A SOUND INNOVATOR—BOSS The Boss theme of product developme nt involves creating new and innovative products— products that are completely different from those currently available. We at Boss want to create a new a_nd exciting music scene through the use ofarene NE -1 Noise Gate The NF-1 Noise Gate cuts the annoying nolse and hum that can be generated when pausing during a performance. The NF-1 is equipped: with a Sensitivity contro! for adjust- ing the gating threshold In accord- ance ta the ratio of noise to signal. A Decay contro! is also included for setting the fangth of decay foreach note before the gate cuts in, while a wide 100msec to 1.6 second decay time controf range allows the NF-1 to be used with virtually any musical instrument from guitars to keyboards. ideal for eliminating the intemal nolse generated by musical instru- ments and other electrical or electro- nic equipments and the hum picked up by wires, the NF-1 can also be effectively used to shut out external noise fram lighting fixtures, etc. tor GUE tor BIS fo KEE | Using the NF-1 © Usually, when several elfect pedaisare connected ina senes, he NF-1 Norse Gate should be connected fast. @ When a volume pedal 1s used, however, connect the NF-7 before connecting the volume pedal in order to prevent the delayed ‘ound from breaking off and to prevent decaying of the sound. © Proper adjustment of the Decay Haas vat anan na Sanity cect] ‘ane hy coariroc none contrat allows you fo match any dastrument’s envelope and create a natural sounding decay effect. The sensitvily control eliminates the problem of the nose gate Cutting inte the decaying signal, thus preventing an abrupt or percussive ending to the sound The following diagram should help you to use the NF-1 more eficiently. ‘ivan tar thet Secon were oc sonnet ‘nec hay ork “When the noise level is low, SPECIFICATIONS Power. 9V Battery AC Adaplor {ACA Adapion) * Cusrent draw DC QV, 3.9mA *Max ‘outout, +SdBm © Gain. Unay *Inpulimpediance 470k * Oulpul load mnpeaarca ‘Over 10k Atack imme: 1ms #Raloaso tene: 100ms-1 Gee (variable) * Geting shreshold: ~ 6510 ~3S08m (vanable) # Dimensions: 70{W)S5(H)x 1250) mm (2.62 2"x49") #Weighl 400 g(0.88ibs) aeCOMPRESSION _SUSTAINER cS 2 Compression Sustainer The CS-2 Compression Sustainer ‘suppresses a higher volume input signal while emphasizing a lower volume input signal in order to create a sustain effect that holds a note for a long time. The CS-2 per- forms compression and expansion at high speeds, depending on the input ‘signal, which permits a faster response to any input and thus eliminates the volume reduction that normally occurs during the attack, as well as the weakening and instability of the sound. This, in turn, improves the sustaining effect of the sound. in addition, the wider range of cantrot ‘of the attack time allows each note to be fully and clearly produced, ‘even with fast-moving phrases. On the other hand, ong and attractive tones can be created for slow- moving phrases. The CS-2 aiso features an input impedance of 1M0 which allows users to take full advantage of their guitar's unique characteristics. for GEIS tor BAS fatal alec lal ba ia [<4 Using the CS-2 @ With its wide, adjustable attack tume range, the CS-2. cen adda driving ellect to a fast-moving phiase, or create a flowing melody ine using the unit 5 sustain characterstics for slow-moving phrases. The wide sustain céntrol range allows the CS-2 to also be used as. a limiter, and is thus an essentral effect pedal for rhythm and bass guitars. © Usually, when a Senes of effect pedals are connected. the CS-2 should be connected first. However, when using the CS-2 as 1 Using tho CS-2 asa hmier 2 Using tha CS-2 as acompressor SPECIFICATIONS. a fimiter, should be connected fastin the series. @ Fig. 1 shows the setting used to produce sustain etlects when the CS-2 is used as a titer. @ Fig.2 shows the setting used when the CS:2s used as a compressor, Turning the Sustain contro! tac high may cause noise or howling. @ By adding a compressor. ‘a sophisticated sound can be created. This sound can be further enhanced by adding a chorus effect pedal Power ‘9V Battery, AC Adaptor {ACA Adaptor) + Cutrant draw: DC. 9V. amA + Equivalent inpul noise: - 11008 (HFA) * Maximum input. ~ 10d {tkH2) © Maximum outpu!” = 10am * Comprass'on range:38dB * Input impedance: 1Mi * Dimens ons: 70(W¥}»< 3594} x125(0) mm (2.8° x2.2" x49") « Weight: 400g (0 B8Ibs)Ge-7—" The GE-7 Equalizer effect pedal lets Using the GE-7 you create any desired tone by © By allowing you to perform a guitar that has single-coil type simply boosting or cutting a particu- boosts and cuis in the ultra-high pickups. a thin sound is produced. Jar frequency or frequency range. hequency range of 6 4kHe. the To solve this problem, connect! the Noise and howling can also be easily GE-7 can be used fora wide range —- GE*7. and use it 0 boas! the low and eliminated with a few simple adjust- ol applications, from creating medium irequency bands until a fat, ments. The GE-7 features 7 separate | ¢ o were | cieteate tones to effectively tich sound 1s produced (Fig. 1). bands ranging from 100Hz all the aT | eliminating noise. On the other haned, fer guitars with way up to 6.4kHz, with cut and boost | © Byusing the GE-7 with another hum-bucking type pickups, the | effect pedal such as an overdrive or lower bands should be slightly by up to + 15dB per band. The seven Equalizer phasor you can Guill anc eschs Ai ercsved! octave bands are especially useful add yaurown sound prelerentes 2. Fig.2 shows the setting used io for cutting out annoying noise in the (9an overdrive tone. or further prevent howling (feedback), The high-frequency range, and in empha- enhance the sound of a phaser uml. key to eflectvely using this setting sizing the sharp, high tones of #810 sharply cut only thal frequency harmonic overtones. And unlike con- 1. The GE-7 Equalizers very efec- which contains the howling in order ventional pedal equalizers, the GE-7 tive for creating a wide range of feavord changing te one ol ho incorporates separate ampliliers for — aes a ~ a Cxariple, When ae rere So both the frequency band conirof and Peer ured Seid! wit SS] Osa the sound-effect allowing you to Ms . adjust the evel control without Te if changing the present equalizing Stahtied characteristics, 4 foc GEEID tor BESS tor KEEN Gre portent pevenifondng - SPECIFICATIONS Fower SV Ballery, AC Adapior (ACA Adapior) « Clsrent draw: QC 9V, 7mA ‘+ Frequency center. 100H2, 200Hz.40CHz. BOOHz.1 6kHz,3 2kHz. 6 4kHz Control range + 1SdB + Residual aise ~ 100dBm (IHF A) « Input «Tpedance: 470kf1 » Oulput idad iTpedance. Over 10kit # Dimen saris. 700) xS5¢H)x DEIN rn BP 9H ABI w rants ABM HA A 8DISTORTION DS-1 Distortion The DS-1 Distortion unit electrically Using the DS-1 clips the waveform of the ariginal © When using the DS with a guitar in order to prevent them tram sound in order to produce the same chorus affect device, we recom: being excessively driven, distortion and sustain effects as mend connecting the chorus elect @ Fig. 1 shows the setting used {0 a fuily-driven amplifier. Ail of the deve ater the OS+1 creale a soft. metfow distortion nuances of guitar picking can also 2 Gradual ning the Tone con- Sound. When using this setting. the Becorrectly produced, rather than V¢cumn wre] | teouency band yahasizes the high- front uckup shout be used the toneless, fuzzy distortion that is | disiorion feck Whenfong ins, oe Eig 2 shows te sailing used fo created by other distortion units. Distoction | ME beswetoccyatine © sound When using ths settng, the A built-in Distortion contro lets you ost volume settings on the amp and rear pickup should be used. adjust the degree of distortion so that you can freely create both soft and hard distortion effects. Speciaily- designed tone control circultry, that always maintains the perfect balance between the high and low tones, lets you enhance your distortion effects a ina variety of ways. 1 Soft dstomion setieng for GUE torBAe5 > tor KE 2 Hard distortion gating 5 SPECIFICATIONS Power 9V Battery. AC Adaplor (ACA Adaplor) « Current deaw’ DC 9V.4mA * I; pedance: 470k0 + Quiput load impedance. Over 10k « mensions: We ‘SMH - — 2 SUPER Feedbacker & Distortion Feedback effects that bring to mind stacks of huge amplifiers can now be enjoyed with any size amplifier with the DF-2 that contains hard distortion circuitry for creating dynamic effects. Just as important- ly, the DF-2 jets you perfect in- novative fingering techniques to produce feedback sounds. This is something many guitarists have tong wished for and now It is a reali- ty. Just depress the pedal: Feed- back sounds are sustained for as jong as the pedal stays down, and the sound is clearly natural, with alt the harmonic overtones. The newly- developed 2-mode Pedal switch permits selecting as desired between the normal effect, distortion effect and feedback. For rock musicians, this new effect pedal Is a radical innovation, since ittets musicians express musical ideas in a completely new way. tor GEEA tor BES > tor KEES Using the DF-2 © Tochange tha function mode © With the DF-2. fesaback etfecis ‘rom Normal, Distortion and are easily achieved even with Feedback, smply depress the headstone amplifiers, without al! pedal. the problems of selecting the right © The Distortion eect s switched type of empilfier or the right ‘on and off by shon-stroke settings. depressing of the pedal. A builtin Overtone cantrot aliows: © Pressing the pedal down further the mixing ol overtone companenis engages the. ‘er function unto the sound to produce natural. and the sound lasts as long as the sounding feedback. pedal 1s depressed. 