Owners Manual

AC & BATTERY POWERED
Thank you, and congratulations on your choice of BOSS MD-2 Mega Distortion. Before using this unit, carefully read the sections entitled: USING THE UNIT SAFELY and IMPORTANT NOTES (separate sheet). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, this manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.
* A battery is supplied with the unit. The life of this battery may be limited, however, since its primary purpose was to enable testing.
Copyright 2001 BOSS CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS CORPORATION.

Features

q This new distortion unit delivers straight, powerful distortion sounds. q Two knobs, GAIN BOOST and DIST, allow you to create a wide variety of distortion sounds, from mild to extreme. q You can use the BOTTOM knob to get sound with more emphasis on the low end.

Panel Description

fig.01

1. AC Adaptor Jack

Accepts connection of an AC Adaptor (optionally available BOSS PSA-Series). By using an AC Adaptor, you can play without being concerned about how much battery power you have left.
* Use only the specified AC adaptor (PSASeries), and make sure the line voltage at the installation matches the input voltage specified on the AC adaptor's body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock. * If there are batteries in the unit while an AC adaptor is being used, normal operation will continue should the line voltage be interrupted (power blackout or power cord disconnection). * As soon as you connect the AC adaptor, the unit is turned on.

2. CHECK Indicator

This indicator shows whether an effect is ON/OFF, and also doubles as the Battery Check indicator. The indicator lights when an effect is ON.
* If this indicator goes dim or no longer lights while an effect is ON, the battery is near exhaustion and should be replaced immediately. For instructions on how to replace the battery, please refer to Changing the Battery (p. 10). * The CHECK indicator is designed for providing information about effectssuch as their on/off status. It does not indicate whether the power is on or off.

4. INPUT Jack

This jack accepts input signals (coming from a guitar, some other musical instrument, or another effects unit).
* The INPUT jack also serves as the power switch. Power is turned on whenever a plug is inserted into the INPUT jack, and is turned off when the plug is disconnected. When not using the unit, you should disconnect any cord connected to the INPUT jack.

5. Pedal Switch

This switch turns the effects ON/OFF.

6. Thumbscrew

This thumbscrew is loosened to open the pedal, allowing battery replacement.
* For instructions on how to replace the battery, please refer to Changing the Battery (p. 10).

3. OUTPUT Jack

The OUTPUT jack is used to connect the unit to an amplifier or another device.

9. TONE Knob

This controls the tone. Rotating the knob counterclockwise will make the sound milder, while rotating it clockwise will make the sound sharper.
10. DIST (Distortion) Knob 7

fig.02

This adjusts the amount of distortion. Rotating it clockwise increases the effect, whereas counterclockwise rotation reduces the effect.

7. LEVEL Knob

This knob adjusts the level of the effect sounds.

11. GAIN BOOST Knob

Adds even more distortion, in addition to that obtained with the DIST knob setting. The further clockwise you turn the knob, the more powerful the distortion gets, creating sounds that are really expansive.

8. BOTTOM Knob

Adjusts the amount of boost in the low end. The lower frequencies are emphasized more as the knob is turned clockwise.

Connections

fig.03
AC adaptor PSA-series (option)

OUT 9V DC/200mA

Electric guitar

Guitar Amplifier

Connections * Inserting a plug into the INPUT Jack will automatically switch the unit on. * To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections. * If there are batteries in the unit while an AC adaptor is being used, normal operation will continue should the line voltage be interrupted (power blackout or power cord disconnection). * Once the connections have been completed (p. 7), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices. When powering up: Turn on the power to your guitar amp last. When powering down: Turn off the power to your guitar amp first. * Always make sure to have the volume level turned down before switching on power. Even with the volume all the way down, you may still hear some sound when the power is switched on, but this is normal, and does not indicate a malfunction. * When operating on battery power only, the units indicator will become dim when battery power gets too low. Replace the battery as soon as possible.

Operating the Unit

fig.05
3. Adjust the depth of the Distortion effect using the DIST knob and GAIN BOOST knob.
* Turning both knobs all the way up will result in increased noise.

4. Adjust the tone using the TONE knob. 5. Adjust the degree of low-end boost with the BOTTOM knob.
1. When you have made the necessary connections, set the knobs as shown in the illustration. 2. Depress the pedal switch to turn the effect on. (Make sure the CHECK indicator lights.)
6. Adjust the LEVEL knob so that the level of the sound obtained when the effect is on is equal to that obtained when it is off.

