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 studioquality 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 brand-new 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 7 million effects pedals worldwide.
AC adaptor jack enables continuous, battery-free operation.
Double concentric control knobs offer more sound creation options, surpassing the limitations of ordinary compact pedals.
Electronic switch provides noise-free on/off switching.
Battery replacement is quick and easy.
Digital effects, the first ever offered on compact pedals, enable 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

A DD DISTORTION

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, warm-sounding distortion like the sound of an overdriven tube amp. Distortion: Creates harder distortion effects ideal for heavy metal and hard rock.
For a great guitar sound, start with the right distortion.
Wondering about the differences between BOSS' 8 OverDrive and Distortion pedals? The following chart will give you an idea as to each pedal's sound.

Distortion Chart

Metalic
MD-2 MT-2 DS-2 Turbo ll DS-2 Turbo l OS-2 Dist DS-1 OS-2 Mix
Distortion effects: Yesterday.
Back in the days when PA systems were designed strictly for vocals, the only way to boost guitar volume was to turn your amp up to 10. Distortion effects occurred naturally as input signals overloaded the vacuum tube preamp and output stage as well as the speakers. A beneficial side effect was the unique tones that distortion created.

Smooth

BD-2 OS-2 OD OD-3

. and Today

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

Natural

Amp volume and tone control are crucial to getting your sound. Amp sound characteristics depend not only on the output stage but on the cabinet and speakers as well.

OverDrive

Track 2

SUPER OverDrive

Track 3
The OD-3 is the ultimate BOSS OverDrive unit, capable of producing the widest range of smooth overdrive tones with a dynamic response which surpasses any other overdrive pedal on the market. Based on a dual-stage overdrive circuit, the OD-3 sounds bigger and fuller than previous pedals. Sustain for days with a tone to die for. that's the OD-3.
The SD-1 produces the warm, smooth distortion of an overdriven tube amplifier while maintaining the subtle nuances of your picking technique. BOSSs unique asymmetric overdrive circuitry delivers a genuine overdrive effect for a classic guitar sound. A tone control is also provided for precise tonal adjustment.

SOUND DEMO

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

To produce a mild overdrive sound
Set the DRIVE control at a lower level and avoid excessive TONE levels. Good for a bluesy sound.
For a bluesy, wide-open sound
With this setting, the OD-3 will push your amp a little harder, producing a great natural overdriven blues sound. It preserves all of your guitar's natural tone and dynamics while giving you some extra drive.
To produce a hard overdrive sound
Turn DRIVE all the way up and boost the highs with the TONE control.

For big, fat solos

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

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

Track 4

OverDrive/Distortion

Track 5
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.
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.
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.

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.

Track 6

TURBO Distortion

Track 7

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.

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

Track 10
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.

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

Track 11

Digital Reverb

Track 12

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

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. It's 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 won't 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

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.

Track 13

SUPER Chorus

Track 14

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.
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.
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.
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.

Track 15

Phase Shifter

Track 16

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

Ultra Flanger

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

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 o'clock, you'll 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
For an electric piano sound
To get the smooth tremolo sound used with electric pianos, set RATE low and WAVE to a triangular wave. The slow RATE is the key to getting a pronounced, hypnotic tremolo effect.

Track 17

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. Foot Wah: Provides pedal control over the filters midrange with a sharp peak. Auto Wah: Automatically creates a foot wah effect depending on your picking dynamics. Acoustic Simulator: Makes an electric guitar sound like an acoustic.

Super Shifter

Track 23
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.
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

3 For Arm Down

This setting simulates the sound of a "dive bomb" on a tremolo bar, dropping your guitars tuning down to -2 octaves.

4 For Simulated Cricket

Use this setting to simulate a fast or slow slap or slam of the tremolo barwithout the tuning headaches afterwards!
Use an intelligent pitch shifter for:
incredibly beautiful twin-guitar harmonies quick single-note passages rich guitar orchestration

5 For Hawaiian

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

Octave

Track 24
Three separate tones are reproduced by the OC-2the original tone, a second tone one octave below the original, and a third tone two octaves below the original. With just a single guitar, you can obtain sounds three octaves thick, and each part has a separate volume control. The OC-2 features natural, clear octave sounds with stable pitch even for staccato picking sounds.
To simulate unison guitar and bass
Turn up the volume level of OCT 2 to simulate playing in octaves with a bass guitar. Use with a distortion unit for thicker sound.
Designed exclusively for bass frequencies
BOSS bass pedals are specially designed for the wide frequency band of the bass guitar, including six-string basses. For example, on a regular graphic EQ, the frequency bands are equally divided. On a bass pedal such as the GEB-7 the frequency bands are divided into optimal ranges for bass guitar. On the CEB-3, a special circuit applies chorus only to the highs of the bass sound. This provides a colorful chorus effect while preserving the powerful low 45 end of the bass sound. All models of the series are exclusively dedicated to bass guitar players.