1 Setting used to create the heavy: ‘metal sound. 2. Dstontion setting for backing melody. pus SPECIFICATIONS Power: SV battery, AC adapter (BOSS ACA series) * Current draw: BVOC, 10m * Controls: Distortion. Tone, Level, Over Tone ® Others: 2 mode (Etiect onvotf and Feedback) foot switch LED onvott and batiary candtion ndicator + Jacks: Input, Output. AC adapier “input impedance: IM * Qutpul ioad um pedanca: Over 10k0 * Dimensions: 7OQW) x SEH} x 125{D jm (244 x 24/4" X4!%y4") © Weight. 4509 1gSUPER PHASER P Fl E 2 SUPER Phaser The PH-2 Super Phaser enables the player to vary the phase of the original sound and to adjust the phase depth as well as allowing sweep speed variance toan extraordinary: Segre, The Phase —_————— | Shift mode controf 12stages = of adjustment for smootherphase YET) | MATS: t shifting and deeper phase effects. SUPER Phaser The 2 modes give completely different tonal quaiities to suit all guitar, bass guitar and keyboard characteristics and provide phase effects of professional quality. tor GUE to B25 tor KEE Using the PH-2 © Mode I gives your sound added depth of phase, ranging from the ow Irequency bands al the way to the high notes with the 10-stage phase-shifting cirouilry. This mode wil ensure the maxmum effect when chord cutting on your guitar, © Mode II's 12-siage phase- shitting cireutry produces sharp, intansa sounds ideally suited for the guitar's muting sounds as well rhythrmne clavinet playing and smnitar styles. 4. Seting for creating Leo Reanours favorte backing 2. Reaggae guilar sound setting © Sweep speed vanance ranges trom 100ms all the wey to 14 sec. are adjusted by the Fate control. While deeper sounding phase effects are possible with the resonance conirol engmeered to adjust lasdback. The Depth ‘controls alfows notch depth €djusiment to create wide-ranging effects ranging trom rotary speaker: ke effects to harsh jet sound's 19 SPECIFICATIONS Power 9V battery. AC adapter (BOSS ACA series) = Current draw SV DC. 20 mA (max) * Controls: Rate. Depih, Resonance. Mode Select Switch (Wi) * Otners. NormalElfect Foot Smich (sient FET swiching). LEO Battery Condition Indicator ‘Jacks. Inpol. Output, AC adapter * Phaso shit: 12 stages (2160) * LFO speed. 14 seco 100 ms * Residual nose’ - 80dBm or less (HF-A) * Gain. Unity » input impedance: 1Ma * Quiput load impedance. Over 10k fl * Dimensions: 70(W) x SS5(H) x 125(0)mim (2/." x 22/10" e494") © Weight. 410 9 (0.90 lbs) anThe BF-2 Flanger electronically creates @ sound-delay effect and imixes the delayed sound with the original sound to create strong, dynamic sound effects with a wide variation of tones. Since the delay time Is infinitely adjustable between ‘dmsec and 13msec, and the LFO speed from 100msec fo 16sec, a amuch richer sound can be produced. Full, dynamic jet sounds and chorus sounds can also be produced by adjusting the 4 controls. in addition, the low-voltage BBD ensures both excellent delay characteristics and highly stable operation even when using a 9V battery. And of course, the entire BF-2 flanger unit features a low-noise design. for GAZA? tor BASES tor ICEL ] our eure f Flanger Using the BF-2 @ The ‘has a wide contro! used with percussion instruments. ange that allows you to create the © Setting ai!controls to between 0 sound of a jet, as wellas chorus and 2 produces ellects similar to and phaser effects. Agoad sense _thase ofa doubler (double-tract). of sound-elfect creativity is there- © Fig. 1 shows the setting used for fore very useful to users of the BF-2. jet flanging. © Because the BF-2's unique @ Fig 2 shows the setting used for sound has a stronger treble effect, _creating a metallic Hlanging sound. itolters interesting effects for bass The key to this Sounds to turn the guitars, RES contiol completely up and to @ The BF-2 cen also be effectively turn the Lepth control down to 0 Seting for met 21 ‘SPECIFICATIONS Power 9V Ballery. AC Adaptor (ACA Adapior) «Current draw DC 9V.15mA * LFO ale) speed: 100ms-~ 15 see. Fesidualnoca -OSdBin (IHF A) « Inputimpedance 470Kf + Ouiputtoad impedance Over 10kf » Dime sons. 7O(W)x5StH)x 125(0} mm WB*x2 2°49") « Weight 400 g 0 88 bs )HI-BAND FLANGER FIR-2 oem Adefinite step up from conventional flangers, Bose’ new HF-2 Hi-Band Flanger flanges an overtone, one- octave higher than the original note. This results in flanging sound which is bright and clean. It's a speedy, whooshing sound effect that’s Perfect for guitar back-up of fusion music and synthesized string sounds. The HF-2 Is the perfect choice for afl those applications where conventional flangers just won't do! With 4 controls, this zu. er will let you create the usual rrertoira of flanging effects as well as a far-reaching fange of tonal shadings. to GUES tor BS to KERES SPECIFICATIONS — . QV. 18m A ‘BV Baltery. AC Adapier (BOSS ACA Senes) + Current draw DC {rnocrum) = Cattle Manual-Capn, rae feponee «Jacks npl ouput AC ‘Adapter # Delay tima 0.510 6.Sme LFO speed. 100ms12 165 « Resiqual nase =95d8m (IHF A) « input umpedance: 470k * Output load mpedance: Over 10M 23 + Dimensions. 70(W) x S5(H) x 125(0) mm [2-3:4* 23116" x 4:15'16") Using the HF.2 © Withits liting flanging effect, the HF-2 suits fusion guitar and key- board styles: an area where con. ventional hangers were unsutable. ® For fusion guitar playing, chorus tke sounds are produced it he Resonance is lowered. Increase ‘he Rate for vibrato sounds. © With a synthesizer, using Sounds with Jots of overtones such as strings. will give you a much tcher Hanging effect. That's because the HF.2's abilily to fange sound one octave higher than the original sound can be fully utilized. 1 Soting to be used win syrthe sized stings, 2 Heavy metal guar sound setting ‘* Woight’ 400 9 (0.88 Ibs) @ The key fo setting up the HF-2 for optimally enhancing synthe. sized strings is to Se the Pate lower and increase ihe Depth ® Fig. 1 shows a sample setting of the HF-2 for use with synthesized ‘surings. @ Increasing Resonance will make the HF-2 produce the typical son/e-characleristics of flanging @ if the Manual control is set a fittle fower than the midway point as shown in Fig. 2, a Hanging effect typical of heavy metal guitars is produced.TWw-1"™ The TW-1 Touch Wah effect pedal produces a wide variety of wah effects by simply adjusting the volume and altering your picking technique. Automatic variations of tone according to the level of the input signal provides radical tone changes for hard picking, and delicate tone changes for soft pick- ing. The TW-1 is therefore ideal for musicians who use sophisticated playing techniques. The use of a coil-type resonance circult makes possible a number of amaz- ingly natural wah effects. The TW-1 is also equipped with a Drive control that lets you choose any of the up (bass to treble) or down (treble to bass) wah effects to match any song you play. As a result, any desired wah effect can be used with any playing technique from hard, quick picking to delicate fingering. for QUES tor RSS vor KEEN feo: vesre | Using the TW-1 © Tha TW-1 allows you to switch between the “up “wah and the “down watvin order to match the lune being played. When using the down wah during stage per formances. set the mput signal level trom the guitar slightly higher than you would normally. This will produce a much clearer sound. © Elfective adjustment of the tone adds an extra touch to the wah Stfects. Selection af the proper Quitar pickup and careful adjust- ment of the fone knob are the keys ‘0 creating superior wah eflecte | Setting for creating a pleasant wah Sound by minng the orginal fone with the wan effect cumanS with the TW-1 © /deaily. an equalizer should be connected in series after the TW-1 inorder fo permit sight suppres- sion of the unneeded high- frequency bands. © Interesting effects can be Created with the TW-1 while per- forming chopper bass or rhythm cutting on