Changing the Battery

When the indicator goes dim or no longer lights while an effect is on, it means that the battery is nearly dead and must be replaced. Replace the battery following the steps below.

fig.09

1. Loosen the thumbscrew at the front of the pedal, then lift the pedal upwards to open the unit.
* The thumbscrew can be left in the pedal while changing the battery. 2. Remove the old battery from the battery housing, and remove the snap cord connected to it. 3. Connect the snap cord to the new battery, and place the battery inside the battery housing. * Be sure to carefully observe the battery's polarity (+ versus -). 4. Slip the coil spring onto the spring base on the back of the pedal, then close the pedal. * Carefully avoid getting the snap cord caught in the coil spring. 5. Finally, insert the thumbscrew into the guide bush hole and fasten it securely.

Thumbscrew

Pedal Spring Base

Battery Snap Cord

Coil Spring Guide Bush Hole
Battery Snap Battery Housing 9V Battery

Troubleshooting

Power wont come on/ CHECK indicator doesnt light:
q Is the specified adaptor (PSA-series; sold separately) properly connected? Check the connection once more (p. 7). q Is the battery low or dead? Replace with a new battery (p. 10). q Is the guitar connected properly to the INPUT jack? Check the connection once more (p. 7).
* To prevent excess battery drainage, turn the power on without the plug inserted in the INPUT jack. * The battery that was supplied with the unit is for temporary use-intended primarily for testing its operation. For using the unit for more extended periods of time, we recommend the use of alkaline batteries. * The CHECK indicator is designed for providing information about effectssuch as their on/off status. It does not indicate whether the power is on or off.

No sound / Low volume:

q Is the MD-2 properly connected to your instrument? Check the connection once more (p. 7). q Could the LEVEL knob be turned too far down? The further counterclockwise you turn the LEVEL knob, the more the volume is reduced when the effect is on. Turn the LEVEL knob clockwise. q Is the volume turned down on any guitar amp or effects device you have connected?

Setting Samples

MD-2 Standard Sound

fig.10

Powerful Low Boost

fig.12

Overdrive

fig.11

Solid Distortion

fig.13

Specifications

MD-2: Mega Distortion

Nominal Input Level.-20 dBu Input Impedance.1 M Nominal Output Level.-20 dBu Output Impedance..1 k Equivalent Input Noise Level.-110 dBu (IHF-A, Typ.) Controls...Pedal Switch, GAIN BOOST Knob, DIST (distortion) Knob, TONE Knob, BOTTOM Knob, LEVEL Knob Indicator..CHECK Indicator (Serves also as battery check indicator) Connectors.INPUT Jack, OUTPUT Jack, AC Adaptor Jack (DC 9 V) Power Supply.DC 9 V; Dry battery (9 V type) S-006P/9 V (6F22/9 V) Dry battery (9 V type) 6AM6/9 V (alkaline) AC Adaptor (PSA-series: optional) Current Draw.18 mA (DC 9 V)
* Expected battery life under continuous use:
Carbon: 18 hours These figures will vary depending on the actual conditions of use.
Specifications Dimensions..70 (W) x 125 (D) x 55 (H) mm 2-3/4 (W) x 4-15/16 (D) x 2-3/16 (H) inches Weight..410 g/ 15 oz (including battery) Accessories.Owner's Manual, Leaflet (USING THE UNIT SAFELY, IMPORTANT NOTES, and Information) Dry battery (9 V type) S-006P/9 V (6F22/9 V)
* The battery that was supplied with the unit is for temporary use-intended primarily for testing its operation.
Options..AC Adaptor: PSA-series
* 0 dBu = 0.775 Vrms * In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.
For EU Countries This product complies with the requirements of European Directive 89/336/EEC.

G6017456

Composite Object Sound Modeling
Once a musical instrument generates sound vibrations, it reaches the human ear through various mediating objects, each of which significantly affects the sound. The material and configuration of the instrument, the electric/magnetic amplifying system, the air and the reverberation of the room all affect the final sound. Sound modeling, the latest DSP technology, virtually reconstructs these objects. Rolands breakthrough Composite Object Sound Modeling (COSM ) uses the advantages of multiple modeling methods and succeeds in accurately emulating existing sounds, as well as producing sounds that have never before been created.

Roland Corporation U.S.

