Electronic switch provides noise-free on/off switching. Digital processing, the first ever offered on compact pedals, enables sophisticated effects such as delay, reverb, pitch shifter, and harmonist.
Battery replacement is quick and easy.
The history of BOSS reads like the history of guitar effects. From our legendary CE-1 Chorus pedalthe big, gray box that started it all in 1976to the worlds favorite line of compact effects pedals, weve been responsible for more guitar innovations than just about anyone else. Our compact pedal lineup began 30 years ago in 1977 with the classic OD-1 OverDrive.
Its warm, smooth overdrive sounds and breakthrough BOSS pedal features heavy-duty construction, rubber pads on top and bottom, recessed control knobs, silent switching, a built-in LED, and easy battery replacementimmediately set it apart from other stomp boxes on the market. And it established the masterful design for all other BOSS effects pedals since.
Throughout the years, BOSS has continued to define the cutting edge of guitar effects. Innovative digital processing allowed pedals like our original DD-2 Digital Delay to deliver studio-quality effects comparable to rackmount units. Dual concentric knobs allowed a greater range of control. And from modern breakthroughs like the ultra-programmable Twin Pedals to the
obscenely heavy sounds of the MD-2 Mega Distortion, BOSS continues to push the envelope with every effects pedal we produce.Thumb through the following pages and get to know the complete effects lineup from BOSS. the only company that's sold over 10 million effects pedals worldwide.

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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. q String gauge or pitch influences guitar tonality. q Distortion effects change greatly depending on specific pickup types, such as single-coil or Humbucking. q 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. q The tone control on the guitar helps to vary distortion effects. q 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:
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.
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-3s Level and Drive controls to three oclock. Then set the OD-3s Tone control as desired to get a fat, round solo sound thatll have em begging for more!
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.

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Blues Driver

Dyna Drive
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 DN-2 is an exciting new type of overdrive pedal that reacts to the intensity of your performance. This unique pedal is equipped with Rolands Dyna Amp technology, which lets you create unique tone transitions based on picking dynamics. Get a transparent clean output sound by playing softly, for example, and a powerful overdrive by picking aggressively.
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.
Velocity-controlled crunch
Turn the DRIVE control knob to a moderate setting for a crunchy sound and, based on the power of your backing chords or cutting stroke, the DN-2 will act as the perfect partner in delivering a truly tasteful performance.

For hard overdrive

Perfect for hard rock with a bluesy touch. Turn GAIN to just about max with TONE set slightly lower.

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 hard rock chord work

Turbo Mode II gives you a full mid-range sound. Set DIST at a moderate level to obtain a rough, street-level sound. This setting is ideal for hard rock chord work.

For a grunge fuzz sound

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

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Metal Zone

Mega Distortion
Equipped with a dual gain circuit, the MT-2 provides super-long sustain and heavy mids and lows like a stack of overdriven amps. With three-band EQ, a wide range of distortion textures is at your command.
Watch out! The MD-2s dual Distortion and Gain Boost circuits take thick, heavy sounds to a whole new level. Special Gain Boost and Bottom controls let you shape your tone for maximum volume and lowend punchperfect for crushing new school metal sounds and beyond.

For a fat metal sound

Boost the highs and lows with EQ. Great for metal solos and riffs.

MD-2 Standard Sound

This setting will give you a great sound for playing heavy rhythm parts.
For aggressive thrash metal
To get the MT-2s unique, extremely distorted sound, boost HIGH and LOW and cut MID. Set DIST fairly high. This is a noholds-barred, aggressive sound ideal for thrash metal.

Powerful Low Boost

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

For '70s power rock

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

Solid Distortion

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

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Metal Core

The ML-2 easily delivers massive distortion and gain with heavy lows for playing Nu Metal, Grind Core, Industrial, Hard Core, or any genre that requires crushing sound. The ML-2s ferocious and biting tone will complement and cut through any blast beats your rhythm section can create.

Try This !