electric pianas, ® Fig-1 shows the setting used to create a smooth and pleasant wah sound. This wah sound is mixed woth the anginal sound by means ofa Mixer 55 Lr) | G52 Pa SPECIFICATIONS Power QV Batlery.AC Adaptor (ACA Adaplor) * Current draw: DC SV, 6mA *SN fatio: Over 8OdB * Input impedance: 470k * Output load impedance Over 10k!? + Dimensions: 70(W)x5(H)x126(0) mm (28"x2.2" x49") * Wevght 400 9 (0.86 ibs.)on OcC-2 Octave The OC-2 Octave produces 3 sepa- Using the OC-2 rate tones—the original tone, the © The Key to elfective use of the fowar tone should be caretully original tone dropped by one octave, OC:2 Octave fies in properly balanced with the original tone. and the original tone dropped by 2 balancing the volume of the A tanger and a phaser may be used together with the OC-2in ‘order to make the lower octave tones clearer © As shown m Fig. 1, a com- octaves. By mixing these 3 separate tones at any desired level, the user can not only play octaves, but also create a thick wall of sound witha fones—the original tone, and the octave lower and 2.octave lower tones © The tane that has been dropped by 2ociaves is Weal for ada + pressor can aiso be added in single guitar, thanks to the OC-2’s ing depth to the original tone order io abtain more stable octave unique 3-octave unison character- ‘Since the sound is likely to. tones. istics. The compact OC-2 incor- porates state-of-the-art circultry, including an SAF circuit that correctly samples only the basic waveform of the original tone, plus a high-speed phase inversion amplifier that chooses the correct octave, and a series of tone campensation filters that create a natural waveform. As a result, the OC-2 can effectively produce octaves of the correct pitch and with natural envelopes. become less clear, however. this 1 Linking the OC 2 Octave with the CS-2 Compressor order to oblan more for GUESS stable octave tones, ~~ SPECIFICATIONS Power SV Battery. AC Adaptor (ACA Adaptor) * Current draw DC 9V 4mA *Max- (eum inputlevel: 808m + Maximum ouipul level Od *input impedance: 1Mft Ouiputload mpedance Over 10ki1 * Minimum operating inpulfovel = 6O0Bm 250H2) « Equivalent input noise. = 100cEim (IHF'A) * Dimensions TOW SRN ASEUPN mm Pn oR vem TT ae MERICVIBRATO VB-2"" The VB-2 Vibrato ts the world's first and only effect pedal that can adda vibrato effect to any electric ar elec- tronic musical instrument, including guitars, keyboards and bass guitars. inorder to produce a true and natural vibrate effect, the compact VB-2 in- corporates state-of-the-art circultry, Including a 1024-stage BBD, plus the same VCA and envelope circuits that are used in synthesizers. When used with a guitar, the V8-2 can produce a wide array of smooth and natural vibrato effects ranging from the vibrato sound produced by conven- tional fingering techniques, toa unique ultra-slow vibrato and deep, high-speed vibrato sounds. And with the unit's unlatch mode which acti- vates the vibrato effect only while the pedal Is pressed, the rise time allows the vibrato effect to come in gradu- ally over a period of time (150msec to 5 secands) which is variable by means of the Rise Time Control. GUA oe BES to KD Using the VB-2 @ the VB-2 Vibrato effect pedal cteates 4 natural vibrato sound with any type of electronic musical instrument. © The VB-2 is especially ideal for use with eleciic pianos and guitars without tremolo arms. © The unlatch mode allows the user (0 Create a natural vibrato effect by pressing the pedal at critical sections of a musical piece or alter playing a long note. © The trick to effective use of the VB-2 Vibrato elect pedals to set the Fuse Time and Rate conirois 10 the tempo of the music to be 1 Seltingused to create the appropriate vibrain elfect for long tones, 2 The nck to etfective use of tha VB.2 ss arelul manipulation of tha Rise Twn ‘contr and the unlatch mode. played, The vibrato etlect is especially elective when applied fo crittcal sections of musical pieces by means of the unlaich mode, © When playing a guitar, a unique vibrato effect can be created that is totally different irom that produced by conventional fingering techni- ques. Use the VB-2 ta match the tonal characteristics of the music ta be played. ‘Fig. 1 shows the setting used to create a deep vibrato sound. tts espacially effective for lang tones, SPECIFICATIONS Power. QV Battery. AC Adaptor (ACA Adaptor) *Curtent draw: DC SV. 14mA * Maximum input level ~Sd8m (al 1kH2) + 208m (at 10H) *Inpul impedance: 1Ma * Quiput load impedance’ Over 10kit * Frequency response: 40Hz to 17kH2 (vibrato) * Delay time: ams (Depin 0) * LFO Speed. 2Hz 10 15Hz « Fuse ima: 150ms to 5 sec. «Dimensions. 70(W1xS5tH}x 125(D) mm (2.8 x2 2°49") e Wrinht d50nnaaines BOce-3°" The CE-3 Chorus electronically creates fine deviations in pitch which can be overlaid onto the original sound to produce a soft, full sound, as if 2 sounds were being created at the same time. This out- standing effect is widely used for guitars and keyboards in solo per- formances and chord backings. The CE-3 can create a stereo effect from a mono signal input by means. of the A and B outputs, and incor- porates both Delay Rate and Depth controls, as well as a switch for selecting the stereo mode. tor GEA tor BE tor KER Jeomra eae) | Chorus Using the CE-3 © inorder tomake optimum use ofthe CES, t's important to tuly understand how the Stereo Mode control works. @ In Mode |, the signalat the A output jack is a combination of the direct signal plus @ positive phase effect signal (direct + effect), white the signalat the B output jack is a combination of the direct signal plus a reverse polarity effect signal {airect ~ effect). The two outputs can be further combined and sent separately to two amps in orcier to create a true, wide Stage stereo chorus sound with a lush, swir ing and deep effect. 1. Conventional chorus effect 2 Vibrate chorus effect @ in Mode I. only the effect signal 48 sent to the A output jack, and the B output jack receives no effect signal at afl. This is the same con- figuration found on the original CE.1 and on Roland's well-known Jazz Chorus Amptifiers, © When using the monaural setting, set the Stereo Made con- trot to Mode © Fig. shows the setting used for creating @ conventional chorus effect. © Fig 2 shows the seiting used for creating a vibrato chorus effect. in thys setting. the Rate conirol is set at the highest position. 31 SPECIFICATIONS Power 9V Baltery, AC Adaptor (ACA Adaptor) « Current draw: DC 9V. 13mA * SN ratio Over 9008 ((HF-A} © Maxum input level: dim (100H2), — 10d8m {1kH2) * Input impedance’ Mf * Qutpul load TOW) S5(H)x125(0) rom (2.8* 2.2" x49") » Werght: 400.9 (0.88 Ibs.) 8: Over 1OkO » Dimensions: 0(DC-]22irension © The DC-2 Dimension C is the world's first compact Stiest Panne conte of creating the kind af ‘dimension’ eee ee in professionaf record- ing studios. Dimension effects are an essential part of playing and record- ing today, As Implied in the name, adimension effect adds thickness, depth and a sense of width to the sound—a 3D effect. It’s a sound similar to the chorus effect, but with the DC-2, a more dynamic and a much wider type of effect is produced, with a minimum of the wavering that occurs in conventional chorus units. A more effective use would be to employ the oa In os stereo mode through its tput The built-in noise reduction circuitry keeps noise level down to those of studio rack units. tor GUID te BAS tor ENG 33 fue be a le oureurel Jeanna WPUT & | Dimension < S Using the DC-2 © The DC-2 comes with 4 selecta- bie preset modes. By simply choos. ing the appropriate mode with the push-button selector, aven a begin- ‘ner can produce professional. sounding effects. © The push-bution selectors ara numbered 1—4, wilh the effect intensity increasing as you go up. © Mode 3 adds richness and depth to synthesized strings, © Model 7 adds a very subtle dimension effect, producing fut bodied, wide-open sounds @ Even in the monaural mode, the DC2 can create a wider, better Trek play set-up using the OC:2 arg 8D gtalDelay neambnation sounding effect than conventional chorus units © Using the Stereo moat with two ampiers is the best way fo bing out the ful potenti of the Dimension C's characteristics. © inthe Stereo mode, postion the L-channel and R-channel speakers some distance apart from each ‘other 10 expand your Sound even further @ Using the DC-2 in combinaton with a Digital Delay Unit (as shown in Fig. 2), lels you creale a deleyed stereo chorus or fecdbacking chorus effect ‘SPECIFICATIONS Power Sv Battery AC Adapter (PSA Adaptor) « Current craw’ DIC 8V. 30mA * Swilchas: Mode selector x 4 » Jack§ Input oulput A. output B. AC Adapier + ED Effect On/Ot (battery Condition) + Residual nase: -95dBm or less (FIF-A) {+ inpul impedance 