To use as a booster

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.

Blues Driver

The BD-2 is like having a bluesy, vintage tube amp in a compact effects pedal. Whether its 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.

OverDrive/Distortion

The OS-2 gives you a choice of overdrive or distortion or lets you combine bothall 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.

USING THE BD-2

This setting brings out every nuance of your picking dynamics, and responds differently according to your guitars control settings. Set the TONE any way you like.

USING THE OS-2

For natural overdrive
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.

For hard overdrive

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

For nasty distortion

Turn the COLOR control all the way to the DS side. With this setting, the OS-2 functions strictly as a distortion effect. Turn DRIVE all the way to MAX to obtain a distinctive distortion sound with a hard edge.
For using the BD-2 as a booster
Set DRIVE to a lower setting and turn LEVEL up. TONE should be adjusted to match your amps characteristics.
For a mixed overdrive/distortion sound
Set the COLOR control right in the middle to get a mixture of overdrive and distortion sounds. Apply a strong dose of DRIVE for a thick, versatile sound.
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.

TURBO Distortion

The DS-2 features twin TURBO modes. TURBO Mode I produces warm and mellow distortion with flat frequency response. TURBO Mode II provides biting distortion with a mid-range boost thats 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.

USING THE DS-1

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

Using an overdrive unit

Using two distortion units (MT-2+DS-2)
CHECK LEVEL EQUALIZER DIST LEVEL CHECK TONE DIST

(REMOTE)

MIN MAX

HIGH LOW

MIDDLE MID FREQ

OUTPUT

INPUT REMOTE
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.
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.
Combining boost effects with your guitar amp.
Using two distortion units (SD-1+BD-2)
Using an equalizer or compressor
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.
When using the SD-1 to boost gain, set the SD-1s DRIVE control lower and LEVEL higher. Set the BD-2 for normal distortion. 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 effects settings when using it as a booster.
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.

Guitar Amp Settings

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.
Distortion varies depending on the type of guitar pickup
There are two main types of guitar pickups, and they form the basis of an electric guitars sound.

For a clean sound

Turn MASTER up and use the guitars VOLUME to get the level you want, always keeping it below overdrive thresholds.
For hard distortion Single-coil pickup
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. Single coil pickups are famous for their clear, biting tone. Some single-coil pickups include a built-in battery for increased output.

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.
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.

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.

Digital Delay

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 effectstaking your sound to a whole new dimension.

USING THE DD-6

Stereo Panning
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.

MODE : 2600ms q

Reverse Delay Sounds

Reverb Unit

Delay Unit
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 thats 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.
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 songs 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. to play harmony lines over the delayed sound. Remember, keeping the direct sound and delayed sound separate creates a full, stereo effect.

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.

Amazing Warp Delay

The DD-6s 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.
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.

Digital Reverb

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

USING THE DD-3

To produce a twin guitar sound
Set the MODE knob to 200ms. Turn the F.BACK control to MIN to get a single delay.

USING THE RV-5

Incredible Spring Reverb
The RV-5 serves up some of the most convincing spring reverb simulations aroundperfect for soulful solos, ballads, surf music, big chords and more. All without the hassles and maintenance of an actual spring reverb tank.

For a reverb-type effect

Great for starting a song with a guitar riff. Delay time ranges from 50 to 200ms.
Brilliant, Shimmering Reverb
This setting produces a bright, shimmering reverb sound to add depth and texture to arpeggios and solo work. Its perfect for cutting through the mix live or in the studio.

For a sitar-like effect

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

Reverb with Modulation

To really add dimension to your reverb sound, add a hint of chorus/modulation. You wont believe your ears.
MODULATE AND DOUBLE SOUNDS
Using different types of chorus
The chorus effect varies depending on whether it is used in mono or stereo. When used in mono, chorus provides a denser sound. When used in stereo, a spacious sound with less detuning is obtained.
Use a flanger unit to create a short delay
Chorus, Flanger, Phaser, and Tremolo effects create various sounds from brilliant, shimmering textures to swooshing jet-plane effects.

Chorus: Adds spaciousness and dimension for a thicker, rich sound. Flanger: Adds a swirling effect to create a modulated sound. Use a distortion unit at the same time to obtain powerful jet-like effects. Phaser: Provides a unique effect similar to a rotary speaker. Compared to a flanger, the phaser produces a softer, fuller sound. Tremolo: Varies the volume of the original sound cyclically to create a pulsating effect.
The basics of a chorus and flanger are similar to a delay, and so is the circuitry. For example, turning flanger resonance down to 0 produces a chorus sound, while zeroing out all flanger controls results in a unique short delay.
Combine short and long delays
If you combine a flanger and delay, you can add a flanger-created short delay as well as a long delay to the sound. The short delay and long delay sounds contain distinctive reverb which offer spaciousness and richness.
Using chorus with other players
When a guitarist and a keyboard player are both playing with a chorus effect, the sound can become muddy. Sometimes it sounds better to use a clean, un-effected sound when playing with a chorused synth or electric piano.