5100 S. Eastern Avenue, P.O.BOX 910921, Los Angels, CA 90091-0921 Phone: (323) 890-3700 Fax: (323) 890-3701
All specifications and appearances are subject to change without notice. All trademarks are property of their respective companies. Printed in Japan Sep. 2007 RAM-4248 GR-GEN-NK C-4

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Page 1

10,000,000 pedals sold and going strong. BOSS is the number one choice for musicians who want the best of the best. Carefully selected parts, uncompromised circuit design, road-tough construction-everything on a BOSS pedal is made with the professional in mind. Musicians who demand the best choose BOSS.
The Many Roles of Guitar Effects.. 3 History of BOSS.. 5 Add Distortion... 7 Add Acoustic Dimensions.. 24 Modulate and Double Sounds.. 28 Change Tonality of Sounds.. 35 Regulate Gain Level.. 41 Change Sound Pitch.. 44 Reduce Noise.. 48 Change Connections.. 49 Next-Generation Pedals.. 55 Amazing Loop Manipulation.. 63 Acoustic Processors.. 67 Challenge Yourself... 70 Multiple Effects.. 76 Accessories... 80 AB-2 2-Way Selector.. 80 AC-3 Acoustic Simulator.. 39 AD-3 Acoustic Instrument Processor. 69 AD-8 Acoustic Guitar Processor. 68 AW-3 Dynamic Wah.. 38 BCB-30 Pedal Board.. 80 BCB-60 Pedal Board.. 80 BD-2 Blues Driver .. 11 BF-3 Flanger.. 32 CE-5 Chorus Ensemble... 29. CE-20 Chorus Ensemble.. 57 CEB-3 Bass Chorus.. 31... 30 CH-1 SUPER Chorus CS-3 Compression Sustainer. 42 DB-30 Dr. Beat.. 84 DB-60 Dr. Beat.. 84 DB-90 Dr. Beat.. 84 DD-3 Digital Delay.. 26 DD-6 Digital Delay.. 25 DD-20 Giga Delay.. 58 DN-2 Dyna Drive.. 12 DS-1 Distortion.. 15 DS-2 TURBO Distortion.. 16 EQ-20 Advanced EQ... 60 FS-5L Footswitch... 80 FS-5U Footswitch.. 80 FS-6 Dual Footswitch.. 81 FV-50H Volume Pedal.. 81 FV-50L Volume Pedal.. 81 FV-500H Foot Volume.. 81 FV-500L Foot Volume.. 81 FZ-5 Fuzz... 20 GE-7 Equalizer.. 36 GEB-7 Bass Equalizer... 37 GT-6B Bass Effects Processor.. 77 GT-8 Guitar Effects Processor.. 77 LMB-3 Bass Limiter Enhancer.. 43 LS-2 Line Selector.. 49 MD-2 Mega Distortion.. 18 ME-20 Guitar Multiple Effects.. 79 ME-20B Bass Multiple Effects.. 79 ME-50 Guitar Multiple Effects.. 78 ME-50B Bass Multiple Effects.. 78 ML-2 Metal Core.. 19 MT-2 Metal Zone.. 17 NS-2 Noise Suppressor.. 48 OC-3 SUPER Octave... 47 OD-3 OverDrive... 9 OD-20 Drive Zone.. 56 ODB-3 Bass OverDrive... 14 OS-2 OverDrive/Distortion.. 13 PH-3 Phase Shifter.. 33 PS-5 SUPER Shifter... 46 PSA-Series AC Adaptor.. 85 PW-10 V-Wah... 62 RC-2 Loop Station... 66 RC-20XL Loop Station.. 65 RC-50 Loop Station.. 64 RE-20 Space Echo.. 61 RT-20 Rotary Ensemble.. 59 RV-5 Digital Reverb.. 27 SD-1 SUPER OverDrive.. 10 SYB-5 Bass Synthesizer.. 40 TR-2 Tremolo... 34 TU-2 Chromatic Tuner.. 51, 83 TU-12 Chromatic Tuner.. 82 TU-12H Chromatic Tuner.. 82 TU-15 Chromatic Tuner.. 82 TU-80 Tuner & Metronome.. 83 Legend Series... 52 FBM-1 Bassman.. 53 FDR-1 Deluxe Reverb.. 54

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The Many Roles of Guitar Effects
BOSS offers an extensive selection of guitar effects that can be used to create an incredibly wide and expressive range of sounds. Here is a quick reference guide to the type and function of each unit.