1M Ouput impedance: Over 10kf! * Dimensions: TOW) x SS(H x 125/01 mn 7-3" Bln vA SEIN a trate tam mnBa Mm-3"" The DM.3 Delay provides an excep- tianally wide range of delay effects dn the range of 20 to 300msec by means of an adjustable Repeat Rate contro}. An Intensity control allows you to set the number of repeats , from a single slap back echo to self oscillation. The DM-3 employs a 2-output system that allows you to create 3-dimensional sounds with 2 amplifiers, Advanced circuits that suppress the distortion and noise ordinarily found in conventional delay circuitry. Together, these two cir- cults create the extremely clear sound which has made the DM-3 famous throughout the musical world. And of course, just lke the other units in the Boss Compact Series, the DM-3 delivers its out- standing performance with power from a single 9V battery. tor GUE tor BAS85— to KER Using the DM-3 © Because the delay ume can be adjusted over an extremely wide zange, the DM-3 can create a wae vanety of elfects, including rever- eration and an echo effect. alf by ‘simply adjusting the Repeat Rate control, © The 2-oulputsystem leis you ‘create 3-cimensional sounds with 2 amplifiers. © AS with the 2-output system, when only the main output (mono) 1 Conventional delay sound geting, 2. Singe shorl-delay sound seting fs used. the mixed! sounds are out- put. When both outputs are used. the delayed Sound and the normal sound are output separately, per- mitting the creation of much broader, deeper sounds © Fig 1 shows the setting for a conventional delayed sound. © Fig 2 shows the setting fora single short delay (doubler effect) sound. The key to this setting is to set the intensity control at “0."" SPECIFICATIONS Power 9V Batley. AC Adaplor (ACA Adaplor) *Current craw OC SV. 18mA * Delay time: 20ms 10 300ms » Residual nose: ~ 100dBm (IHF A} « input impedance. IME * Ourputtoad impedance. Over 10K0 * Dimensions: 70¢W)xS5(H)x125(0) mmm (28" 2 2" x49") # Weight: 450 g (0.99 Ibs.) aAKee L DELAY D f>-2°" The world’s first compact digital delay, T2-bit the DD-2 employs the same system found in more sophisticated, rack-mountable digital deleys. The DD-2 digital delay also features a wide, variable delay time range from 12.5msec all the way up to 800msec—wider than that of any analog delay on the market today—plus an excellent frequency response that is flat ovar the entire 40#z to 7kHz range. A unique hold function and two stereo outputs are also included, adding up to an effect pedal that musicians everywhere have been waiting for. The DD-2—creating new dimensions in sound reproduction. tor GUBA sor BASES tor KEPT fe ur ouTPUT> Digital Delay O08 — a Using the DD-2 @ Due (0 the wie 12.5msec to ‘800msec variable delay time range and the +3, -30B frequency response over the entire 40H2 to 7kbiz range. the DD-2 can pro- duce a crystal clear delay sound, making it ideal not only for live perlormances but also for studio recording sessions, © The desired hold effects can be produced within a range of 200msec to 800msec. By using the uniatch function, the hold effect will continue for as tong as the pedals pressed. For example, by seiting the delay ume at the tempo of the song to be played, you can take advantage of the DD.2's elfects while Tape echottho delay seing Yvertonal shot oly seting, you are pausing, Jetting you develop your own unique ways of effectively using the DD-2 during ensemble performances © The DD-2's 3-siage (S/MIL) Delay Mode selector and find. adjustment Delay Time control work fogether to fet you perform extremely precise adjusiment of the delay ime. ® Uniike analog delay units, the DD-2 can cleanly create such delay effects as repeat-echo and doubler eects. ® Two stereo outputs let you produce richer-sounding effects, an SPECIFICATIONS Power 8V Battery. AC Adaptor (PSA Adaptor) * Current drew DC SY, 55mA tthe D, ‘Time contol at center) » Type of A/D/A converter, 12D loga * Delay time: 12.5ms (min) to 800ms max} * Flesidual nose: ~ 950m (tHF-A) wut impedance: 1M (FET input) * Oulput load impedance: Over 10ki? hm compressionDIGITAL SAMPLER/DELAY os —D . 2 Digital Sampler/Delay Digital sampling and digital delay in Using the DSD-2 one cost-effective package, ® Hused asa celay delay timers attractively priced to bring ly varable beiween sophisticated effect techniques to ‘SOme and 200msin the $ odie every musician. Superior sound and from 200ms to 800ms in the L quaiity and a high standard of a mode. The builtin Feedback performance is assured with the Beoueur eur 1 contro’ seis the number of repeats 12-bit A/D/A converter. With two eeu ofthe delayed soundas you dase modes (Rec/Play and Play), the - Digital Sampler 5 ee Sone DSD-2 allows the creative musician (Delay _ps0-2 crystal clear sour to add virtually any sound: © Used as a sampling machine 2 component to the music; from modes are available, the Play and human voices and sounds of ReciPlay. various instruments to animal © inthe Play mode. a recorded sounds, auto engines and breaking sample sound can be recalled glass. The recorded sampie sound whenever the pedal is depressed, can be played back by depressing a ° the pedal or by feeding a signal triggered externally into the DSD-2. Another interesting use is as an external sound source for rhythm machines. In this manner, the DSD-2's sample sound will be synchronized with the rhythm. Carvenional shor delay setung ® Sampler mode seting for GUPA toe BASS too CEE ‘SPECIFICATIONS . Power SV Batlesy, AC Adapter (PSA Adaptor) * Current Draw SV oC. Som Fou System 12-bit plus analog Joganthm compression * Samping made! rr lng (200 12 800ms, varable) Playback time (200 to 800ms. eae oe ae i sn Detar Me (5010 20 ne aes sr rnrusa * eB Exe! + Resictval nose. - 958m (IHF-A) Etlect 480.941 Ib) 10008m or less (IHF-A} Direct + Controls, Etlect Level Feedback, Time. Made * Jacks: Input. Quipul. Tig fn, AC. Adaplet * Gan. Unity * input impedance. M0 * Output load mpedance. Over ‘Okt * Dimensions: 70(W) x S5(H) x 125(D}emm (2'a" x Min xd Vn") or when an external tngger signals fed to the DSD-2 * inthe RecPlay mode, anew sound can be recorded while a previously recorded sound's beng replayed. Recording and replay is achieved simultaneously while the pedals depressed. ® Ifthe Feedback cantrotis set to {ts maxanum, repeated overdubbing 1s possible ® The pich of replay can be vaned with the Time control. “To record a desired sound inio the DSD-2 for elects wit the greatest tetty fra record the sound on 2 tape recorder Weight4.1 Micro Studio Series NEw DIMENSIONS ® Compact design means high performance in these 1/2 rack-size units The Micro Studio Senes 1s exactly one hat the size of @ conventional rack moumed unit. with dimensions of only 218mm(W) % 4amin(hl) * 160mm(D)), but there are 20 comprom’s#sin performance or functions. infact, ths Senes provides the superior specications and excelent functons that can only be found in costly iarger units, (Options BMA. rack tor mounting up 0 § Micro Stucke Serves ut, 2 Micro Studio Series units fit one 19” EIA-Standard rack shelf Compact enough sa that two units can fit ona single 19 *rack with the optional RAD-10 rack mounting adaptor, These halt. size units can double the effects capabilty of a single rack shelf or cut by hall he space and weight required by asingle eed. The compact dimensions of the Micro Studio Senes also make it easier fo usa tham outstage or in studios, and take Up less space in your setups. 42NEw SPECIFICATIONS @ Designed with specifications impressive enough to make the Micro Studio Series a siar detay features a 12-bit PCM }DIGITAL DELAY RDD-io™" © This high-performance digital © Delay ume & continuously Extremely low noise levels are guaranteed in the Micro Studio Senes because Boss, carefuly selects and tosis all circuitry and components. A quality noise reduction system is a part of every Micro StudioSenes unit toassura studio- Quality nose-tree Input/outputs feature phone and ACA pin jacks All Bass Micro Stucho units ara equipped wath both phone jacks for mstrumant mpul/output and RCA pm inpulioutput jacks. Levels are switchable from the slandard instrument fevel of -20dBm to a fing level of ~100Bm, Effective use of the Modulation BUS jack formance. Delay times of 0.75 ta 400ms are available for a variety frequency range, extending flat ail the way up to 18kHz, A natural-sounding enatog-style echo ts also possible by adjust. ing the Dalay Tone control, And no matter what effect you choose, the sound quality is excellent, thanks to the digital devices utilized in the ROD-10. SPECIFICATIONS variable with a 9-step range selector system plus anslag logarithm from 0.75 to 400ms and Fine adjust. compression for superior per- ‘ment control far precisa settings © Precise settings are easy with ‘Modulation Rate. Depth and Feed- of effects, including echo, hack cantols producing effects flanging, doubling and chorus, ranging from echo flanging through ‘Moreover, the sonic quality of doubling to chorus. the IDD-10 must be heard to © Delay Tone control for na fully appreciate the wide analog: tke echo ellects and © Modulation BUS jack allows interlocking of the modulation of two RDD-10 units or an RDD-10 and an APH 10 or RBF10 unit The ADD-10 Digital Delay, tha RPH10 Phaser and the RBF-10 Flanger all boast a new funcion—the Modulation BUS jack for interlocking modulation, or driving one unit toinversely modulate with the Polanty switch when two ROD-10 unis are used at the same ume. an Cee er PCM Syste" 12 bot plus analog ogarthm compression * Delay Time Controls Range (15.3.6, 12.5 25,50, 100. 