Overdrive & Distortion
A key component of creating your sound, distortion effects units fall into two categories:
s Overdrive: Produces the natural, warmsounding distortion like the sound of an overdriven tube amp. s 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 12 OverDrive and Distortion pedals? The following chart will give you an idea as to each pedals sound.

Metalic

MD-2 ML-2 MT-2

DS-2 Turbo II

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.

DS-2 Turbo I

FZ-5 DS-1 OS-2 DN-2 BD-2 OD-3 SD-1

Smooth

Natural

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

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Page 1 (1,1)

OverDrive

SUPER OverDrive

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. thats the OD-3.

Try This ! Try This !

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.
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.

To use as a booster

This setting boosts amp gain, resulting in powerful distortion. The key is to limit the DRIVE knob to the 9 oclock position and, for the ultimate in distortion, to push the LEVEL control to the max.

HIGH LOW

MIDDLE MID FREQ

OUTPUT

INPUT REMOTE
As the signal input to the amp increases, the distortion gets harder. Using an overdrive unit, raise the input signal gain. Here are two typical setups. Setting the amp for crunch gets the best results.
For an extreme distortion sound with earth-shaking results, plug into the DS-2 for a nice pre-boost and then plug into the MT-2 to take it over the top. To get a milder sound suitable for blues and rock solos, use the BD-2 or OD-3.
Combining boost effects with your guitar amp.
Using two distortion units (SD-1+BD-2)
Using an equalizer or compressor
For a crunch sound beyond what your stack-style guitar amp delivers, try the SD-1 coupled with a OS-2 for solos and melodic lines. For a bluesier type of overdrive sound, try the BD-2 into a medium-gain combo amp.
When using the SD-1 to boost gain, set the SD-1s DRIVE control lower and LEVEL higher. Set the BD-2 for normal distortion. For backing, only switch on the BD-2. For solos, stomp on the SD-1 for harder-edged distortion. Remember that noise or feedback can occur depending on the effects settings when using it as a booster.
An equalizer and compressor can also be great boosters. Using the equalizer will raise gain as well as emphasize distortion over a specific frequency range. Using a compressor can also create a distinctive boost by varying tone and attack.

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

Delay & Reverb

s Delay: Digitally records the input signal and delays it for the time specified, then plays it back for a natural echo effect. s Reverb: Combines multiple digital delays to simulate different sound decay characteristics from small rooms to large halls.

Delay Unit

You can achieve a wide range of sounds using BOSS delay pedals. To double a sound for unison duets, use short delay times (50ms or less) without any feedback. A longer, reverb-like delay can be obtained with five delays at 100-200ms. Matching a 300ms delay to your songs tempo emphasizes the beat, creating interesting sequence effects. Finally, using delay times 800ms or longer allows you to play harmony lines over the delayed sound.

Chorus, Flanger, Phaser, and Tremolo effects can create a variety of essential sounds from shimmering textures to swooshing effects.
s Chorus: Adds dimension and depth for thick, rich sounds. s Flanger: Creates swirling sounds. Use with distortion for jet-like effects. s Phaser: Provides rotary-type effects with a full tone. s Tremolo: Varies the volume cyclically to create pulsating effects.

Incredible Spring Reverb

The RV-5 serves up some of the most convincing spring reverb simulations around perfect for soulful solos, ballads, surf music, big chords and more. All without the hassles and maintenance of an actual spring reverb tank.
Combine short and long delays
If you combine a flanger and delay, you can create a distinctive reverb-type effect thats spacious and rich.

For concert-hall sound

This setting simulates a grand concert hall with a soothing and vibrant sound with the RV-5. The goal here is not to raise the effect level too much in the HALL mode.
Using different types of chorus
When used in mono, chorus provides a denser sound. When used in stereo, a spacious sound with less detuning is obtained.

For spacious chorus

The RV-5s MODULATE mode creates a lush, spacious sound space by adding movement without pitch modulation to the reverb. The effect is especially impressive when used on a clean arpeggio sound.
Use a flanger to create a short delay
The basics of flanging and chorus are similar to delay. Turning flanger resonance down to 0 produces a chorus sound, while zeroing out all flanger controls results in a short delay.
Using chorus with other players
If a guitarist and a keyboard player both use a chorus effect, the sound can become muddy. If so, try using clean, un-effected sound on the synth or electric piano.

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Chorus Ensemble

SUPER Chorus
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.
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.
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.

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

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Bass Equalizer

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

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.