Add Distortion

Overdrive Distortion Fuzz
Change Tonality of Sounds
Equalizer Wah Acoustic Simulator Bass Synthesizer

, EQ-20

Boosts or cuts a particular frequency band for flexible tone control.

AW-3 PW-10

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.
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 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 riffs

Center BALANCE and increase GAIN to achieve harder distortion. This setting is ideal for riffing on a heavy beat.
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.
For a more over-the-top sound
Raise LEVEL and set BALANCE slightly toward OD. Set GAIN to max.

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Distortion

TURBO Distortion
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.

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.

Reverb Unit

Reverb Time sets the length of reverberation or decay, while Reverb Level controls reverb intensity. For clean, light reverb, reduce the reverb level and set a longer reverb time. More level and a shorter time provide reverb thats thicker sounding. The TONE control can be used to add brightness or depth to the sound. Key to making a great sound is to start with milder settings and then go for more radical sounds.

Single-coil pickup

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

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.

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Digital Delay

The DD-6 is BOSS top of the line compact delay pedal, with delay/hold times up to 5.2 seconds, sound-on-sound recording, and built-in tap tempo. It also includes unique Reverse and Warp delay effectstaking your sound to a whole new dimension.
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.

Amazing Warp Delay

The DD-6s unique Warp delay mode creates radical, expansive delays on the fly. Just step on the pedal during the chords and riffs you want to repeat them endlessly.
To produce a twin guitar sound
Set the MODE knob to 200ms. Turn the F.BACK control to MIN to get a single delay.

Reverse Delay Sounds

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.

For a reverb-type effect

Great for starting a song with a guitar riff. Delay time ranges from 50 to 200ms.
For a doubling-delay effect
Turn the LEVEL control on the DD-6 all the way up, set FEEDBACK at full left and the DELAY to sound only once. Adjust the delay time to 50ms or less, and a wonderful doubling effect of playing two guitars in unison is achieved.

For a sitar-like effect

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

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Digital Reverb

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

When playing arpeggios

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

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Bass Chorus

Flanger
The CEB-3 features a low filter, so you can select the frequency band to which the chorus effect is applied. This lets you get all kinds of chorus effects, from a light chorus on harmonics only to a heavy chorus on all frequency bands. The space synthesis effect incorporated on the CEB-3 guarantees a natural and spacious chorus effect.
The new BF-3 gives guitarists and bassists an updated version of the classic BOSS flanger with the thickest stereo flanging sounds ever. Two new modes (Ultra and Gate/Pan) create stereo flanging with incredible deptheven Slicer-type effects and sounds that seem to swirl around the listener.
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.

Ultra Flanger

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

For a light chorus sound

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

Rotary Flanger

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

For a deeper chorus

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

Gate Flanger

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

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Phase Shifter

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

The TR-2 gives you vintage tremolo sounds like the classic '60s amps with built-in tremolo. The secret is an LFO waveform with the duty ratio carefully set to an optimal value for guitar. The TR-2 also features a WAVE knob, which lets you alter the LFO waveform from triangle to square, allowing a wider range of tremolo variations.

Vintage Phase Shift 1

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

For vintage tremolo

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

Deep Phase Shift

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

For rotary-speaker sound

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

For a stuttered sound

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

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Equalizer

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

For sharp rhythm sounds

Cut the middle frequency bands around 800Hz and boost at 1.6kHz.
Equalizer, Wah & Acoustic Simulator
For powerful guitar solos
Use these effects to tonally shape your sound.
s 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. s Auto Wah: Automatically creates a foot wah effect depending on your picking dynamics. s Acoustic Simulator: Makes an electric guitar sound like an acoustic.
Equalization adds a new dimension to guitar solos
When you use an equalizer before a distortion unit, connecting another equalizer after the distortion unit lets you add emphasis to certain frequencies to make solos cut through.
Boost the middle frequency bands slightly and connect the unit after distortion and overdrive. Set the LEVEL control a bit higher than normal.

On the SYB-5, first select the sound character using the mode switch. Then, use DECAY/RATE and FREQ/RES to tailor the sound to your taste. For Modes 1,2,4,5,7-11, DECAY/RATE controls the time for the frequency of the filter to move. For Modes 3 and 6, DECAY/RATE controls the speed at which the filter fluctuates. FREQ controls the frequency of the filter while RES controls the feedback amount of the filter.

