Guitar & Bass Effects / Tuners / Metronomes

Vol.18

Eight Million Pedals Strong
At BOSS, we have been making the worlds most recognized and respected line of compact guitar effects and accessories for nearly three decades. From classics effects such as our legendary chorus and delay sounds to the latest cutting-edge tools for modern music making. When youre serious about your sound, plug into a BOSS.
Bass Effect Units Reduce Noise Change Connections Next-Generation Pedals Acoustic Processors Challenge Yourself Multiple Effects Accessories Solution for Power Supply Problems 79 AB-2 2-Way Selector AC-2 Acoustic Simulator ACA-Series AC Adaptors AD-3 Acoustic Instrument Processor AD-5 Acoustic Instrument Processor AD-8 Acoustic Guitar Processor AW-3 Dynamic Wah BCB-60 Pedal Board BD-2 Blues Driver BF-3 Flanger CE-5 Chorus Ensemble CE-20 Chorus Ensemble CEB-3 Bass Chorus CH-1 SUPER Chorus CS-3 Compression Sustainer 38 DB-12 Dr. Beat DB-66 Dr. Beat DB-88 Dr. Beat DD-3 Digital Delay DD-6 Digital Delay DD-20 Giga Delay DS-1 Distortion DS-2 TURBO Distortion EQ-20 Advanced EQ FS-5L Foot Switch FS-5U Foot Switch FV-50H Volume Pedal FV-50L Volume Pedal FV-300L Foot Volume/Expression GE-7 Equalizer 34 GEB-7 Bass Equalizer GT-6 Guitar Effects Processor GT-6B Bass Effects Processor LMB-3 Bass Limiter Enhancer LS-2 Line Selector MD-2 Mega Distortion ME-50 Guitar Multiple Effects ME-50B Bass Multiple Effects MT-2 Metal Zone NS-2 Noise Suppressor OC-3 SUPER Octave OD-3 OverDrive OD-20 Drive Zone ODB-3 Bass OverDrive OS-2 OverDrive/Distortion 13 PH-3 Phase Shifter PS-5 SUPER Shifter PSA-Series AC Adaptors PW-10 V-Wah RC-20 Loop Station RV-5 Digital Reverb SD-1 SUPER OverDrive SYB-3 Bass Synthesizer TR-2 Tremolo TU-2 Chromatic Tuner TU-6 Guitar Tuner TU-8 Guitar & Bass Auto Tuner TU-12/12H Chromatic Tuners TU-15 Chromatic Tuner TU-80 Tuner & Metronome 32 52, 76 77
The Many Roles of Guitar Effects History of BOSS Add Distortion Boost Tips Guitar Amp Settings Add Acoustic Dimensions Modulate and Double Sounds Change Tonality of Sounds Regulate Gain Level Change a Sounds Pitch
THE MANY ROLES OF GUIT AR EFFECTS
BOSS offers an extensive selection of guitar effects that can be used to create an incredibly wide and expressive range of sounds. Here is a quick reference guide to the type and function of each unit. Add Distortion

Overdrive

OD-3, SD-1, BD-2, OS-2, ODB-3, OD-20
Change T onality Of Sounds

Equalizer

GE-7, GEB-7, EQ-20

Acoustic Simulator

Boosts or cuts a particular frequency band for flexible tone control.
Makes an electric guitar sound like an acoustic.

AW-3, PW-10

Bass Synthesizer
Produces a distinctive wah wah effect by boosting or cutting a specific frequency range.
Makes a bass guitar sound like a synthesizer.

Regulate Gain Level

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

Compressor

Limiter
Simulates the sound of an overdriven tube amp and responds to playing touch.
Produces harder, metallic distortion with many upper harmonics.
Reduces the output of sounds over a set threshold relative to the strength of the input signal, making levels consistent and improving sustain.
Limits the peak levels of sounds to precisely that of the threshold level.

Add Acoustic Dimensions

DD-6, DD-3, DD-20

Change a Sounds Pitch

Reverb
5 Pitch Shifter/Harmonist

Octave

Samples the original sound and plays it back delayed to produce naturalor artificial sounding echo.
Adds the natural acoustic ambiance present in rooms and halls.
Creates a signal one or two octaves lower than the original signal.
Provides intelligent, key-specific pitch shifting +/ 2 octaves, plus Tremolo Arm and Flutter effects to give you convincing whammy bar-type sounds.
Modulate And Double Sounds

Chorus

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

Reduce Noise

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

Noise Suppressor

Combines an out-of-phase signal with the original signal to produce a sound similar to the spinning sound of a rotary speaker.
Eliminates noise resulting from connecting multiple effects units or using very high gain.