The FZ-5 uses COSM technology to authentically reproduce the characteristics and tone quality of three famous vintage fuzz effects of the 60s and 70s. Turn the FUZZ knob to the BOOST and youll create an intense distortion that exceeds the original instruments.

For solid, heavy riffs

If theres a classic setting for the ML-2, this is it. Emphasizing the aggression and sharpness of your playing through the HIGH & LOW EQ controls, this setting is perfect for low, heavy riffs for full-range solos alike.

For a psychedelic sound

Use the F mode to create a compressed fuzz tone. The thick sound of the FZ-5 coupled with long sustains will result in guitar leads that revives the wild rock sounds of the Hendrix era.

For extreme drop-tuning

This setting provides a dense, compressed sound, making the ML-2 highly compatible for use with 7-string guitars. Squeeze the settings slightly to add distortion, and activate the mute by down-picking to produce a tighter rhythmic tone.

For a trebly fuzz

Select the M mode to add a sense of compression and an emphasized high range. The crisp bass also delivered by the FZ-5 is perfect for tight riffing. For an even more radical sound, turn the FUZZ control into the BOOST range.
For death metal that sustains and soars
This setting delivers a soaring tone through long sustains. Even solos higher up on the neck remain strong and are never lost. Combine with rear pickups for an even more powerful sound.

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 chord work

This setting balances the volume of each string for smooth chord accompaniment.

For thick, rich sounds

Add Chorus and Delay after the Sustain effect. This setting is good when playing sustaining chords.
COMPRESSOR INPUT LEVEL TIME OUTPUT LEVEL LIMITER TIME

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Bass Limiter Enhancer

The LMB-3 eliminates harsh volume peaks and keeps your sound smooth and controlled, even when using dynamic pop and slap techniques. RATIO and THRESHOLD controls give you precise control over limiting parameters.
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

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 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.
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.
s Classic rotary effect s Wild spin effect s Uni-V
Setting the mode to I faithfully reproduces the classic rotary sound via COSM , delivering a spatial effect that revives the sound of the 60s.
Mode III combines the rotary sound with stacked-amp distortion. Use the standard settings for the SPEED control knobs and deepen the DRIVE setting for solo phrasing.
Mode IV delivers the famous rock guitar sound of the 70s. Add animation to the sound by continuously varying the SPEED with the expression pedal (sold separately).

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Rolands legendary RE-201 Space Echo is reborn through COSM technology in the RE-20. The classic chorus effect produced through tape speed, compression, and saturation are meticulously reproduced. Features include 11 types of echo and reverb effects, a virtual tape display, tap tempo, and parameter control via expression pedal.
The PW-10 V-Wah is the worlds 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.
s Combination of wah and distortion
Combining the VO-WAH mode with a moderate DRIVE setting can give you some classic wah sounds from the '60s.
s Short delay s For a rich, luxurious sound s Three virtual playback heads +reverb
s Combination of UNI-V and distortion
The UNI-V mode is great for achieving that classic swirling effect, complete with a moderate WAH RANGE and a touch of DRIVE.
s Analog synth-like sound
This setting creates a short delay and emphasizes ambience. By selecting the 1st playback head and Mode 5, youll get a spatial sound thanks to the addition of light-reverb echo. Try this setting for a luxurious and spacious feeling unique to the RE-201 Space Echo. When used in stereo, an immersive reverb is added to the delay for spatial impact. This is an excellent setting for playing short, muted phrases. By minimizing the intensity and maximizing the echo volume, youll create the perfect environment for complex phrasing. 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.