For finger picking

Set the MODE switch to STANDARD for a dreadnought-type reverb thats widely considered to be a classic standard. Center the parameters to get the most expression out of the slightest touch of finger picking.

SYB-5 MODES

A sharp-edged sound SAW WAVE (-1OCT): (AUTO): A sawtooth wave one octave lower than 1 Automatically shifts the filter frequency for the sound in 1 A milder sound than that produced with the sawtooth wave A mixture between the sound 4 and a square wave one octave below it Automatically shifts the filter frequency for the sound 4 A sharp-edged sound, but one that differs from that produced with the sawtooth wave A pulse wave using an all-pass filter Creates a sound that has depth and motion

For playing chords

A rich bass and beautiful upper register are the featured sounds of the JUMBO mode. Because the root and composition sounds are well balanced, this is the best setting for playing chords. Drop the REVERB to minimum to for a raw, live feel.

4 INTERNAL SOUND

For playing solos
ENHANCE is the best mode for playing solos. Set the REVERB, BODY, and TOP controls slightly to the strong side to emphasize the echo and attack. Even in band ensembles, this remarkably expansive sound is never buried amongst the other instruments.
Pitch and attack data SQUARE 5 is detected from the WAVE input sound to 6 trigger the internal DSP sound sourcae.

(-1OCT): (AUTO): 1:

WAVE SHAPE MODE The input sound is directly processed to create the 11 synthesizer sound.

PULSE WAVE

2: (PWM):

(Pulse Width Modulation)

Up: Down:
A fat, spreading sound by modulating the variations in the width of the pulse wave The filters frequency rises when played, then gradually returns to the original frequency The filters frequency drops when played, then gradually returns to the original frequency

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Compressor & Limiter

s Compressor: Reduces hot signal levels and boosts low input levels for a more consistent, balanced sustain with no distortion. s Limiter: Works to cut only input peaks above a preset threshold, leaving the original sound quality unchanged.

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.

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.
Strap on a seatbelt for BOSS most powerful delay pedal. The DD-20 offers up to 23 (!) seconds of true stereo delay, 11 delay modes (including modeled analog and tape delay, and sound-onsound recording), Smooth and Twist modes for subtle-to-radical delay effects, a memory function for changing delay modes seamlessly, and a new push-button knob for setting delay time in fine or coarse increments.
s SUPER RICH s DIMENSIONAL D modeling sound s CE-1 modeling sound
s Tape echo sound s Dotted-8th delay with tempo input s Wild twist sound
This full, rich chorus sound is about as lush as it gets, yet remains musical enough for a variety of playing.
In DIMENSIONAL D mode, the CE-20 yields the classic sound of the Roland SDD-320, with the RATE knob selecting between the various settings.
This mode produces the vintage CE-1 chorus sound, complete with INTENSITY control.
A beloved blast from the past this patch emulates Rolands renowned Space Echo RE-201. Its a classic dual tape-head effect.
A dotted-8th delay can be created with perfect timing by simply tapping the tempo with the DD-20s foot pedal. Naturally, the tempo can be set for all delay-mode sounds.
The delay sound oscillates and accelerates steadily when you hold down the ON /OFF pedal in the TWIST mode. Combined with distortion, this setting takes you on a truly wild ride!

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The RT-20 faithfully reproduces classic rotary sounds through COSM modeling. Controls include rotary speed, rise and fall time when switching between SLOW and FAST, volume adjustment for both horn and bass speakers, OVERDRIVE, and a stunning visual display of the virtual rotors.

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Loop Station

For those awaiting the arrival of a new industry-leading looper, the wait is finally over. Introducing the RC-50-the most feature-laden Loop Station BOSS has ever built. Its the best live looping tool ever built for that matter. Housed in a spacious sevenfootswitch floor unit, the RC-50 lets you manipulate three stereo phrase tracks simultaneously, with each track supporting multiple overdubs. In other words, you can record phrase upon phrase, one by one, on each track, resulting in a monstrous stack!
Powerful Loop Recorders for Live Performance
Loop, Layer, Rock! Transform a single instrument or voice into a wall of layered sound. Unleash the ultimate guitar or bass solo onstage. Plug in a mic and create cool vocal layers.
s Basic Operation s Single Mode
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.

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!