200, 200ms), Fine (x 0510 X1) * Frequency Response 20Hz10 1SkH2( +!dB) Delay. 10Hz to 60KH2 ( $48) Diroct + Mdodulation Controls, Roto (307Hz to 10Hz), Depth * Feedback Conivo! Level «+ Modulation BUS Jack. 1 * Modulation Polarily Switch 1 * Remote Jack Ettect One Inpul Levelimpedance ~20d8mviMit, ~ 10dBmrv47kg2 * Output Level 20¢8m, = 10d8m + Output Load Impedance: Over 10k? » Power Source: SV OC PSA senes AC Adapior* Dimensions, 218(W) x 44(H) x 164D}mm {816° x Pie BM haba Weinht GON 602 It 44DIGITAL PITCH SHIFTER /DELAY RPS-10°""" SHIFTER / DELAY The RPS-10 Digital Pitch @ The amount of pitch shift is Shifter/Delay—an ideal combi- continuously vatiable between nation featuring tha tong- ~Tand +1 octave. awaited digital pitch shitter and ® Different pitch shift characters digitat delay—in a very alforda- tics can be selected to match differ- ble package. The secret of the ent playing styles by choosing APS-10's highperformance and =—_—_belween Mode A, Mode B and the muiti-lunctions and fow cost, INV Mode: surpassing even professional- © The RPS-10 also features a flat use units, fles in Boss’ newly- frequency resporse trom 40Hz developed custom LSI. A digital extending up to 15kHz. Altch shifter’s distinctive chorus, @ Connecting the TU-12 Tuner to accurate octave and rich the RPS-10 tuner output terminal ‘ensemble otlects are all perfectly wil enable instant visual conlima assembied in this single high- tion of pitch shift amount quality unit. © The RPS-10 isequippedt wil a keyboard contro! terminal which is ideal for rapid pitch shilt settings: and extra versaliity. ‘SPECIFICATIONS Input level’nputimpedance: -20dBm/ MB. = 10dBmia7s0 + Outpulteveloutpt4 mmpedance. —20dBm/2k0, - 10dBM/Zk0 * Quiput load impedance Over 10k *Pich shit. —bocl.ta +1 oct _* Delay ime 25ms to 800ms * Frequency ‘espans? Direct 10Hz to 30kH2 (* 4 dB), Pach shitvdelay'40Hz to 15kH2( 36) ‘Resktual nose Under ~20dBm (IHF A level swnich: -2008m) ® Contrals: Delay rangeipiich shaft mode. pich, pich fineidelay ime ine leedback level. rmx balance '* Syriches. Power ellect (OrvOHh). level (~ 2006 = 104Bm) * Indicators: Power. effect * Jacks Inpul (standard phone. pin), Oulput (standard phone, PsN) Hold {ONIN Elfect remote (Or/OH, Tunes out. Keyboard control = Power Sourco: SV DC by PSA series AC Adaptor * Current draw. 100mA * Drmensions. 21800) x 44+), Ae eR mo RAR w HUA WBN hea Weraht: 900 6 (2 b.) | j {FLANGER RBF-10"™" © In addition to Rate and Depth controls, the RBF10 features 2 Manual control to allow adjust. ment of the center frequency at creating rich-sounding flanging, as well as a Mix contro! to select the proportion of direct to effect sound, are alsa provided, The D +E and D -E outputs make stereo flanging effects possible and ensure the flexibility re- quired to suit a wide range of musical styles. The REF-10 also hag a nalse reduction system to guarantee that your effects are noise-free, © Along with the Rate aad Depth controls, the modulation section has a Manual contra! (o adjust the center frequency at which tanging occurs © Feedback control for ieedback evel adjustment produces a wide range of langing elfects. Feedback Jevel can be adjusted wilh the normalfinverse function for even cher flanging effects. @ Mix function balances the direciflanging etfect ratic and allows the RBF-10 to be used 'n ihe effect send and return loops of a mixer. This function also adds warmth, softness and claity to the Hanging effect, which usually has a metalic tone. SPECIFICATIONS Controls. Maduistion Manual (Delay Time: 0.4ms to 3 2ms), Modulauon Rate (t00ms lo 168), Modulation Depth Feedback Level. Mux Balance * Input Levellmpadance = 2008m IMG. = 10Bnv47kY * Oulput Level -20dém. = 10dBm * Remote Jack: Etlect OrvOIt « Modulation BUS Jack 1 * Modulabon Polanty Swatch. 1 * Power Source: SV DC by PSA senes AC Adaptor * Dimensions, 218(W0) x 44(H) x 169{0)rom (Ba 14? x6" * Weight 9009 2 tb)PHASER RPH-I0"™" © Jaksinct operation modes 3 operation modes let the provide 3 afferent phase-shifting FPH-10 create anew world of etfect ‘effects—from light and © Mode I (6 sages) provides light delicate phase shifting to bold and soft phase sulting, sutabla for dynamic effects. The Moduta- adding that extra touch to prano or on manual control allows the rhythm guitar parts } center frequency where phase © Mode [1 (10 stages) creates shitting occurs to be adjusted deeper phase shifting across the from low-frequency bands right entire hequency range—trom lows: up the high-frequency bends. all the way up to the highs. Stereo phasing can be set up by © Mode Hil (12 stages) produces a Interlacking the modulation of Sharp and deep phasing sound ~ two units using the Modulation great ior syniheszed strings BUS Jack. The phase-shifting @ The APH-10 modiiation section circuitry features an original ‘has.a manual control for continuous Boss custom iC and built-in adusiment eee frequency nay where nolse reduction system toen- phasing occurs to easly | sure exceptionally smooth and wade vanely of phase-shifting etect noiseless phase shifting. in COMPRESSOR/LIMITER RCL-l0°="" Altack/Release Time controls, a Key-ln jack, a Stereo Link jack, an Overioad indicator and a Gain Reduction indicator. © Continuously varrable ratios from 1:15 t0 cot lats the RCL-10 be used as a limiter, compressor and functions into an extremely expander cost-effective single half rack- @ The Threshold and Decay size unit. A high-performance controls form a norse gate 10 | VCA guarantees high SN eliminate unwanied nose and ratio and low distortion white leakage. This means that drum ensuring clean sound, Features sound, especialy bass drums, get that surpass conventional full- that professional Tight” quailty. sized unite are now avaliable at © Attack and release umes aro atiractive prices with Boss’ individually adjustable lor fine- Micro Studio concept, tuning of specific sounds. cated features that are standard = ® Key-in ack allows unit lo perform on this unit include individual as a de-esser or gale echo © Stereo Link jack interlocks two RCL10 unis for compression, timnting, expansion and nose- gating, allin serea. SPECIFICATIONS SPECIFICATIONS Mode’. |. H.IIl + Controls. Medulation Manual. Modulation Rate {100msto 148). ‘Modulation Depth. Feedback Lavol « Phase Shih: 12 stages (21609 « Gain Unity ‘+ Input Levellimpedance: ~ 20dBmv1M0.. ~ 10dBmJ47kA « Output Level ~ 20d8m = 10d8m * Output Load impedance. Over t0kit * Remote Jack Ettect OnOtt Modulation BUS Jack. 1 * Modulation Polanty Switch 1 » Pawer Sourca SV OC toy PSA series AC Adaptor « mensions 218) x 44(H} x 1640} het x. are tice e874 6 Weraht 800 0 (2 Ib) Compressor? imienExpander: Ratio 11.510 | contnuausly variable Thashota 40 (o Gdn (Level swich at ~ 20dBm) Attack Tins O.2ms to 50ms. Release Tame S0TIS 10 25 « Noise Gate: Threshold ~=1o ~ 10d8im (Lovel serch at ~ 2048) Output Gain Effect) == to + 1408 + inpul Levelimpedance, —20d3m/IMU, WOdBrva7ktt * Output Level: ~ 20dBrn. — 10dBm » Ouiput Load Impedance (Over 1OkG * Remote Jack, Elfect On/Oit * Power Source. V DC by PSA seties AC Adaplor » Dimensions: 2184} x 44(H) x 169(O)ram (8/i«" & 1a? x6"i9") + Weight, 900 9 (2 Ib) 48© Toallow complete sound ontouring of your performances, the RGE-10 enables cuts and boosts of up to 12dB for each of the 10 octave bands from 31Hz to 16kHz, A Total Level control balances tevel differences between the equalized and the direct sound. With each slide control having its own LED Indicator, you've got a graphic display that’s easily visible in dark studios or onstage. Alt circultry components in this unit wera selected for low noise characteristics to give you professional studio-quality sound, GRAPHIC EQUALIZER PREAMP/PARAMETRIC EQUALIZER RPQ-10 PREAMP/ PARAMETRIC Ed © 10.octave bands centered at 31, | The RPQ-10 controls the frequency, —_@ 2-band contiguration lor delicate, 62.125,250,500,1k.2k.4k,6kand | Q (frequency bandwidth), and fine tonal shading and compensa- 16kH2 alfow line tonal compensa. | level equalizing parameters for ion (a take full advantage of tion and sound contouring as we! | both Low and High bands. A instrument sounds. as dramatic equalization efiects | parametric equalizer's chief © The input level control allows the ‘© Tolal Level contra! compensates characteristic, the Q control can APQ-10 io be used as a pream- for level varatione when the graphe| create Sharp peaks or amooth plier. equalizer 's used. variations in the tonal response, ‘@ Fach side control is LED- ® Each slide control hasa center _ allowing the user to come up equipped for easier operation, even click stop for quick resetting (00 | with many impressive sounds. in on dark siages. level | addition ta the stancerd phone © The RPG-10 is equipped with an © Both phone jacks for instrument jocks, ACA pin Jacks are afso inputfoulput and BCA pin jacks for provided at the inputa/outputs, direct connection to multi-track recorders and a wide range of audio and video systems are provded. © Roland's FS footswitch turns effects on and off without any click | norses. SPECIFICATIONS Equalizalion’ » 1248. 