Chorus Ensemble

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

SUPER Chorus

The CH-1 SUPER Chorus features sharp sounds with clear highs, and a stereo effect that varies depending on the spacing between the left and right speakers. The EQ function allows you to adjust the tonality from soft, mellow sounds to sharp, cutting sounds ideal for rhythm guitar.
For a contemporary chorus effect
Set both the high- and low-cut filters to flat for a contemporary chorus sound with a wide frequency response.

USING THE CH-1

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

For a vibrato effect

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

When playing arpeggios

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

USING THE CE-5

For a metal sound

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

Human-like Voice

The AW-3 can deliver some head-turning human voice-type wah sounds, with the VOWEL 1 and 2 knobs controlling the type of vowel sounds produced.
The AC-2 is a revolutionary compact effects pedal that makes your electric guitar sound like an acoustic. You can get a variety of acoustic guitar sounds using the AC-2s four modes: Standard, Jumbo, Enhance and Piezo. Two individual outputs allow switching between an acoustic sound and a direct electric sound with one stomp of the pedal.

REGULATE GAIN LEVEL

USING THE AC-2
With a neck-position single-coil pickup
This gives you the unique resonance of an acoustic guitar along with wellbalanced dry sounds from the first and second strings. Try finger picking.

Compressor & 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.
With a bridge-position single-coil pickup
Boost the BODY control to get more simulated body resonance. This setting lets you get bright sounds even when playing through an amp with limited highend response.
A compressor vs. a limiter
With a bridge-position humbucking pickup
Boost the highs with the TOP control, and cut the lows with BODY. Perfect for getting a sound with fat mids and lows.
While a limiter cuts only the peaks, a compressor acts on the entire signal for overall sound control and produces a sustain effect. Compressors are used to create different soundsa mellow sound, sustained overdrive using an overdrive unit, or synth-like sounds by combining with a chorus effect. A limiter is mainly used for controlling an overall sound, such as balancing a rhythm sound, keeping an amp or VU meter from overloading, or blunting sharp edges of sounds.
COMPRESSOR INPUT LEVEL TIME OUTPUT LEVEL TIME LIMITER

Compression Sustainer

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

sounds. Use the SYB-3 in stereo to handle the The diagram shows a standard connecting order effected signal and the direct sound separately. of five different bass effect units. Connect the CEB-3 Chorus after the ODB-3 Overdrive. To color the overall sound, connect the GEB-7 after B AMP A the ODB-3. To specifically change distortion characteristics, connect it before the ODB-3. This allows certain frequency ranges to be CEB-3 GEB-7 ODB-3 LMB-3 SYB-3 applied with heavier distortion AMP MIXER to give you different types of

Bass OverDrive

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.

Bass Chorus

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

USING THE ODB-3

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

USING THE CEB-3

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

For riffs

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

For a light chorus sound

With LOW FILTER set to center, increase DEPTH just a bit and set RATE for a slower chorus speed.
For a more over-the-top sound
Raise LEVEL and set BALANCE slightly toward OD. Set GAIN to max.

* Use a Roland PCA-20A (8-PIN parallel) power connection cable.
2 A + B MIX / BYPASS mode
This setting lets you mix a solo sound on Loop A and a backing sound on Loop B.
The AB-2 2-Way Selector can be configured as a two-1/4" inputs/one 1/4" output selector or a two-1/4" outputs/one 1/4" input selectorletting you freely switch between two instruments or two amplifiers, for example.

Chromatic Tuner

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

NEXT-GENERATION PEDALS

Power and precision unite in the Next-Generation pedal series. More feature-packed than your standard compact pedal, each Next-Generation-series pedal is built to excel at a specific task, as opposed to handling multi-effect duties. Currently in the lineup: Twin Pedal Series: Double your foot power with these unique 2-pedal effects: the RC-20, EQ-20, CE-20, OD-20, and DD-20. V-Wah: The ultimate funk machine! If youre looking for the new King of Wah, this is your box.

USING THE TU-2

Tuning with the Stream meter
The TU-2s bright 11-point LEDs and a convenient Stream Meter help you stay in tune even in low-light settings or under bright stage lights.
the LED movement is fast and toward the right, the note is sharp. movement gets slower as pitch becomes more accurate. the notes pitch is perfect, the LED movement will stop and the two yellow arrows will flash simultaneously.

