Therefore, you must treat the SOFTWARE like any other copyrighted material (i.e. , a book or a CD). All rights that are not provided for herein are reserved by. GUIDE BOOK. Guitar & Bass BOSS forges into with a rock-solid family of effects BOSS offers an extensive selection of guitar effects that can be used to. Guitar & Bass Effects / Tuners / Metronomes. Vol Eight Million Pedals Strong At BOSS, we have been making the worlds most rec- ognized and respected.
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BOSS EFFECTS GUIDE BOOK Vol with CD. -Performed by-. Yutaka Nakano: Tracks , , , Opening tune (Guitar). Hiroshi Kondo: Tracks road-tough construction-everything on a BOSS pedal is made with the professional in mind. Musicians who demand the best choose BOSS. BOSS offers an extensive selection of guitar effects that can be used by guitarists to get any kind of sound you can imagine. Here's a quick reference guide to the.
All it essentially does is boost the signal of your guitar. Guitar players loved this because it allows us to hit the front end of our amp with more signal. This increased volume level will drive the input section of your amp harder and provide some more gain. The earliest boost pedals used a germanium transistor and was often in the form of a treble booster. The most famous treble booster is the Dallas Rangemaster which is rumored to have been used by Eric Clapton on the Bluesbreakers record, often referred to as the Beano record or Beano tone. This is because Clapton is reading a Beano comic on the record cover. Allegedly he was using the Rangemaster to push the front end of the amp into more distortion.
The tone control on the guitar helps to vary distortion Amp volume and tone control are crucial to getting your effects. The quality of the shielded cord affects the sound Amp sound characteristics depend not only on the output quality. BOSSs unique asymmetric pedal on the market. Based on a dual-stage overdrive circuit, the OD-3 sounds bigger and overdrive circuitry delivers a genuine overdrive effect for a classic guitar sound. A tone fuller than previous pedals.
Sustain for days with a tone to die for Good for a single-coil pickups. Tons of sustain, with bluesy sound. It preserves all of your guitars natural tone and dynamics while giving you some extra drive. With this setting, the SD-1 controls to three oclock.
Then set the functions as a gain booster, augmenting OD-3s Tone control as desired to get a amp distortion and providing deeper, fat, round solo sound thatll have em thicker sounds. Whether its The OS-2 gives you a choice of overdrive or distortion or lets you combine bothall in a warm, natural overdrive or full-blown distortion, the BD-2 delivers all the expressiveness single compact pedal. This integration gives you more options than using serially connected your guitar is capable of, complete with all the subtle nuances of your playing style.
Sound units, and provides hard distortion that maintains the subtle nuances of single-coil guitar control is as easy as using your favorite amp. With this setting, the OS-2 differently according to your guitars functions strictly as an overdrive effect. This is a perfect sound for Humbucking pickups. For hard overdrive For nasty distortion Perfect for hard rock with a bluesy touch.
With this setting, the OS-2 set slightly lower. TONE should be adjusted to to get a mixture of overdrive and distortion match your amps characteristics. TURBO Mode I produces warm and mellow distortion toneless, fuzzy distortion, the DS-1 faithfully reproduces all the subtle nuances of your with flat frequency response.
The onboard TONE control allows boost thats great for leads. The built-in remote jack allows you to connect an external you to tailor the overall sound to your liking. Delay pedals usually have a time knob that allows you to choose the time of the delay intervals, an effect level knob that controls the volume of the delayed sound and a feedback knob that controls how many repeats are sounded before the effect fades.
See different types of Delay below: Analog Delay — A type of delay that uses physical components rather than computer processing to create the delay tone.
While you can only get a single type of delay from an analog pedal, the tone of an analog delay is warm and often has slight imperfections that bring the tone to life. Pedals: DM-2W Digital Delay — A type of delay that uses digital signal processing in a computer chip to create the delay tone. This processing provides a crisper or cleaner delay tone.
Another advantage of a digital delay are that you can emulate characteristics of different delay types in one pedal i. For a more detailed run down of Tape delay check out our article Demystifying the Magic of Tape Echo.
Distortion — A dynamic effect that sounds like your guitar is being played through a loud, distorted amplifier. This can range from a slight crunch to a full-on metal distortion. This clipping changes the harmonic structure of the guitar sound and the additional overtones heard as distortion. Graphic EQ pedals such as the GE-7 and GEB-7 have faders for each frequency band that you can move up or down to boost or cut the frequency.
Alternatively you can use EQ to create interesting tones such as emulating a small radio by rolling off the bottom end and boosting the high mids.
Fuzz was originally created by putting a pinhole or cut in the speaker of an amplifier. Original fuzz pedals use a transistor-based circuit to create the sound. These pedals typically perform best at the front of your effects chain into a clean amplifier.
The delay time is then varied which causes the comb filter to move up and down the frequency range. Back to top G — Gate Gate — A dynamic effect that cuts off or lowers the volume of the output when the input is below a certain volume threshold.
Once the input reaches the threshold the gate opens and allows the entire signal through. Back to top H — Harmoniser Harmoniser — a frequency-based effect that sounds like a second guitarist is playing in harmony with the original guitar signal.
The effect is created by doubling the guitar input signal and then shifting the pitch of the double up or down at a certain interval usually a 3rd, 5th or octave. The harmony effect is often used in the metal and hard rock genre to play solos.
These phrases can play sequentially in a song-style format or overdubbed to create dense layers, as used by one-man band style performers, vocalists to beatboxers. Larger loop pedals have more than one pedal for multiple tracks and allow you to add in-built effects to your loops.
Remember: If you want to record your chain of effects pedals, make sure your loop pedal is always at the end of effects chain. Overdrives are more subtle than distortion effects. This is useful to simulate a bass guitar line or the higher pitched strings of a twelve-string guitar. Some octave or pitch shift pedals double your guitar tone before shifting making them more akin to Harmoniser pedals.
Back to top P — Phaser Phaser — A frequency-based effect that makes a swirling, swooshing filtered guitar tone. This signal is then combined with your original guitar tone to give the iconic phaser effect used in songs by Van Halen, Pink Floyd and Smashing Pumpkins to name a few. Back to top R — Reverb, Rotary Reverb — a time-based effect that simulates the echoes that occur in a room.
This effect was originally created by putting a loudspeaker in a special echo room and recording the result.
Some reverbs however, fed sound in to objects like springs or metal plates to generate echoes that are not possible using conventional room reverbs. A rotary cabinet amplifier was originally designed for electric organs as a way to emulate the wobbling sound of a pipe organ by rotating a speaker within its cabinet.
However, the effect soon became popular with guitarists as a type of modulation effect.