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 slap bass

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

Synth-like Picking Wah

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

To simulate a bass amp

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

Human-like Voice

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

Octave & Pitch Shifter

For use as a limiter

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

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SUPER Shifter

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

For Standard Harmony

This setting produces a 12-string guitar sound with a brilliant tone perfect for ballads and clean, acoustic-style strumming.
Use this setting to produce a superaccurate key-specific harmony on your melodic leads and solos.
Use a conventional pitch shifter for:
s rock riffs with pitch shifted up a fifth and down a fourth s a synth-like sound by going up a fifth and up one octave s whammy bar effects in conjunction with an expression pedal

For Arm Down

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

For Hawaiian

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

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SUPER Octave

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

9V DC OUT

AC Adaptor

PSA-Series

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

EFFECTS

Heavy-bottom 3-octave unison
Layer a second tone one octave below the original, and a third tone two octaves down. Dial in distortion for an aggressive edge. Bassists will enjoy the extra-heavy bottom this setting provides.
*Use a Roland PCA-20A (8-PIN parallel) power connection cable.

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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.

A + B MIX / BYPASS mode

A B / BYPASS mode
This setting lets you mix a solo sound on Loop A and a backing sound on Loop B.
This setup lets you switch between Strat and Les Paul-type guitars or between a guitar and synthesizer.

B mode

OUTPUT SELECT mode
Effects you use for your backing sound are connected to Loop B, while Loop A is used for solos and riffs.
* Use a Roland PCA-20A (8-PIN parallel) power connection cable.
This setup is for switching between an effects loop and tuner. Switch to mode B during live performance for silent tuning.
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.

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Chromatic Tuner

The TU-2 Chromatic Tuner features world-renowned BOSS TU-Series tuning technology in a convenient, easy-to-use pedal. As with all BOSS compact pedals, the TU-2 is both sturdy and reliable, and its bright 7-segment LED ensures that you can read note/string information quickly and easily on the darkest of stages.
Tuning with the Stream meter
The TU-2s bright 11-point LEDs and a convenient Stream Meter help you stay in tune even in low-light settings or under bright stage lights. q When the LED movement is fast and toward the right, the note is sharp. q LED movement gets slower as pitch becomes more accurate. q When the notes pitch is perfect, the LED movement will stop.

Silent tuning

Connect your amplifier and effects to the TU-2s Output jack. When the tuner is activated (by stomping), its output will be muted, so you can tune the guitar without sending any signal to your amp. If you connect to your amp and effects using the Bypass jack, your guitar signals will be transmitted continuously regardless of the on/off status of the tuner.
Popular vintage Fender amps reproduced via COSM!
The tube amps produced by Fender Company in the U.S. during the 50s and 60s are still highly prized by guitarists all over the world. Approved by the Fender Company, the BOSS Legend Series employs COSM technology to reproduce the true tone of the 59 Bassman, one of the most popular Fender vintage amps, and their 65 Deluxe Reverb. Brought to you by BOSS, these pedals represent an exciting new concept of retro-modern compact effects.
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.
Fender,Bassman, and Deluxe Reverb are the trademarks of FMIC. All rights reserved.

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Bassman

Deluxe Reverb
Detailed modeling of the Fender 59 Bassman !
Detailed modeling of the Fender 65 Deluxe Reverb!
Fender and Bassman are the trademarks of FMIC. All rights reserved.
Powered by COSM technology, the FBM-1 authentically reproduces the Fender 59 Bassman that was beloved in rock and blues for its strong, bright sound. Fender has granted permission to use the Bassman name and logo to only one company in the world, and, naturally, that company is BOSS.
COSM technology faithfully reproduces the classic 65 Fender Deluxe Reverb and the warmth unique to compact vacuum tube amps. Permission to use the Fender Deluxe Reverb name and logo has only been granted to one companys product in the world-the BOSS FDR-1.
With the FDR-1 employed as a pre-gain pedal, the special sound of the Deluxe Reverb can be used in combination with either a clean guitar amp or a tube amp. Equipped with control knobs just like the original, the FDR-1 perfectly simulates the characteristic spring reverb and vibrato of this beloved vintage amp.
Fenderand Deluxe Reverb are the trademarks of FMIC. All rights reserved.
By using the FBM-1 as a pre-gain pedal, the unique sound of the Bassman can be added not only in combination with a clean guitar amp, but with a tube amp as well. The gorgeous tone characteristic of the Bassman can be easily reproduced with control knobs and the BRIGHT IN that are just like the original.