Track 31

Track 32

If funk is your game, you owe it to yourself to check out the AW-3 Dynamic Wah.
When nothing but insanely huge distortion sounds will do, stomp on an MD-2.
Both retro and future-minded bassists can find inspiring phasing sounds in the PH-3.

SYB-3 MODES

(SAW): A sharp-edged sound. (SQR): A softer sound than Mode 1. INTERNAL SOUND Pitch and attack data is detected from the input sound to trigger the internal DSP sound source. (PWM): The square wave of Mode 2 is modulated to make a thicker sound. sawtooth (-1oct): A sound. wave one octave below the Mode 1 +Noise: The Mode 1 sound added with noise. +Noise: The Mode 3 sound added with noise. +Noise (-oct): The Mode 4 sound added with noise. The cutoff frequency of the filter shifts higher Up: based on the level of the input sound. The cutoff frequency of the filter shifts lower Down: based on the level of the input sound. The cutoff frequency of the filter shifts higher Up: based on the level of the input sound. The cutoff frequency of the filter shifts lower Down: based on the level of the input sound.

Track 33

Track 34 Track 35
For ballads and big, rich bass sounds, the RV-5 is tough to beat.
This classic Octave pedal has found its way into more professional bass rigs than any other.
WAVE SHAPE The input sound is directly processed to create the synthesizer sound. T WAH An auto-wah effect is added to the bass sound.

Track 36

CS-3 Compression Sustainer
The CS-3 is the perfect pedal for smoothing out your tone and giving you maximum punch.

Track 37

Track 38
The DD-6 can add dimension and texture to any bass sound.
When you really want to let your bass stand out in the mix, step on a BF-3 Flanger using the dedicated Bass input.
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.

The PW-10 brings the world's premier modeling wah technology to the bass domain. Things just got a lot more funky!

Track 39

The OD-20 puts a collection of the world's finest overdrive and distortion pedals at your feet.

Track 40

USING THE NS-2
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.

Not lit

This top-of-the-line programmable EQ pedal is perfect for quickly selecting between solo and backing bass sounds, acoustic-electric tones and more.

Track 41

Track 42

Sound on Sound

Bass sound changes every 4 measures 1. Direct Bass sound 2. Phaser (PH-3) 3. GATE mode (RV-5) 4. Direct Bass sound 5. Wah (AW-3, MODE: UP) 6. Arm up to +2 Oct. (PS-5) 7. Phaser (PH-3) 8. Pitch Shifter (PS-5) 9. Scratch noise of strings 10. REVERSE (RC-20) 11. Direct Bass sound
The first half of sound demo
The latter half of sound demo
*Use a Roland PCA-20A (8-PIN parallel) power connection cable.
The LS-2 makes it easy to switch settings among several effects and to route input and output signals. Two line loops and six looping modes provide a wide variety of applications. Used with an AC adaptor, the LS-2 can also supply 9V DC power to several BOSS compact pedals. This makes it an ideal power supply and master switching unit for multiple effects setups.

3 A < > B mode

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

> 4 A B / BYPASS mode

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

USING THE LS-2

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

5 OUTPUT SELECT mode

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

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.

Track 45

Track 46
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 that's easy to use! A long sampling time of up to 5 min. 30 seconds, helpful Guide Click and Loop Quantize functions, Realtime Tempo Change and hands-free control make the RC-20 Loop Station an essential tool for creating and playing back sampled loops on the fly.