10 siding contr ‘Shing Control wit an LED * Input Lave ‘47K © Outpul Laval. —20d8m. ~ 1008 each wath an LED * Level Control. & 1208, npedarice © Gain’ Unity * Qulpul Load impedance =20dBrw/IMit. = 10d! Over I0kf) + Remole Jack Etfect On/Olt * Power Source: 8V OC by PSA senes AC Adaptor ® Dimensons: 218{) x 44(H} x 160{D}mm ( © Weight: $00 g (21h) noc" x Elie") for cannecting microphones, In- | struments and audio equipment. | sPeciFIcaTiONS: input overload inchcator. © The RPQ-10 is also equipped with @ flashing output overload indicator, input level (taledVinput impedance: MiC: - SOdBmvIKR, INST: =20dBnv1MOQ, INE: ~ 10aBRvSOK1 » Output level {ratedyoutput impedance Standard phone; =200Bm/2k0. pin} — 10dBrw/2k0 © Output load impedance More than 1Okft Frequency response (line input): 10Hz (0 40kHz ( *§ 08 at Ral) * Residual nose: | -9:08m (HFA at fat (no input connection, standard jek output) * Center frequency: Lew band 40H2 (0 kHz (4.6 oc!) high band 600H2 lo 18kH2(4.6 oct) | +0 07107 Variable evel range: * 1548 * Contras: Input level! frequency? | (sider volume wnih LEDY2, 0 (slider volume with LEDV2 level {center cick, sicee | volume with LEDY3 » Swatches: Powar, effect (normaliequalizet) « Jacks: Inpul jacks (@andard phone: MIC. INSTipin; LINE), output jacks standard phone. pin). eect | remcte jack (On/OH). AC Adapior jack (IN, QUT) « Indeators Power. effect. overioad | (pu), Sverload (otal level, LED ashing systern) « Power Source: SV DC by PSA | 2 3A Adaptec «Curent daw Goma s Dimensions: 21) 48th) 187(D) mm (89)'6" x 1.3/4” x 6.9116") + Weignt: 900 0 (2 0D} 50Oy CMF ees HU Sane R 5 D 10 OOGITEL SAMPLER / DELAY - PAD CONTROLLER/POWER SUPPLY BP-] PAD CONTROLLER © Avanety of elects auch as The BP-1 Pad Controle fets you SPECIFICATIONS mgnsosapignisemae” —sarmevcleessnenet | Nese feccarmiesey, NS sampling function to transform ‘modulaton, partamento, attack RSD-10 Digital Sampler/Delay ust Yass 1 Sensinod 1 esizerinto.asampling ——_anddecay can be applied tothe | by tilting the pad. The paa's sensi « Guimpedrce Kepbverd along with digital Sampled sound depencing ante) {can be adjusted wih he eg * Gros inserth sensitivity con! fepad aso Sahn 134 eacars ST ee onde I esnsck bate function is | controls the dynamics of the 018 band 7 ‘att F amplifier, a synthesizer of any builtin to let you cul the sampled | sampled sound when used with the Hogue ror) format—MIDI, CV/GATE, mono Sound at a desired point ASD-10—the harder you ht it. the Srpolyphonic—canfunciionas © Tha ASD-10's high performance |_iuxier the sounds. The BP-+1 can alsa, BPH ows ekoyboaduiling sampled 12 | junc sauce, An pt Bresnsere Satay sounds for sound sources. your sou f . _ mena gots mic rat BPH-2 pad holder allows mountin, x 13010) iciersuamar act are ONS e_| possleens oan pee be peyaring a duration of 23 ASD-10 can provde anulratong | sland. pace Jong as 2 seconds. delay of up (0 2000ms. | | PW-7?owe SUPPLY For use with Micro Studio Series units, the RPW.7 supplies 9V OC power up to 700mA. With 5 DC Becraetipet rpeaarce = 20d IMA. — 10dBMv47KA » Output levevoutout | outputs, the RPW-7 13 the same size impedance. ~200BV/2k0. - 10dBm’2kft + Quiput loadimpedance: More han and design as the Micro Stucio ae ol NDIA conver 12 bil + analog logarthm compression | Sores unt, and can be rack = Sampling time: Max. 2,000ms ® Detay time: 2to 2,000ms + Frequency’ responce. mounted The RPW.7 can ako ome aeesoiuiyre roe, seine | pom na comes ae . isa: - 96 a switch; =: i tal Guo pten contr Se coon? Osa a Controls. Delay vangelsampier | Pda! by using the PSA acaptor. inofsamy back iim. feedbaclioverdub level a RPT coven anupped win 306 ened basal Seoras nae =a acl Maret Pac eae (OnvO levs!{~ 20dBri ~ 30d) | Sym me trea semen ‘er Sut Sen ut ne PW) ean Fup DE ates input (slandard phone, pin). cutout (standard phone, pin. pach contol ” I etandara phono, per). pad eonkrol npul BP-1), tigger conkrolsnput (as wel ana a tmedior the DP-2}, affect remote (OrvO). AC Adaptor (IN, OUT) « Indicators: Power, EGTA ee er Lae ett 1 sories AC Adaptor Power Rdealor 1/* OC out acks: « Power 117/220/240V AC (S0/60H2) tect, overload, recording + Power Source: 2V DC ty PS: sare COKE «Poe one) x a(t) x 169(0) ra 6-9 a wer consumption: 22VA imaxsmum) « Dimensions 218(W) x 42{H) x 140{0) mm Curent cane 1 OO (B916" x 1578" 5:112%) « Weight: 1 2kq(2tb. 1002} AeSUPER CHORUS ce-300°"""™" ‘The next level up In chorus effects after the CE-t Chorus, i ane ontd standard, the Hass CE-300 offers two independent Using the CE-300 chorus circults to produce full pitch-deviation effects fora © Circuitry features 2 independent ade ‘vider fuller sounding effect In the stereo mode, as well 28 chorus ciructs fer pitch deviation Sneath Sota toe eecifle deep chorus effect lke a multiplex chorus when dots fics wien he CEA00' Contin chorus tod ara ied in the monaural mode. in addition to the Rate and er tee IES sound (D+ Eh wietie crore Depth controls, the CE-300 Chorus provides a Chorus Level hr tha moana moc Sh Bupuljack Boonsissona control to select the rtion of chorus effects to ie that of a muliplex chorus set combined direct sound and the direct sound. Also, by using the Chorus Tone control, ssavalable. et inverted affect (D = E). This craates type of chorus effect desired is possible—from the © For creating many diferent: the weltknown and well.usedt 1 CE-1 type mild chorus effect to one that's extremely sounding chorus efects, the pers ons cet ear a ‘sharp-sounding. Altaf this is done with # very high S N CE'300 comes equipped with four jucing a spacious soune controls, Rate ‘Output jack A should be: ratiey as the CE-300 Incorporates built-in noise reduction Ce a re conto ive mia see eee Girauity. With unequalled ease-of-use and builf to extremely especialy set ara aad cent efi 2 mone etec is desrad, high specifications, the CE-300 delivers recording-quality cone acjusts eas Re controled from the remote jack. performance in the studio or onstage. Gted! ubile the Chorus Lavel oa © nputfoutput jacks are provided slows sting he cested crac bah ts er anc reer pants ‘sound ratio, COnvEnence a SPECIFICATIONS inpullevel ~ 20d (rated). + 2d (maximum) » (ape impedance: M2. wr Dulpult level: ~ 20dBim (tated), + Y2eBm (maximum) + Qube load impedance: Quer OkG » Gam Urity » Controls: Input Level. Madulaion Fate Modulanon Soe ane Tone, Chows Laval « Swiches:Elfect OWOK, Drect Mule, Power Hen se, Onver # lacks: INOULX 2, Ouput A (A+B) 2, Output Bx 2, Effect Remote (OniOtf) x 1 * Dimensions: A840 x 47H) x 246 0 me 1B" Vin" Xie") « WelGH 3.1 Wg TD 1402)Neal Schon 2002! gas eiew Adjust the amplilier to produce a trebfe-enhanced reverb effect and use the guitar's rear single-coif type pickup. Also set the Delay Time contro! onthe DD-2 Digital Delay to between 400and OO msec... and turn tha unit on while playing solos. Try These E Sounds MODES MODE Andy Sumin “Beery een You Tede” (Synchronicity) Tocreate Andy Summers’ sound, sat the CE-3 Chorus effect pedal to ‘Model. Any type of guitar can be used, but be sure to play it using the cceater pickup position (combined sound irom the front and rear pickups). ~ and fuactions of The key to creating this sound is picking while slightly muting the sound. Boss’ compact effec! pedals, you can iry duplicating the exciting sounds of professional musicians. For yaur reference, wa have described below some of the settings you can use to recreate ‘as close as possible the sounds of several famous guitarists. ‘These settings, however, may have to be siighlty ‘adjusted depending on the guitar and amplifier you are using.Michael S@MbOH0 ic: rsensusira Michae! Sembelfo recommends using a sotter