Silent tuning

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

Use the TU-2 with a PSA-series adaptor and a PCS-20A parallel DC cord to supply power for a maximum of seven* compact pedals.
*The total current draw of the effects connected should be under 200 mA.
The OD-20 Drive Zone uses advanced COSM technology to model the sound of classic overdrive/distortion pedals, as well as creating new sound of its own. There are 22 models to choose from, plus new Attack Shape and Heavy Octave parameters for dialing in subtle nuances or extreme tones. You can even switch amp channels remotely using the OD-20s Amp Control jack.

OD-1 modeling sound

Not lit
This is a smooth lead sound with just enough drive and sustain to have you ripping into a tasty solo.
This setting produces the classic sound of the BOSS OD-1 OverDrive pedal, world renowned for its smooth tone and sustain.
Fairly bright metal sound

USING THE OD-20

This original overdrive setting is perfect for a slightlyedgy rock sound with an octave being produced on the low notes.
This setting gives you the sound of a stack of tube amps, perfect for all styles of hard rock with just enough gain and dynamics.
This custom sound has lots of bottom and enough topend and gain to shred through everything from newschool metal to punk.

CHORUS FOR HEAVY RIFFS

From vintage chorus effects to totally modern sounds, the CE-20 is the ultimate programmable stereo chorus pedal. Start with six distinct chorus modesfrom acoustic guitar and bassoptimized sounds to classic Dimensional D and CE-1 effectsthen tweak your sounds and save them into memory for instant recall.

DEEP CHORUS

(CE-20 Overdrive Electric Guitar) This chorus sound is perfect for heavy riffing, complete with boosted LOW and a slower RATE.
This setting produces maximum chorus depth and a hint of AMBIENCE for rounding out the overall sound.
DIMENSIONAL D modeling sound

CE-1 modeling sound

USING THE CE-20

SUPER RICH

This full, rich chorus sound is about as lush as it gets, yet remains musical enough for a variety of playing.
When DIMENSIONAL D is selected as the MODE, the RATE knob 1+4 provides for selection among the SDD-320s 2 2+4 1, 2, 3, 4, 1+4, 2+4, and 1 3+4 3+4 settings.
This mode produces the vintage CE-1 chorus sound, complete with INTENSITY control.
In DIMENSIONAL D mode, the CE-20 yields the classic sound of the Roland SDD-320, with the RATE knob selecting between the various settings.

Amazing twist sound

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

combination of effect units. Here are some samples of different effects settings, from classic rock sounds to special effects. Use
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samples of of effect units. Here from combinationdifferent effects settings,are some classic rock different special settings, from samples of sounds to effects effects. Use these as a classic rockreference and special effects. Use sounds to a motivation for creating your own cool sounds.
these as a reference and a motivation for
Some basics for making the most of effect units
Use these guidelines when connecting effects pedals. Straight-Up Distortion
This setup is as basic as it gets, providing just the right amount of crunch and depth (courtesy of the RV-5) for serious riffing and power chords.
Use these own cool sounds. creating your guidelines when connecting Effect units that detect an envelope, such as auto wah and octave, should be connected close to the guitar. The wah pedal is generally connected before the distortion pedal so it can regulate the distortion, though hooking it up after the distortion still sounds good. The wah effect varies depending on whether its 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 totally shape your sound.
Connect maximumreverb units toward the end of the chain for effect. Decide where to connect chorus/delay/reverb by careful monitoring of the resulting sound. Connect a that the volumevolume pedal before delay effects sotherecan be lowered without cutting off
verberation. If connected before the distortion pedal, the volume pedal controls the distortion intensity. Connect a noise suppressor to remove distortion and modulation noise.

Volume Pedal

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

Modulation

Wah Pedal

Compressor /Limiter

Auto Wah

Guitar

Classic Surf Sound
To really ride the wild surf, theres no easier way than this tight setup. The BD-2 produces the tube-driven tone, while the RV-5s Spring mode makes things shimmer.

Funk Time

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

Big Ballad Tone

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

Rippin Reggae Tones

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

As Fat as It Gets

When nothing but the fattest, meanest distortion tones will do, this setup is what you want. Start with the insanely huge MD-2 Mega Distorion, throw in a NS-2 Noise Suppressor to clean things up, then add a doubling effect with the DD-6.
Techno Synth Sounds for Guitar
This unusual pedal setup simulates a keyboards signal path, with the sound being generated by the PS-5 Super Shifter and going through the PH-3 Phase Shifter and DS-2 Turbo Distortion for a very futuristic and aggressive synth-type sound. Welcome to the future.