Guitar Clean Cutting

Mid Boost for the Lead
SOUND DEMO Sound on Sound
Recording Auto loop Riff (4 measures) Overdub a gliss Riff (4 measures) Gliss Overdub a high note riff Riff (4 measures) Gliss High note riff Overdub an arpeggio Riff (4 measures) Gliss High note riff Arpeggio Overdub a solo
EQ-20 Electric Guitar Guitar Amplifier OverDrive/ Distortion EQ-20 Electric Guitar

Guitar Amp

Riff (4 measures)

Thrash/Metal

Acoustic

Jazz Guitar

Guitar Amplifier
OverDrive/ Electric Guitar Distortion

Track 47

Track 48
The WP-20G Wave Processor produces fat synth-type sounds in a compact pedal designed for 13-pin GK pickup-equipped guitars. A total of six unique sounds are providedincluding Saw Lead, Square, Ring Mod, Slow Gear, Sitar and Acousticas well as 11 chorus and delay effects, plus simple knobs for easy tweaking.
* Requires optional GK-2A Divided Pickup.
The OC-20G Poly Octave is the worlds first polyphonic octave pedal for use with GK pickupequipped guitars. Octaves can be assigned to different strings for simulated guitar/bass combos, and built-in electric and acoustic guitar simulationsplus thick distortionadd to the sonic possibilities. This pedal even accommodates playing chords while using octaves!

SAW LEAD

OUTPUT B OUTPUT A

(MONO)

INPUT EXP

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

Tremolo Sound

Track 58
An In-Your-Face Bass Solo Sound

Track 61

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.
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.

BOSS CD BOSS CD

A Deep, Groovin' Bass Tone

Track 62

Big, Rich Acoustic Tone

Track 59

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

Track 60

Killer Jet Phasing Sounds

Track 63

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.

Line Out

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

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

Track 17 Track 18 Track 19 Track 20 Track 21
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.
Composite Object Sound Modeling
Once a musical instrument generates sound vibrations, it reaches the human ear through various mediating, objects, each of which significantly affects the sound. The material and configuration of the instrument, the electric/magnetic amplifying system, the air and the reverberation of the room all affect the final sound. Sound modeling, the latest DSP technology, "virtually" reconstructs these objects. Roland's breakthrough Composite Object Sound Modeling (COSM) uses the advantages of multiple modeling methods and succeeds in accurately emulating existing sounds, as well as producing sounds that have never before been created.
Track 22 Track 23 Track 24
OD-3.Page 10 SD-1.Page 11 BD-2.Page 12 OS-2.Page 13 DS-1.Page 14 DS-2.Page 15 MT-2.Page 16 MD-2.Page 17 DD-6.Page 23 DD-3.Page 24 RV-5.Page 25 CE-5.Page 28 CH-1.Page 29 BF-3.Page 30 PH-3.Page 31 TR-2.Page 32 GE-7.Page 34 AW-3.Page 35 PW-10..Page 36 AC-2.Page 38 CS-3.Page 40 PS-5.Page 43 OC-2.Page 44 ODB-3.Page 46 CEB-3.Page 47
GEB-7.Page 48 LMB-3.Page 49 SYB-3.Page 50 AW-3.Page 51 MD-2.Page 51 PH-3.Page 51 RV-5 #1.Page 51 RV-5 #2.Page 51 OC-2.Page 51 DD-6.Page 52 CS-3.Page 52 BF-3.Page 52
Track 39 Track 40 Track 41 Track 42
PW-10..Page 52 OD-20.Page 52 EQ-20..Page 52 RC-20..Page 52 OD-20.Page 58 CE-20..Page 60 EQ-20..Page 62 RC-20..Page 63 WP-20G.Page 64 OC-20G.Page 65

Twin Pedal Series

Track 43 Track 44 Track 45 Track 46 Track 47 Track 48
Creating New Sounds "Challenge yourself"

For Bassists

Track 25 Track 26
Classic Overdrive Sound..Page 67 Straight-Up Distortion..Page 67 Versatile Setup..Page 67 Classic Surf Sound..Page 68 Big Ballad Tone...Page 68 As Fat as It Gets...Page 68 Funk Time...Page 69 Rippin' Reggae Tones..Page 69 Techno Synth Sounds for Guitar..Page 69 Tremolo Sound..Page 70 Big, Rich Acoustic Tone..Page 70 Seven-String Metallicious..Page 70 An In-Your-Face Bass Solo Sound.Page 71 A Deep, Groovin' Bass Tone..Page 71 Killer Jet Phasing Sounds..Page 71