Flanger

Tremolo TR-2
Varies the volume of the original sound cyclically to create a pulsating effect.

Change Connections

Line Selector
Electronically creates a slight delay and combines it with the original signal for a swirling doubled effect.
Controls switching from solo to backing and also amp selection.

History of BOSS

Indicator displays effect on/off status and battery check. AC adaptor jack enables continuous, battery-free operation. Electronic switch provides noise-free on/off switching.
Double concentric control knobs offer more sound creation options, surpassing the limitations of ordinary compact pedals.
Digital processing, the first ever offered on compact pedals, enables sophisticated effects such 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
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 27 years ago in 1977 with the classic OD-1 OverDrive.
Its warm, smooth overdrive sounds and breakthrough BOSS pedal features heavy-duty construction, rubber pads on top and bottom, recessed control knobs, silent switching, a built-in LED, and easy battery 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 8 million effects pedals worldwide.

A DD D ISTORTION

Guitaroffering more tonal depth than any other instrument

For a grunge fuzz sound

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

Metal Zone

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

Mega Distortion

Watch out! The MD-2s dual Distortion and Gain Boost circuits take thick, heavy sounds to a whole new level. Special Gain Boost and Bottom controls let you shape your tone for maximum volume and lowend punchperfect for crushing new school metal sounds and beyond.

USING THE MT-2

For a fat metal sound
Boost the highs and lows with EQ. Great for metal solos and riffs.

USING THE MD-2

MD-2 Standard Sound
This setting will give you a great sound for playing heavy rhythm parts.
For aggressive thrash metal
To get the MT-2s unique, extremely distorted sound, boost HIGH and LOW and cut MID. Set DIST fairly high. This is a no-holds-barred, aggressive sound ideal for thrash metal.

Powerful Low Boost

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

For '70s power rock

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

Solid Distortion

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

Using an overdrive unit

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

(REMOTE)

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 warm, vintage chorus
Use the two filters to cut both high and low bands.
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.
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.

Phase Shifter

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.

USING THE BF-3

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

USING THE PH-3

Vintage Phase Shift 1
This setting emulates the sound of a vintage phaser pedal, complete with fourstage phasing and moderate DEPTH setting.

Rotary Flanger

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

Stereo Out

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.

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.

Standard FALL/RISE Sound

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

OUTPUT A (MONO)

Tremolo
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.
CHANGE TONALITY OF SOUNDS
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 gui- 33 tar sound like an acoustic.

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.

CHANGE A SOUNDS PITCH

Octave & Pitch Shifter
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.

USING THE CS-3

For a mellow sound
This setting is ideal for solos in ballads or mellow songs. Add a chorus effect for even more depth.

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.
Using an octave effect before a distortion unit
Pitch shifting with attitude
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.
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.
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.

Super Shifter

The PS-5 is really two effects in onean 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.

USING THE PS-5

1 For 12-String Guitar Sound 2 For Standard Harmony
This setting produces a 12-string Use this setting to produce a superguitar sound with a brilliant tone accurate key-specific harmony on per fect for ballads and clean, your melodic leads and solos. acoustic-style strumming.
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

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.

USING THE GEB-7

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.

USING THE LMB-3

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.

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 razorsharp pop.

For finger picking

Raise RATIO to change the original bass sounds envelope for natural compression.

To simulate a bass amp

Cutting the high frequency bands gives you a round sound that effectively simulates the sound of a bass amp.
Add more ENHANCE for greater clarity and presence to make a much more powerful slap sound.
The worlds first bass synthesizer in a standard-sized stomp box, the SYB-3 turns your bass guitar into a synth bass for hip-hop, dance, or urban funk styles. Two separate outputs let you mix a straight bass sound with synth bass, and 11 different modes give you a variety of synth-bass effects. A HOLD function sustains a synth note while you play over the top of it, and a T-Wah effect provides a classic synth-wah tone.
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.

USING THE SYB-3

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

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.

Sound-on-sound recording

Sounds are overdubbed during loop playback only while the pedal is held down. Continue to hold the pedal down as you play the phrase you want to record.
Using the Twist mode, you can modulate the delayed sound in wildly expressive ways. Heres a colorful cyclic effect that accelerates steadily as you stomp the pedal.
In this mode, you can record up to 23 seconds of performance material and overdub as many new layers as you like!