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Power and precision unite in the Next-Generation pedal series. More feature-packed than your standard compact pedal, each Next-Generationseries pedal is built to excel at a specific task, as opposed to handling multi-effect duties. Currently in the lineup:
s Twin Pedal Series: Double your foot power with these unique 2-pedal effects: the RE-20, RT-20, RC-20XL, EQ-20, CE-20, OD-20, and DD-20. s V-Wah : The ultimate funk machine! If youre looking for the new King of Wah, this is your box.
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.
s LOUD s OD-1 modeling sound s Fairly bright metal sound
This original overdrive setting is perfect for a slightly-edgy rock sound with an octave being produced on the low notes.
This setting produces the classic sound of the BOSS OD-1 OverDrive pedal, world renowned for its smooth tone and sustain.
This custom sound has lots of bottom and enough top-end and gain to shred through everything from new-school metal to punk.

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

Start playing Switch between 3 phrases as you play

s Multi Mode

Start playing Play 3 phrases at once

Loops for All Musicians

With an RC-series Loop Station, guitarists and bassists can build the ultimate solo live onstage. DJs & rappers can create on-the-fly remixes and loops. Vocalists can plug in a mic and start singing and layering!
Recording Play Over Dubbing Play Over Dubbing

PHRASE1 PHRASE2 PHRASE3

Create multi-layered by following the simple instructions above. Switch freely between the three loop channels.
Experiment with different loop textures by overlapping the channels.

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RC-20XL

Explore the expressive options of soundon-sound performance with the bestselling RC-20XL. Layer phrase upon phrase until you fill up the 16 minutes of ample recording space. Create a massive one-person band experience, build the ultimate solo, change tempo without changing pitch, undo mistakes, and do it all live in real time.

Creating loops with the

Select an empty phrase track.
Able to record 11 phrases for up to 16 minutes, the RC-2 is ideal for sound-on-sound layering or as a backing machine, a basic sampler, a phrase trainer, etc. Guide patterns are provided for accompaniment. RC-2 is also connectable to CD and MP3 players.
Yellow light will illuminate.
Step on the pedal to start overdubbing. Set the MODE knob to.

Overdub!

Green light will illuminate.
s Sound on Sound Overdub Play
a bass line. another bass part or a vocal phrase as your bass line is playing back. Stop recording by pressing the pedal. Start overdubbing by pressing the pedal. Finish overdubbing by pressing the pedal.
Red light will illuminate.
Step on the pedal to end overdubbing. Step on the pedal to start recording.
(Playback begins after overdubbing is stopped.)

Not lit.

Step on the pedal twice to stop playback.
Start recording by pressing the pedal.
Solo over your recorded phrases.
Step on the pedal to stop recording and begin loop play.

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Acoustic Guitar Processor
A dream machine for acoustic guitarists who want to improve their sound, the AD-8 can enhance any piezo-equipped steel-string with the warmth and tonality of the worlds finest acoustic guitars via COSM modeling. Six guitar models are provided. The AD-8 also lets you control body resonance and overtone with the Body and String Enhance knobs, and offers automatic feedback elimination, high-quality reverb, 4-band active EQ, an onboard chromatic tuner with Mute, four preset memory locations for switching sounds instantly, and balanced XLR outputs.

Reverb Delay Chorus Volume Pedal
To get maximum low-frequency power, turn the AD-3s BOTTOM (bass) knob toward the RICH side. Try turning on CHORUS during an arpeggio for a surprisingly effective result as well.
To emphasize the melody line, set the TOP (treble) on the HARD side and increase the REVERB. To get a tight bluesy sound, decrease the BOTTOM (bass) amount.
Modulation Equalizer Wah Pedal Distortion Compressor /Limiter Noise Suppressor Auto Wah Octave Guitar

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Classic Overdrive Sound

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

Classic Surf Sound

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

Straight-Up Distortion

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

CE-20 OD-20

Versatile Setup
This setup provides a very versatile guitar sound. The DN-2 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.

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 Distortion, throw in a NS-2 Noise Suppressor to clean things up, then add a doubling effect with the DD-6.

CE- 5 DD-3 MT-2 DN-2

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Funk Time

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.
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.

LS-2 MT-2

Summon the sound of '60s rock
Based on the audacious fuzz sound of the FZ-5, this setting revives the classic rock of the 60s. Add a PW-10 wah pedal for more expressive performance capabilities or combine with the RT-20 for a legendary rotary-speaker effect.

Big, Rich Acoustic Tone

With this setup, you can get your standard electric guitar to sound like a lush acousticelectric. Just plug into the AC-3 Acoustic Simulator and then add a hint of chorus with the flagship CE-20 Chorus Ensemble. You wont believe your ears!