OUTPUT B OUTPUT A

(MONO)

INPUT EXP

Tremolo Sound
Connect a DS-2 to the input of an LS-2. Set the LS-2 to A + B Mix mode and connect a TR-2 using a short wave to Loop A. Then connect a PH-3 to Loop B for leads. You can now blend your tremolo sound with your lead sound as desired.
An In-Your-Face Bass Solo Sound
This setting starts with a healthy amount of DS-1-type distortion and adds an octave above the original sound courtesy of the PS-5, making it great for in-yourface bass solos. Toward the end of the music example, the BF-3 Flanger is added (in Ultra mode) for an effect that will cut through any mix.
A Deep, Groovin Bass Tone Big, Rich Acoustic Tone
With this setup, you can get your standard electric guitar to sound like a lush acoustic-electric. Just plug into the AC-2 Acoustic Simulator and then add a hint of chorus with the flagship CE-20 Chorus Ensemble. You wont believe your ears! This setting employs an OC-3 Octave pedal with a CS-3 Compression Sustainer. The result is a deep, rich bass sound in the vein of the classic analog synths of the '70s. Perfect for deep, funky, nasty grooves.

Seven-String Metallicious
To get a monstrous seven-string metal sound, start with the MT-2 Metal Zone and add the EQ-20 Programmable EQ on preset four to tighten up the low end. Use the NS-2 Noise Suppressor to wipe out any excess noise, and finish off with the BF-3 Flanger for some metallic icing on top.
Killer Jet Phasing Sounds
By combining the popular Heavy Octave sound from the OD-20 and some rich, sweeping phaser tones from the PH-3, this pedal combination serves up some killer jet phasing sounds. Its perfect for everything from retro rock to techno.

Line Out

Guitar Effects Processor

Guitar Multiple Effects

The striking GT-6 Guitar Effects Processor starts with BOSSs most advanced COSM modeling engine evercomplete with 30 amp models, plus world-famous COSM OverDrive/Distortion Pedal Modeling and Wah Modeling. Add to this effects such as Un-V and De-Fretter, plus superb 24-bit sound quality, and youve got the best-sounding, most powerful floor multi-effects processor in history.
What you see is what you get on the ME-50. This superfriendly multi-effects processor for guitar is built tank tough, and packed with features. In addition to real-time programmability, dozens of pro-quality presets are built in, including delay, reverb, compressor, COSM overdrive/distortion, modulation, and more. Dedicated knobs are provided for each effect section. Theres also a builtin expression pedal, and inputs for two footswitches. If you want great-sounding effects without programming hassles, the ME-50 cant be beat.

Bass Effects Processor

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

Bass Multiple Effects

Bass players, this ones for you. The ME-50B takes the best of the ME-50 and caters it for the bottom end. In addition to COSM compressor/limiter and drive effects, the ME-50B offers T-Wah, Slow Gear, Defretter effects, and more. The innovative Sound Hold function sustains a low note while you jam over it, and the sound-on-sound recording feature, complete with Kick Drum effect, makes keeping time a breeze.

ACCESSORIES

PEDAL BOARD

FOOT CONTROLLERS

BCB-60

Pedal Board

FV-300L

Foot Volume/Expression

Foot Switch
The BOSS BCB-60 Pedal Board is a convenient way to set up and transport all your compact pedals. The unique padded interior can be customized to fit a wide range of gearfrom BOSS compact and Twin Pedals to effects from other manufacturers. A convenient AC adaptor supplies power for up to seven devices.
There are two types of BOSS Foot Switches to choose from depending on the application. The FS-5U (momentary type) engages a function while you hold down the switch. The FS-5L (latch type) changes the on/off status each time you press the switch.

FV-50H

FV-50L
The FV-300L is a sturdy, stage-ready volume pedal with a low-impedance design thats perfect for connecting after effects pedals and for use with keyboards.
Control anything from effects units to violin volume. The high-impedance FV-50H is designed for connection before guitar effects units, while the low-impedance FV-50L is designed for connection after effects units for use with keyboards.

TUNERS

Tuner & Metronome Lock your tuning and timing down tight with the ultra affordable, portable, and reliable TU-80 LCD tuner/metronome. The TU-80 tunes across an 8-octave range, and can even support 7-string guitars and 6-string basses.
Guitar & Bass Auto Tuner 76 The TU-15 is BOSS ultimate tuner, offering renowned needle-point accuracy, a backlit display, flat tuning, and a host of worlds first features not found in any other tuner. Especially noteworthy is the new Accu-Pitch function, which sounds a note when the correct tuning is reached. Accommodates the widest range of instrument tunings from guitar to six-string bassplus flat, double-flat, and open D, E, G and A tunings. 77

TU-12/12H

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

TU-12H TU-12

The worldwide standard used by top musicians everywhere, thanks to their extremely accurate, easy-to-use tuning. The TU-12 offers a tuning range from C1 to B5, while the TU-12Hs extended range of C1 to B6 is perfect for the high-range instruments such as flutes.
The TU-2 Chromatic Tuner features world-renowned BOSS TU-Series tuner technology in a convenient, easy-to-use compact pedal design. As with all BOSS compact pedals, the TU-2 is both sturdy and reliable, and its bright 7-segment LED ensures that you can read note/string information quickly and easily on the darkest of stages.

