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.

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

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OverDrive/Distortion

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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.

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TURBO Distortion

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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.
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.

For mild distortion

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

For standard distortion

This setting gives you standard Turbo Mode I sounds. Even with DIST all the way up, you get a smooth, hard distortion without breakup. This is an effective setting for solos.

For hard distortion

For this setting you should use your bridge pickup. When the TONE level is raised, highs are strengthened and a powerful distortion effect results. Adjust the amp and guitar volume carefully to avoid excessive effect depth.

The AW-3 is the world's 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, there's an EXP Pedal mode for easy foot control, plus a dedicated Bass input for use with a bass guitar.

For sharp rhythm sounds

Cut the middle frequency bands around 800Hz and boost at 1.6kHz.

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 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.

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.

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.

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The PW-10 V-Wah is the world's first programmable modeling wah pedal, giving you instant access to six classic and modern wah pedal sounds, as well as all-new "Double Resonance," "Uni-V" and "Voice" modes! It also features overdrive/booster effects, three digital memories for storing sounds, noise-free infrared operation and more.

Analog synth-like sound

"Talking" modulation sound
Combination of wah and distortion
To get a cool analog synth-type sound, set the TYPE to CUSTOM, give it a medium WAH RANGE, and add a ton of DRIVE. To make your wah pedal talk, set it to VOICE mode with a low WAH RANGE and a healthy dose of DRIVE.

Oh Yeah!

Combining the VO-WAH mode with a moderate DRIVE setting can give you some classic wah sounds from the '60s.
Combination of UNI-V and distortion
In VOICE mode, you can up the WAH RANGE and DRIVE controls to go from a "talking" wah to all-out "yelling!"

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

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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-2's 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

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

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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.

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.
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.
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.

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.

Bass Equalizer

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Bass Limiter Enhancer

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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 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.

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 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.

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Effects for

Bassists

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

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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.

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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.

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

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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!

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

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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.

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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.

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 200mA.

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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-20's Amp Control jack.

OD-1 modeling sound

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
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.

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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

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.

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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

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The WP-20G Wave Processor produces fat synth-type sounds in a compact pedal designed for 13-pin GK pickup-equipped guitars. A total of six unique sounds are 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

Warm Octave Sound
Acoustic Sound (String 5, 6: Bass)

ACOUSTIC

Divided Pickup
Enter the GK world with this divided pickup for electric and steel-stringed acoustic guitars. User-installable.

Heavy Distortion Sound

GK Cables

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

CREATING NEW SOUNDS
Theres nothing more satisfying for a guitarist than creating your own original sounds using a

Classic Overdrive Sound

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Theres nothing more satisfying for a guitarist
combination of effect units. Here are some samples of different effects settings, from classic rock sounds to special effects. Use
Theres nothing moreoriginal sounds using a than creating your own satisfying for a guitarist these as a reference and a motivation for combination your own original sounds using than creatingof effect units. Here are some a creating your own cool sounds.
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.
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 you're all set to rock.
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

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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 it's before or after the distortion in the signal chain. Try it both ways to see the difference. Connect EQ after your distortion so you can 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
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.
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

Studio-quality acoustic-electric guitar preamp/DI box specially voiced for acoustic instruments. Includes anti-feedback controls, mic distance and body resonance simulation, plus onboard reverb and chorus.
Incorporates many of the AD-5's outstanding featureslike anti-feedback processing and chorus effectsinto a rugged, floor-based unit with stompbox simplicity.

ACCESSORIES

METRONOMES

FOOT CONTROLLERS

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.

FV-300L

Foot Volume/Expression

Foot Switch

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. 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.
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

DB-12 Dr.Beat

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

CHROMATIC TUNER
GUITAR & BASS AUTO TUNER The world's first compact guitar and bass tuner with a backlit LCD and smooth needle movement for the most accurate tuning in its class.
GUITAR & BASS AUTO TUNER The TU-15 is BOSS' ultimate tuner, offering renowned needle-point accuracy, backlit design, flat tuning, and a host of "world's first" features not found in any other tuner. Especially noteworthy is the new "Accu-Pitch" function, which plays 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. 76 77

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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
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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

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Creating New Sounds "Challenge yourself"

For Bassists

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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

2002 A-Town Recordings

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