RT-20 FZ-5 PW-10

G.AMP OUT
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.
Seven-String Metallicious
To get a monstrous seven-string metal sound, start with the ML-2 Metal Core 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.

B OUTPUT A (MONO)

INPUT EXP

BF-3 NS-2 EQ-20 ML-2

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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-your-face 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.

DD-6 BF-3

OUTPUT B OUTPUT A

( MONO )

A Deep, Groovin Bass Tone
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.

OC-3 CS-3

GT SERIES
Command the Stage with GT
For the ultimate in power and convenience onstage, plug into a BOSS GT-series floor effects processor. These COSM-equipped, all-in-one effects units are attractive yet tough, and provide towering tone.

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

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PEDAL BOARDS

Expressive Effects That Will Ignite the Stage
From the smallest compact pedal to the most feature-laden rack, the BOSS brand is synonymous with effects that sound great and are built to last. Today BOSS expands its famous ME series multi-effects family with the ME-20, a powerful multieffects unit optimized for live performance. Easy to use and road tough, the ME-20 provides world-class overdrive, distortion, delay, chorus, phaser, flanger, tremolo, rotary, and EQ effects, taking BOSSs performance-based philosophy to a very affordable price point.

BCB-60

Pedal Board

BCB-30

The BOSS BCB-60 Pedal Board is a convenient way to set up and transport all your compact pedals. The unique padded interior can be customized to fit a wide range of gearfrom BOSS compact and Twin Pedals to effects from other manufacturers. A convenient AC adaptor supplies power for up to seven devices.
The BOSS BCB-30 Pedal Board stores three compact-effect pedals in a lightweight-yet-solid molded body for easy transport. The convenient parallel DC cable supplies power to the units through the optional PSA-100 AC adaptor. Two L-L cables are included for effortless patching.

ME-20B

FOOT CONTROLLERS

2-way Selector

FS-5U/5L

Footswitches

Unique Sounds That Will Make You Stand Out
The second new offering in the ME series is the ME-20B, a powerful multi-effects unit optimized for live performance. With the same performance-based design as its guitarfocused ME-20 counterpart, the ME-20B is aimed at the performing bassist who wants stage-friendly effects and solid construction at an affordable price. Mix, match, and customize a wide variety of effects, including compressor, overdrive, distortion, T-Wah, phaser, flanger, chorus, delay, reverb, defretter, synth, and more.
Usable either as an input or output, the AB-2 selector lets you choose between a 2-in-1-out or 1-in-2-out configuration. Use it, for example, to switch between two guitar inputs or for amp-output switching.

More than a metronome, the DB-60 lays down the click in style. It can function as a standard timekeeper or it can spice things up with its selection of play-along rhythms, including 8-beat grooves, waltz, bossa nova, and more. Theres a Note-Mixing function for quickly creating new rhythms, a Memory function that stores tempos for each song, and a Loop Play mode for arranging patterns in the order of your choice.
Much more than just a simple timekeeper, this pocket-sized metronome provides a variety of rhythm patterns and time feels. It offers tap tempo, internal reference tones (12 semitones), and other timekeeping features to make practicing fun.

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AC ADAPTOR

BOSS power for BOSS pedals PSA-Series adaptors are designed to supply power to multiple BOSS compact pedals at once, eliminating the worry and hassle of running out of batteries. BOSS also offers ACA-series adaptors for older-generation BOSS compact pedals (manufactured before August 1997). To identify which power series is required, please check the sticker attached to the pedal and carton box.
ACA-required compact pedals can be used when installed in a BCB-30 pedal board.
AC Adaptor PSA-120 / PSA-120S
Instructions to use PSA adaptors with BOSS ACA-required compact pedals.
ACA-required compact pedals can be used with PSA adaptors by connecting NS-2/LS-2/TU-2 and the optional PCS-20A (8-pin parallel power-supply cable).
Connect at least one PSA correspondent Pedal.
Parallel DC cord (PCS-20A) OUT DC 9V/ 200 mA (PSA-120) or 500 mA (PSA-120S) AC Adaptor PSA-120/PSA-120S
Electric Guitar Amplifier Other Compact Pedals Electric Bass
ACA-required compact pedals can be used when installed in a BCB-60 pedal board.

TU-2 or LS-2 or NS-2

* Please limit the total consumption of all connected compact pedals to no more than 200 mA (PSA-120) / 500 mA (PSA-120S).