METRONOMES

AC ADAPTORS

DB-88 Dr.Beat

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

Reduce Noise Re

Noise Noi Suppressor
Eliminates noise resulting from connecting multiple effects units or using very high gain.
Modulate and Double Sounds
Chorus Flanger Phaser Tremolo Rotary
Combines a slight delay signal with the original signal and modulates it to create a thick, shimmering sound. Electronically creates a slight delay and combines it with the original signal for a swirling doubled effect.
CE-5, CH-1, CEB-3, CE-20 BF-3

Change Connections Ch

Line L Selector
Controls switching from solo to backing and also amp selection.
Am Amazing Loop Manipulation

L Loop Station

Enables a variety of realtime loop effects, such as sound-on-sound layering, etc.
Combines an out-of-phase signal with the original signal to produce a sound similar to the spinning sound of a rotary speaker.

RC-50, RC-20XL, RC-2

Varies the volume of the original sound cyclically to create a pulsating effect. Offers authentic modeled reproduction of the classic rotary-speaker effect.

Bassman/ D Deluxe Reverb

FBM-1 Bassman In conjunction with Fender, BOSS proudly unveils the FBM-1, a compact pedal that recreates the legendary tone of the 1959 Fender Bassman.
FDR-1 Deluxe Reverb Based on the Fender 1965-era Deluxe Reverba beloved tube amp known for its natural touch-responsive and distinctive snappy overdriven sound.
Double concentric control knobs offer more sound creation options, surpassing the limitations of ordinary compact pedals.
Compact Pedal Effects Specifications
AC Adaptor jack enables continuous, battery-free operation.
Indicator displays effect on/off status and battery check.
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
Electronic switch provides noise-free on/off switching. Digital processing, the first rst ever offered on compact t pedals, enables sophisticated cated effects such as delay, reverb, everb, pitch shifter, and harmonist. nist.
Battery replacement is quick and easy.
The history of BOSS reads like the history of guitar effects. From our legendary CE-1 Chorus pedalthe big, gray box that started it all in 1976to the worlds favorite line of compact effects pedals, weve been responsible for more guitar innovations than just about anyone else. Our compact pedal lineup began 30 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 replacementimmediately set it apart from other stomp boxes on the market. And it established the masterful design for all other BOSS effects pedals since.
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 10 million effects pedals worldwide.
Guitaroffering 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. Thats why playing rock guitar is so awesomeno other instrument gives you so much freedom to create your own signature sound. 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.
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.

Try This !

The FZ-5 uses COSM technology to authentically reproduce the characteristics and tone quality of three famous vintage fuzz effects of the 60s and 70s. Turn the FUZZ knob to the BOOST and youll create an intense distortion that exceeds the original instruments.

For solid, heavy riffs

If theres a classic setting for the ML-2, this is it. Emphasizing the aggression and sharpness of your playing through the HIGH & LOW EQ controls, this setting is perfect for low, heavy riffs for full-range solos alike.

For a psychedelic sound

Use the F mode to create a compressed fuzz tone. The thick sound of the FZ-5 coupled with long sustains will result in guitar leads that revives the wild rock sounds of the Hendrix era.

For extreme drop-tuning

This setting provides a dense, compressed sound, making the ML-2 highly compatible for use with 7-string guitars. Squeeze the settings slightly to add distortion, and activate the mute by down-picking to produce a tighter rhythmic tone.

For a trebly fuzz

Select the M mode to add a sense of compression and an emphasized high range. The crisp bass also delivered by the FZ-5 is perfect for tight riffing. For an even more radical sound, turn the FUZZ control into the BOOST range.
For death metal that sustains and soars
This setting delivers a soaring tone through long sustains. Even solos higher up on the neck remain strong and are never lost. Combine with rear pickups for an even more powerful sound.

For multi-octave solos

The O mode adds sounds an octave up while damping the tone. To increase that effect, drop the FUZZ control, which produces an even more melodic sound.

Using an overdrive unit

Using two distortion units (DS-2+MT-2)
CHECK LEVEL EQUALIZER DIST LEVEL CHECK TONE DIST

MIN MAX

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.

