-2 ............Page 38

Track 22 CS-3.............Page 40

Track 23 PS-5.............Page 43

Track 24 OC-2 ............Page 44

For BassistsTrack 25 ODB-3.......Page 46

Track 26 CEB-3........Page 47

Track 27 GEB-7........Page 48

Track 28 LMB-3 .......Page 49

Track 29 SYB-3........Page 50

Track 30 AW-3............Page 51

Track 31 MD-2............Page 51

Track 32 PH-3.............Page 51

Track 33 RV-5 #1 ......Page 51

Track 34 RV-5 #2 ......Page 51

Track 35 OC-2 ............Page 51

Track 36 DD-6 ............Page 52

Track 37 CS-3.............Page 52

Track 38 BF-3.............Page 52

Track 39 PW-10 ..........Page 52

Track 40 OD-20 .........Page 52

Track 41 EQ-20..........Page 52

Track 42 RC-20 ..........Page 52

Twin Pedal SeriesTrack 43 OD-20 .........Page 58

Track 44 CE-20 ..........Page 60

Track 45 EQ-20..........Page 62

Track 46 RC-20 ..........Page 63

Track 47 WP-20G ....Page 64

Track 48 OC-20G ......Page 65

Documents

BOSS Guitar Effects GuideBook Vol17