(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.
s Finger-picking style s Strum-picking style
Enhance the Clarity, Warmth, & Richness of Your Acoustic Instrument
Who says stompboxes are just for electric guitarists? BOSS proudly offers a trio of specialized processors for piezoequipped acoustic guitars. Prepare to be amazed as your instrument transforms under the control of COSM -powered modeling. Acoustic pickups often diminish the full-bodied sound of an acoustic guitar, and can significantly alter the beautiful tone of the instrument. The AD-series can give piezo-equipped acoustic guitars the warm tone of a properly miked acoustic sound in the studio.
This setup employs Body Type 2, and provides solid lows and a clear, distinct overall sound with reverb. The String Enhance function can be used to sculpt the tonal characteristics.
Using Body Type 3, this responsive patch imparts a unique seasoned tone, with rich lows and bright, clear highs.

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Acoustic Instrument Processor
The BOSS AD-5 raised the bar in studioquality acoustic instrument processing. Now, with the AD-3, you get a floormount, performance-friendly version of the AD-5. Quite simply, this floor-based unit is the gigging guitarists best friend. The foot-switchable bi-stereo chorus offers split-frequency processing (Low and High), the studio-quality reverb provides clear, deep reverberation, and the dual Anti Feedback function ensures a squeal-free performance. Connect directly to a guitar amp, as well as to a PA via stereo out.
s For rock s For the blues
Theres nothing more satisfying for a guitarist than creating your own original sounds using a combination of effect units. Here are some samples of different effects settings, from classic rock sounds to special effects. Use these as a reference and a motivation for creating your own cool sounds.
Some basics for making the most of effect units
Use these guidelines when connecting effects pedals.

q 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 its before or after the distortion in the signal chain. Try it both ways to see the difference. q Connect EQ after your distortion so you can totally shape your sound. q Connect reverb units toward the end of the chain for maximum effect. q Decide where to connect chorus/delay/reverb by careful monitoring of the resulting sound. q Connect a volume pedal before delay effects so that the volume can be lowered without cutting off the reverberation. If connected before the distortion pedal, the volume pedal controls the distortion intensity. q Connect a noise suppressor to remove distortion and modulation noise.
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.

There are two types of BOSS Footswitches 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.

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TUNERS

Dual Footswitch

FV-50H/50L

Volume Pedals
Two switches in one, the FS-6 combines the FS-5L (latch-type) and FS-5U (momentary-type) technology into one unit. Choose the configuration that best suits your playing style and setup.
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.
The TU-15 is BOSS ultimate tuner, offering renowned needle-point accuracy, a backlit display, flat tuning, and a host of worlds first features not found in any other tuner. Especially noteworthy is the new Accu-Pitch function, which sounds a note when the correct tuning is reached.

FV-500H/500L

Foot Volumes

Expression Pedal

The high-impedance FV-500H and low-impedance FV-500L provide high-quality stereo performance in strong, diecast aluminum bodies. With adjustable pedal torque, these units can also be used as expression pedals *. A TunerOut jack is also equipped.
* Roland PCS-33 (stereo 1/4" phone cable) required.
The worldwide standard used by top musicians everywhere, thanks to their extremely accurate, easy-touse tuning. The TU-12 offers a tuning range from C1 to B5, while the TU-12Hs extended range of C1 to B6 is perfect for the high-range instruments such as flutes. With reliable, roadworthy performance in a compact, lightweight body, the EV-5 delivers both excellent performance and portability.

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Lock your tuning and timing down tight with the ultra affordable, portable, and reliable TU-80 LCD tuner/metronome. The TU-80 tunes across an 8-octave range, and can even support 7-string guitars and 6-string basses.

METRONOMES

Practice in style with the flagship of the Dr. Beat Metronome line. The new DB-90 is loaded with quality sounds and drum patterns to make your practice sessions less mundane and more musical. Theres a Rhythm Coach function with an onboard microphone, a reference-tone function for tuning, an Instrument input, MIDI input, and a Note Mixing function for instantly customizing the play-along rhythms.

The TU-2 Chromatic Tuner features worldrenowned BOSS TU-Series tuner technology in a convenient, easy-to-use compact pedal design. As with all BOSS compact pedals, the TU-2 is both sturdy and reliable, and its bright 7-segment LED ensures that you can read note/string information quickly and easily on the darkest of stages.
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).