HIGH LOW

MIDDLE MID FREQ

OUTPUT

INPUT REMOTE
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.
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.
Combining boost effects with your guitar amp.
Using two distortion units (SD-1+BD-2)
Using an equalizer or compressor
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.
When using the SD-1 to boost gain, set the SD-1s DRIVE control lower and LEVEL higher. Set the BD-2 for normal distortion. 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 effects settings when using it as a booster.
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.
Distortion varies depending on the type of guitar pickup
There are two main types of guitar pickups, and they form the basis of an electric guitars sound.

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.

Delay 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 songs 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.

Reverb Unit

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 thats 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.

Single-coil pickup

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

When playing arpeggios

Turn DEPTH to the right to obtain an intense chorus effect. Boost the highs with EQ to get a brilliant effect.
For the sound of a vintage chorus
These settings on the CE-5 revive the warm, fresh chorus sounds of the classic CE-1. Use the HIGH & LOW filters to decrease the frequency response characteristics of both the high and low range for a truly special effect.
For guitar solos with vibrato
Turn RATE all the way up to obtain a light pulsating effect. Try matching the chorus rate to the song tempo.

Bass Chorus

Flanger
The CEB-3 features a low filter, so you can select the frequency band to which the chorus effect is applied. This lets you get all kinds of chorus effects, from a light chorus on harmonics only to a heavy chorus on all frequency bands. The space synthesis effect incorporated on the CEB-3 guarantees a natural and spacious chorus effect.
The new BF-3 gives guitarists and bassists an updated version of the classic BOSS flanger with the thickest stereo flanging sounds ever. Two new modes (Ultra and Gate/Pan) create stereo flanging with incredible deptheven Slicer-type effects and sounds that seem to swirl around the listener. Ultra Flanger
This sound, with maximum MANUAL and DEPTH settings and new ULTRA mode, will give you a deep flange unlike any other pedal.
For a modern chorus sound
Setting LOW FILTER to FLAT adds full chorus to even the lowest notes. The way you use the low filter is the key to obtaining the chorus effect you want.

For a light chorus sound

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

Rotary Flanger

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

For a deeper chorus

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

Gate Flanger

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

Phase Shifter

Tremolo
The PH-3 serves up vintage BOSS phasing effects including 4-, 8-, 10-, and 12-stage phasers, plus new Rise and Fall effects for unidirectional phasing. In Tap Tempo mode, you simply tap the pedal to sync the PH-3s phasing effects to your music, or you can plug in an optional expression pedal.
The TR-2 gives you vintage tremolo sounds like the classic '60s amps with built-in tremolo. The secret is an LFO waveform with the duty ratio carefully set to an optimal value for guitar. The TR-2 also features a WAVE knob, which lets you alter the LFO waveform from triangle to square, allowing a wider range of tremolo variations. For vintage tremolo

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

Vintage Phase Shift 1

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

Deep Phase Shift

By setting the STAGE control to 10-stage phasing, and bringing the resonance up to about 10 oclock, youll get a very deep phasing sound.

For rotary-speaker sound

The TR-2 delivers a rotary speaker sound effect that differs from that of a rotary simulator and other modulation-type effects. Need a faster tempo? Just turn the RATE control to the right.
Standard RISE / FALL Sound
New RISE and FALL modes give you unique phasing sounds never heard before, with DEPTH enough to cut through any mix.

For a stuttered sound

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

Equalizer

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

For sharp rhythm sounds

Cut the middle frequency bands around 800Hz and boost at 1.6kHz.
Equalizer, Wah & Acoustic Simulator
Use these effects to tonally shape your sound.
Equalizer: Lets you boost or cut frequency bands. Two types of equalizers are available a graphic equalizer that provides easy confirmation of set boost /cut points and a parametric equalizer with continuously variable boost /cut points. Auto Wah: Automatically creates a foot wah effect depending on your picking dynamics. Acoustic Simulator: Makes an electric guitar sound like an acoustic.
Equalization adds a new dimension to guitar solos
When you use an equalizer before a distortion unit, connecting another equalizer after the distortion unit lets you add emphasis to certain frequencies to make solos cut through.
For powerful guitar solos
Boost the middle frequency bands slightly and connect the unit after distortion and overdrive. Set the LEVEL control a bit higher than normal.

For a metal sound

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

Bass Equalizer

Dynamic Wah
The GEB-7s usable frequency range extends all the way from 50Hz to 10kHz, allowing it to accommodate just about any type of bass guitar, even 5-string basses. Precise tonal adjustment is available through seven frequency bands, providing more control over the all-important midrange which is crucial for achieving a great bass sound. Each band can be boosted or cut over a +/-15dB range for the exact tonal shaping you want.
The AW-3 is the worlds first compact pedal to produce human-voice type wah sounds using a Humanizer effect. In addition to a wide range of killer auto wah sounds, theres an EXP Pedal mode for easy foot control, plus a dedicated Bass input for use with a bass guitar. Standard Picking Wah
Adjust the SENS knob to match your picking strength, and the AW-3 will produce some very funky dynamic wah sounds.