pick and gentle, stroking Moo ies for playing rhythm, When W's time fo solo, adding a sight ‘epeat echo does a fot fo enhance the solo, An aven more effective solo | can result if the digital delay’s echo repeals are timed to match the song's temp. For single coil pickup-equipped guitars set the pickup switch at the pbetween” position between the center and rear pickup selection. | Edward Van Halen 2c When performing on stage, connect digital delays (such as the Boss 5D 2 or DSD.2 Jin order fo acid a deep echo effect (o he sound. Use a guitar with ariarm and use the rear hur bucking type coll pICKup- Pat Metheny wzresocr2. When creating the Pat Metheny sound, be sure to i. pay close atte: theca canta salina ‘on the 2 Delay effect; pedals, In. ddiion, ° a amps chin ieee mp’s slight reverb effect and use a soft picking pulling-olf and hammering-on techniques should also be fn used olten. Finally, use a full-acoustic type guitar with a front pickup. cS TROVOE PAVED 82 re tnt eat tants tard The unique “Yes guitar sound is created through a rather complicai i ie recording procedure. Fst, turn the VB-2 Vibrato effect pedal on in = order to play an aypeagio during the. ownes of @fonely heart” eat and feep ie NF diab Gate turned off while playing the * nied oF wey i ache, Theieh ost effective if a guitar with single-coi type| Guide to Using Boss Effect ' Pedals with Keyboards — For keyboard players who refuse to accept ary limits on the sounds they can create, | Boss has developed a wide range of compact effect pedals that will meke every perlor- mance a success. Some of these effect pedals and thelr applications are described below. Chorus CE-3 © Wan ts amazngly spacious sound and wide range of effects. the CES | | | | ‘8 By connecing the CE3 0a combo organ. a deep, Dassy Sound can Be produced. fa The CE 3 can also acd accents 10 music when ts used foplay chords 0° an clecire piano ‘The CE-2 provides greater dept and | chness 1 any synthesger sound | Digital Delay DD-2 and Delay DM-3 (© Together wh chorus pedals: lays are essentialin seating a wee, deep sound @ The DD-2 and DM Badd atch rover effect 10 the sound ofan elect prandor organ. and produce a bright: ‘trey Sound when used vath @ syninesizer Liiny symtesized sound can be made to stand out by simpy repeating ne delay effect ‘© Deby effects are aso essential soltening and melovang a herd sound Phaser PH-2 © Phasers were ongnally devoloped (0 electncally produce Ire sound of & rotary speaker Thoy ave fea? for use with elecine panos and eiecironie organs. eine PH:2 canbe usedtoswela monotonous solo phrase '@ Ihe PH-2 canalsobe used to ade atremoiaelfect which rs produced by twine mstruments (o monotonous so10 phases ‘© Wah effect pedis are commonly used by keyboard players, ‘© When connected to a clavine! or | T Wah TW-1 | efectre piano, the TW: cen add ncher, more dynamve nuances fo a monotone. © Alunky effect can be added to porcussive chord work 1 The TW: 1sakso very etfectve m soding wan elfects to organ backng or othe chord work of an elects piano. Vibrato VB-2 @ 79 V8-2'8 the word's rst compact type wbraio ellect peda @ Uptonon, a vibrato elect coukt not be produced with electnc puanos, but with the VB:2. a vibrato effect can be Created for averting hom soos fo backngs @ When used wh a synthesizer, Sophvsteatad wibvato effects which up tpnow couki nol be produced through figenng can ba created by smaly ponds nen < - 2, Ce, Se - Over Drive OD-1 © Recently, distortion effect pedals such as overdiives have been used to produce guitar. the overciven, of hard sounds ‘© The OD-1 can be used to distor! ar gan tone in order to Create amore powertul sounet 9 The OD-1 can also be used 10. add guitar bke power and speed to the Sound of a monophonic synthesizer. Connecting the DS-1 to the OD-1 vwilfalow you 1a create an aven more cove ee eo: a Experiment on your own! @ These ase only some of the olfecis that can be created wit Boss effect pedat. bul you are free fa experiment wath new keyboard/ettect pedal com- binarons. We are sure Wal you wit Giscover a number of combsnabans on your own iatcen be used iacreate a. | ‘whole naw range of exciing parsovial sounds.The koy to hard tock is Knowng Now touse distortion affect pedals. As shown in the photo, both a OD? and DS.1 can be connected o a guia so hal you 3p ‘Greate the type of distortion you ike. ll you prefer hard cistorton, the HM-2 effect jpedatis Kea! Tia recemmandusing the DD-?2 lor creating @ combination of feedback rendition iy uth arming, and adding the PH-2 far creating a radical metalic sound To pravant howing and reduce nose, use the GE? The basic attect pedals for fu The bast alec peda or tsion guitars de th SDs and CED. a wot as Ditaontcambaions ‘of these basic elfect peda’s can be used with a wide ‘uy ofmusca sks, Hom pop torack When using acieay ale! pede. a sgl delay efec! should be used Effect pedals which create a 3cmensianal ound are generaty heaton aun me. Ele! pedo besides te 4 base types, such as ‘monctane ba n ‘ reeds olmetndual perormances si kiran anon Boss Effect Pedals In this section, we will describe some of the mora conventlo Typical effect paca for bass guitars include the TW-1 and afto! ihe CE sens ‘Recanlly. however, anincreasing number of bass players aie using vanaus othor {yes of elect pedals to create special bass Qutareliots. Compresso’ ave Ole reed as limiters order to create a funky bass sound. while the OC-2 produces pninteresing synthesized bass bka sound. Renowned tor is stable perfor prance. the OC:2 i ideal for use with bass gustass. Another effect pedat hats Dong increasingly adapted to bass playing is ihe GE.7 which s used fo create a cloar bass sound that matches ihe size of the performance haf for Every Instrument na! combinations of ct pedals end musical instruments. Chorus and delay efsct pedals aa pumanty used wilh ke a wih keyboards to add dept ant sons fo Reyboard sounds however the 1-1 can be used Sane boty sound, me 21 rata ator speatr Kg ound ad he $0.1 2 gua ike speed to a sour Wham used ncombnation wih the PSM rn tha VB-2 should be connected outsite ne PSM-5's loop so that the VB+2 operates the unlatch mode, The CE 3 shouid also be connected ‘use the PSM5's oop whenever you ae using the stereo mode.CARRYING BOX SBCES-6 Carrying Box The handsome BCB-6 Carrying Box can store up to 6compact effect pedals for easy portability. When the lid Is opened, the BCB-6 can serve as a highly- functional effect pedal board, thus radically reduc- ing the time necessary for setting up the effect pedals, The 8CB-6 is con- structed of heavy-duty molded resin for rigidity and light weight. ‘SPECIFICATIONS. Fifecl accommodation: 6 unis * Dimensions: 6330W7)x84{H)x260(0) mm Using the BCB-6 as a Carrying Box © Stores up to 6 standard compact-size effect pedals (not fimited to Boss elect pedals). ® Heavy duty molded resin case Jor ightweight (2 0kg) carryiig ease and superior rigidity. specially designed to ensure complete pro- tection of the effect pedals side. @ Clean. modern external design presents handsome appearance while on the road @ Compact. easy lo-carry dimensions ~633(W) x B4(H) x 280{D) mm Using the BCB-6 as en Effect Pedal Board @ Removing the lid turns the BCB-6 nto an effect pedal board that $ already set up for any kind of performance. @ Tedious effect pedal setup s puTinaled. as rs the messy tangle of wres around your feet during 2 performance @ A one-touch effect pedal mount ing system requires no tools or remodeling of the effect pedals themselves © The effect pedals can be easily removed and replaced with others according to the type of music (0 be played © Connection cords provided for convenient connection of al! effect pedals POWER SUPPLY & MASTER SWITCH PSM-5 Pawer Supply & Master Switch ae es 2 Upgrading the System with the PSM.5 The PSM-5 Power Supply & Master Switch provides the BCB-6 with a comprehensive vifect pedal board function, ® The PSM 5 supplies power for up to five 9V elfect pedals ® Simply pressing the pedal per- mits switching between the effect and normal modes of two or more effect pedals. © Since the PSM-Sis the same se as a compact effect pedal, # can be stored in the BCB-6 Carryng Box © Slandard accessories include an AC adaptor and a parallel OC cord lor 7 units.ROCKER WAH uj Rocker Wah Volume Pedal {with soft case) = The PW-1 Rocker Wah is arevolu- Fig, Range Salectionand Width oy cturabte and tionary weh effect pedal that can Control lightweight with duat produce optimum wah effects for =» inputs/outputs, avery type of electronic musical © 2inpuls2-oulputs fet you make Instrument, from guitars to ww pai oy the best use of keyboards and elfect keyboards and bass guitars. By Alia pedals with stereo capability. and ‘Boss’ original 3 g 360 for controlling