Stereo setup

Loop setup

USING THE DD-20

Tape echo sound
A beloved blast from the pastthis patch emulates Rolands renowned Space Echo RE-201. Its a classic dual tape-head effect.
Guitar Amp DD-20 CE-20 OD-3 Guitar DD-20 Guitar Amp Guitar
The DD-20 offers stereo input and output paths. By combining stereo chorus effects from pedals such as the CE-20, you can create incredibly rich, immersive textures and ambiences.
The DD-20s input and output levels can be switched from 20 or +4dB, making it compatible with virtually any guitar or bass amps Send/Return path.
This innovative pedal gives guitarists, bassists and other live performers 10 bands of programmable EQ with stellar sound quality. Physical sliders make instant EQ tweaks easy, and a straightforward Write function permits instant storage of EQ settings into the nine memory locations.
Finally, a phrase recording and sampling pedal thats easy to use! A long sampling time of up to 5 min. 30 seconds, helpful Guide Click and Loop Quantize functions, Realtime Tempo Change and hands-free control make the RC-20 Loop Station an essential tool for creating and playing back sampled loops on the fly.

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.

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.

Series

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

DB-66 Dr.Beat

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

PCS-20A

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

Bag Compatibility Guide

BOSS-BAG-L (23x12x3.5)
(Unit fits in bag with power supply except where noted) BR-8 BR-1180/CD GT-3/6/6B/8 (snug fit NO pwr supply) GT-5 GR-09/1/20/33 GS-10 MC-303/307 ME-33/50/50B RMP-1/3

BOSS-BAG-L2 (24x14x5)

Any AD Any DR Any GR Any GT Any RMP Any TD Any VG BR-864/1180/1180CD BR-1200CD/1600CD FC-200 GS-10 MC-505 PCR-1/M1 PCR-30/M30 SP-606 SPD-6/S VG-8/88 V-Bass

BR-BAG (15x11x3)

Any AD Any Compact or Twin pedal Any DR Any ME Any RMP Any TD BR-532/864/900 GR-20 GS-10 SP-404 SPD-6 VS-CDR1/2/3 VT-1
2009 Roland Corporation U.S.

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Any AD Any DR Any GR Any RMP Any TD BR-532/864/1180 D2 GS-10 MC-09/303 MC-50/50MKII R-70 R-70 RA-50 SPD-6/S SP-404 VT-1

BR-1180BG (19x14x6)

CB-RMP (11x4x6)
Any RMP Any TD Two Drum Pads GT-3/5 GR-20/33 GS-10 ME-50/50B Motion Dive Controller w/ Laptop PCR-1/ M1 SP-404 SPD-6 VT-1

GROOVE-BAG2 (14x13x5)

BR-600 BR-864 BR-900CD CD-2E GS-10 M-16DX ME-50/50B ME-70 SP-808/808EX

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E-09 Fantom-S Fantom-Xa Fantom-X6 GW-7 Juno-D Juno-G RS-5/50/70 V-Synth XP-30

KEY-BAG1 (46x14.5x6.5)

RAM-2057US (18x12x3)
ME-5/6/6B ME-8/8B ME-10/30/33 ME-50/50B

VS-840BG (17x14x5)

Any AD Any DR Any GR Any RMP Any TD BR-532/864 GS-10 MC-09/303/307 R-70 SP-808/606/505/404 SPD-6/S VS-840/880/890 VT-1

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Legacy Products

BOSS-BAG-S (17x9x3)

AD-3/5 BR-532/864 D-2 (snug fit w/pwr supply) DR-202 DR-550/MKII (with power supply) DR-660/670/770/880 DR-3/5 EF-303 (snug fit w/pwr supply) GI-20 JS-5 JV-1010 ME-30 SP-202 SP-303/404 (snug fit w/pwr supply) SP-505/606 (snug fit NO pwr supply) SH-32 SPD-6 (snug fit NO pwr supply) VF-1

BOSS-BAG-S2 (16x14x7)

Any AD Any Compact or Twin Pedal Any DR Any ME Any RMP Any TD BR-532/864/900 GR-20 GS-10 MC-09 PCR-1/M1 SP-202/303/404 SPD-6 VT-1

PCR-BAG (23x6x14)

Any AD Any DR Any GR Any GT Any RMP Any TD BR-864/1180 FC-200 GS-10 Motion Dive controller PCR-1/M1 PCR-30/M30 VT-1

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