For standard rock

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

For slap bass

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

Synth-like Picking Wah

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

To simulate a bass amp

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

Human-like Voice

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

Acoustic Simulator

Bass Synthesizer
The AC-3 employs COSM modeling to transform the sound of an electric guitar into a beautiful acoustic. Select from four sound types, and use the BODY and TOP controls to reproduce body resonance, attack, and overtones.
Utilizing the latest in DSP technology, the SYB-5 faithfully reproduces the fat and sharp sound characteristic of classic analog synthesizers. The 11 internal synth sounds are based on combinations of three oscillator waves (Saw, Square, Pulse) and filters that fluctuate according to the envelope and LFO changes. The external pedal input means that bassists can put their foot into the performance by connecting an EV-5 Expression Pedal (sold separately) to control the filter and LFO rate.

COMPRESSOR INPUT LEVEL OUTPUT LEVEL LIMITER TIME

For chord work

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

For thick, rich sounds

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

Bass Limiter Enhancer

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

For use as a limiter

Set ENHANCE to MIN and turn RATIO fully to : 1 to get a consistent, stable bass sound across its wide dynamic range.
These effects change the pitch of the original sound and can simultaneously output it with the dry signal to produce harmonies.
Octave Unit: Produces sound thats 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.
Raise RATIO to change the original bass sounds envelope for natural compression.
Add more ENHANCE for greater clarity and presence to make a much more powerful slap sound.
Using an octave effect before a distortion unit
An octave effect can be used to create a monster distortion sound when connected before a distortion unit. To maintain accurate pitch, connect the Octave as close as possible to the guitar in the signal chain.
Pitch shifting with attitude
Using an expression pedal, you can obtain convincing tremolo bar effects without a whammy bar. Just step on the pedal to bend notes up or down in real time. The PS-5s Flutter effect can even simulate fast or slow up-and-down tremolo movement with adjustable timing and pitch.

SUPER Shifter

Conventional pitch shifter vs. intelligent pitch shifter
A conventional pitch shifters effect conforms to the direct sound, always maintaining the pitch interval youve set. But an intelligent pitch shifter automatically detects guitar signal pitch and adds correct harmony to the notes played by altering the pitch shift amount as required for more musical enhancement. You can make your choice depending on your specific application.
The PS-5 is really two effects in one an intelligent pitch shifter / harmonist which also gives you wild Tremolo Arm / Flutter effects. Key-specific pitch shifting is possible up to +/-2 octaves. The Tremolo Arm effect bends notes up or down to a pre-selected value, while the Flutter effect simulates a fast or slow slap of a tremolo bar.
For 12-String Guitar Sound

For Standard Harmony

This setting produces a 12-string guitar sound with a brilliant tone perfect for ballads and clean, acoustic-style strumming.
Use this setting to produce a superaccurate key-specific harmony on your melodic leads and solos.
Use a conventional pitch shifter for:
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

For Arm Down

For Simulated Cricket
This setting simulates the sound of a dive bomb on a tremolo bar, dropping your guitars tuning down to -2 octaves.
Use this setting to simulate a fast or slow slap or slam of the tremolo bar without the tuning headaches afterwards!
Use an intelligent pitch shifter for:
incredibly beautiful twin-guitar harmonies quick single-note passages rich guitar orchestration

For Hawaiian

For Detuned Sound
Produces a lap steel sound with heavy vibrato characteristic of Hawaiian music.
The direct signal is overlapped with a slightly pitch-shifted signal for a thick, rich guitar sound.

SUPER Octave

Noise Suppressor
Transform your tone with the OC-3the worlds first compact pedal with true polyphonic octave functionality. The OC-3 features three expressive and powerful performance modes: Poly mode, Drive mode with distortion, and the original OC-2 mode, capable of producing 1- and 2-octave layers. Poly mode allows you to process chords, and designate a note range.
A triple threatthis setting allows unaffected guitar sounds on the first four strings, and unison guitar and bass on the others. You can blend guitar sounds from strings and bass sounds from strings 56 by setting Range in Poly octave mode. An effect unit which is a potential source of noise is connected to the Send/Return jack. Connect a delay after the NS-2, not to the effects loop, in order to preserve its natural quality. When connected to an AC Adaptor, the NS-2 supplies power to other effect units.
The NS-2 effectively eliminates noise and hum of the input signal while preserving the original sounds tonality. The natural attack and envelope are unaffected thanks to BOSSs unique noise detection circuit that precisely separates the guitar sound and the noise components.
Unison performance with guitar and bass

9V DC OUT

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

PSA-Series

AC Adaptor

EFFECTS

LOUD OD-1 modeling sound Fairly bright metal sound
This original overdrive setting is perfect for a slightly-edgy rock sound with an octave being produced on the low notes.
This setting produces the classic sound of the BOSS OD-1 OverDrive pedal, world renowned for its smooth tone and sustain.
This custom sound has lots of bottom and enough top-end and gain to shred through everything from new-school metal to punk.
From vintage chorus effects to totally modern sounds, the CE-20 is the ultimate programmable stereo chorus pedal. Start with six distinct chorus modes from acoustic guitar and bass optimized sounds to classic Dimensional D and CE-1 effects then tweak your sounds and save them into memory for instant recall.
Strap on a seatbelt for BOSS most powerful delay pedal. The DD-20 offers up to 23 (!) seconds of true stereo delay, 11 delay modes (including modeled analog and tape delay, and sound-onsound recording), Smooth and Twist modes for subtle-to-radical delay effects, a memory function for changing delay modes seamlessly, and a new push-button knob for setting delay time in fine or coarse increments.
SUPER RICH DIMENSIONAL D modeling sound CE-1 modeling sound
Tape echo sound Dotted-8th delay with tempo input Wild twist sound
This full, rich chorus sound is about as lush as it gets, yet remains musical enough for a variety of playing.
In DIMENSIONAL D mode, the CE-20 yields the classic sound of the Roland SDD-320, with the RATE knob selecting between the various settings.
This mode produces the vintage CE-1 chorus sound, complete with INTENSITY control.
A beloved blast from the past this patch emulates Rolands renowned Space Echo RE-201. Its a classic dual tape-head effect.
A dotted-8th delay can be created with perfect timing by simply tapping the tempo with the DD-20s foot pedal. Naturally, the tempo can be set for all delay-mode sounds.
The delay sound oscillates and accelerates steadily when you hold down the ON /OFF pedal in the TWIST mode. Combined with distortion, this setting takes you on a truly wild ride!
The RT-20 faithfully reproduces classic rotary sounds through COSM modeling. Controls include rotary speed, rise and fall time when switching between SLOW and FAST, volume adjustment for both horn and bass speakers, OVERDRIVE, and a stunning visual display of the virtual rotors.

Some basics for making the most of effect units
Use these guidelines when connecting effects pedals.
Effect units that detect an envelope, such as auto wah and octave, should be connected close to the guitar. The wah pedal is generally connected before the distortion pedal so it can regulate the distortion, though hooking it up after the distortion still sounds good. The wah effect varies depending on whether its 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 totally shape your sound. Connect reverb units toward the end of the chain for maximum effect. Decide where to connect chorus/delay/reverb by careful monitoring of the resulting sound. Connect a volume pedal before delay effects so that the volume can be lowered without cutting off the reverberation. If connected before the distortion pedal, the volume pedal controls the distortion intensity. Connect a noise suppressor to remove distortion and modulation noise.
Reverb Delay Chorus Volume Pedal
To get maximum low-frequency power, turn the AD-3s BOTTOM (bass) knob toward the RICH side. Try turning on CHORUS during an arpeggio for a surprisingly effective result as well.
To emphasize the melody line, set the TOP (treble) on the HARD side and increase the REVERB. To get a tight bluesy sound, decrease the BOTTOM (bass) amount.
Modulation Equalizer Wah Pedal Distortion Compressor /Limiter Noise Suppressor Auto Wah Octave Guitar

Classic Overdrive Sound

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

Classic Surf Sound

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

Straight-Up Distortion

Big Ballad Tone
By combining the OD-20 Drive Zone in classic OD-1 modeling mode, then connecting a CE-20 Chorus Ensemble, youve got that classic overdriven-chorus sound that launched a thousand ballads.

Composite Object Sound Modeling
Once a musical instrument generates sound vibrations, it reaches the human ear through various mediating objects, each of which significantly affects the sound. The material and configuration of the instrument, the electric/magnetic amplifying system, the air and the reverberation of the room all affect the final sound. Sound modeling, the latest DSP technology, virtually reconstructs these objects. Rolands breakthrough Composite Object Sound Modeling (COSM ) uses the advantages of multiple modeling methods and succeeds in accurately emulating existing sounds, as well as producing sounds that have never before been created.
All specifications and appearances are subject to change without notice. All trademarks are property of their respective companies.
Printed in Japan Sep. 2007 RAM-4247 GR-GEN-NK CG-3