two keyboards electronic volume control, the = HIS 2 | -mutaneously PW-1 completely eliminates the Ries © Builtin Minumum Volume contro! scratchiness found in conven- og smpliies volume adjustment range tionat pedal volume controls. As =| wEP | when soloing or ust playing rythm. aresult, the PW-1 Rocker Wah while the pedal angle and stroke ss can create attractive sounds for a ergonomically engineered for fine of time. -~—ro 4 adjusimenis and to elimmate fatigue © With a Width contro! for adjusting dunng fong penods of playing. the wioth of the wah etfect and a ‘© Tuner Output jack alows Range controt for setting the tre- connection to tuner (TU 12 quency at any of three frequency %_) | Clirematic Tuner 1s ideal) for easy ranges=High, Medium and Low— é tuning wathout generating any sound the PW-1 can generata ideal wah 4 | cunng tive performances effects for any type of musical ® The tuner can temamn connected instrument mdependently of peda! operation, © Compact and lightweight design fo’ convervent portabilty ae SPECIFICATIONS Power DC 3V(UM-2 x2). AC Adaptor (ACA Adaptor) » Current draw: OC 3V S0mA * Inputimpedance: 470k0 * Ouiput bad impedance: Over 10kf1 = Dimensions: 110A) x654H}x320{0) mm (43° x26" x12 6") « Weight: 13 kg (2 86 Ibs) +» Accessory: Vinyl Bag. SPECIFICATIONS Jacks: pul 1. Input 2, Output 1, Quiput 2, Tuner Out * Controls. Main Volume (Pedal), Minimum Volume + Dimensions. B6(W) x S4{H) x 200(0}mm (3fn* x 28" Tin") * Weight 400g (14 02)DR. RHYTHM PR-110 m2 e VU a 20 Oo Keyboard Volume The highty-edvanced DR-110 lode Stereo-type volume pedal include Bass Drum, Snare Dn Specially designed forusa with Rhythm machine lets you pro- Open Hi-Hat, Closed Hi-Hat, Cyi keyboards. gram two complete songs, each == bal and Hand Clap. Al! sound up to 128 measures in length, sources are extremely realistic. ®@ Two separate stereo channels (iraugh theuse of the 16 preset @ The DA-110 is provided wih an make the FV-200 ideal for use with nd 16 programmable rhythm Accent control slereo keyboards and for playing ” iccent contra! for easy adjustment two. seat simultaneously patterns. The DA-110 Incor- of the strength of the accenting, ‘S Mienum Volume contro’ s freely porates various innovations into and with a Tone control for adjustable and! also enables adjust a compact body, including an adjusting the oulput level easy-to-read graphic display © The DR-110 comes with two whlch permits at-a-glance con- rhythm patiern wailing modes—a firmation of a rhythm pattern for real-time waiting mode and a siep- ment of the pedal contra! range © Builtin Center Point Settrg Spring allows a normal volume favetto be al so that emphasis can be added each measure, 83 well as areal writing mode. oe eae Sy tive writing made tht allows © The DA-110 also comes with a i © Lightweight rigid aluminum you fa write ina rhythm pattem ——_ headphone jack, plus a Play Bus diecast body by simply tapping the sound ‘output jack that allows the unit to be source key at the desired tempo. connected to the HA:5 Headphone SPECIFICATIONS | ® the 6 aitferent sound sources Amplit i Dimartons, 10W)x65(H)x324(D) mm (43*%2.67 x128") « Weight. 1 kg (22tbs ) mpiiier through a single card. FV/-100 Guitar Volume Featuring » Minimum Volume Contro! | ‘@ The FV-100 Guitar Volume Pedal | 15 Specially designed lor use with | aguitar, ‘@ The Minimum Volume coniral! adjusts the minimum volume jevel when the pedal returns to the i normal position and enables adjustment of the volume range. | © Lightweight rigid a aluminum SPECIFICATIONS Fower DCGV(UM 3x 4).AC Adaptor (PSA Adaptor) « Number of memotizable | mys 32 kines (16 prelims, 15 progtarmacle yt) « Number of sons. |1o 16 sleps/t ia t2stens « Songs. 128 measures x2 songs (continous. maw. 128 | measues} # Sound sources: Bass Drum. nara Drum Cymbal, Closed Hehat. Open Giecest body inns: Hand Cap Acar» Tempoconictange 1 450300» Geers 1900) xB0(4)x110(0) mm (25 x1 23434) « Weght: 450 (1 fos) with balenes SPECONIONE irenumeseureneed Hates) | “Acta! Ssh ouer anaes Belcan &DR. BEA Dr. Beat DIB-66 can Practice rhythms with the eye and ear using the Tap key. © Equipped with an accurate quartz electronic metronome, correct tempo setting is immediate with the builtin display Rhythm tempo and beat are monitored through a builtin speaker and 2 LEDs. © Tap the Tap key in ume to the music to gel aninstananeous readout of the music tempo. © Sols beat at 0, 1.2.4 4.5 0r8 beats per measure with a chime at the first beat © With 4 basic rhythm unils, you can practice just about any ‘hythm—from syncopation to 8-beat to complex time signatures by mak- ing use of the individual level controls. © The tempo can be set exactly al any point between 35 to 250 quarter note beats per minute with the Up/Down switch. © Reference signal set al Ad (440H2) to allow nstrument tuning. CATIONS For N Bary |AC Adaptor (BOSS PSA senes) # Current draw: 8V OC, 9A {in the slop mode) Tempo; 35 to 250 beais par minute * Tempo accuracy: 0.15% + Beats, 0, 1.2.2, 4,5, 6 *Tuning note: A(440Hz, 20.2 cents) * Rhythm indicalors Audio beep ond dual LEDs » Controls: Rhythm volume x 4( J .p..)s). JH] )- Boat level. Tal volume » Swalches: Beal. Down. Up, StarVStop (also functions as the Tap ‘puiich). Mode « Jacks: Headphones (mn stereo), AC adapter * Dimensions $7OW) x ZH) x S(O} (Bae * x 9247) © Weight 320 g (11 02} without 69 patiery + Accessory Soll case (3-1 1 Music Conductor The DB-11 Music Conductor contains the 4 essential functions for performing and practising— metronome, tap, tuner and stopwatch—all ina compact package which slips into your packet. This handy unit is available in 4 attractive colors. © Stopwatch Mode: You can No musician should be withaut clock up fo 59 minutes, one! 59 seconds and 99/100 in @ Metronome Mode: A tempo 1/100 second intervals. canbe Set anywhere between 35 and 250 quarter-note beats per micute, with beat settable from 0—6 beats per measure. 4 types of basic beats are provided © Tap Mode: Tap the key in time wilh the music's tempo, and the tempo wil be displayed on a real time basis. Then by selecting the Metronome mode, the metronome function can be iitiated at the tempo displayed and the original © Tuner Mode: A standard note can be generated in semitone steps over the range of C4 to B4 for additiona! convenience when tuning 8 stage pitches can also be set between 438 and 445H2 in THz steps. Lee od oo i beat cool SPECIFICATIONS Power DC BV. CR2032 manganese-itthum battery x2 « Battery We: 150 hours (continuously used wa the Melzonome Mode al the tampa of 100 beats per minute) * Metronome mods’ Tempo (35 10 250 beals per mruto}, beat (0.1, 2.3, 4.5, 6). cfm (1p.ftem) accuracy (£0 196) « Tap made: Tempo (35 to 250 beals per minute veh highiow ineication), Beat (0.1, 2.3.4.5.6) « Tuner moda: Note range (Co Ba choral), standard pmich (438 to 445Hz, 1Hz steps). accuracy (Within 1 cent, 00636} Stop-waich moda: Time cange (0 to $9 minutes 69 99 seconds) * Display: Liquid erystal display Tempo ndicator LED 2 » Speaker, Piezo electnc | speaker # Switch Power * Butlons: Mode, select.up. down. ceset.star’sion (tap) + Jack: Headphones (monaural rin. jack) » Dimensions: 494M) x 16(H) x B4{0) mm | (aster x16" x35h6") + Wemnst peer)The HA-5 Headphone Amp compact unit, The battery- sound asa large-size amplitic Hallows you to play at signifi at night, without bothering neighbors. incorporating three differant effect circuits—over- drive, stereo chorus and stereo short detay—a single HA-5 unit permits tha user to create an extensive array of sounds. By connecting two or more HA-S units together, several musi- cians can play together. In addl- tion, any electronic musical Instrument can be connected to the HA-5, making It ideal for practicing playing techniques at home as well as for tuning prior to live performances. SPECIFICATIONS Power DCQV (UM-3 x6), AC Adaptor (PSA Adaptor) « Input impedance Input! 470k), MICI2 2kO, Cassette’ 4712, Phonesf@f- 3000. P-Bus wvoutwmpedance {OKG = Dimensions, 900¥)«120(H)< 4210) mm 5" x47" x1 7") « Weight 91 3500 (0.77 tos) HEADPHONE _AMP HA-S iar Incorporates 3 highly- incorporates a wide range of sophisticated effect circuits. ‘advanced functions into a single incorporating the same ellect cucuits as tha Boss Compact Series, d HA-S lets you play the HA'S can create a remarkable musical Instruments anytime, number of effects including over anywhere, and although the drive, stereo chorus and stereo HA-5 produces as dynamic a short delay. The builtin separate Bass and Treble controls allow you to enjoy an amazingly wide range cantly high volumes, even iata of sounds Allows playing along with arhythm machine of with tepe- recorded music. By connecting the HAS toa shythm machine of tape recorder, the user can malch an instrument to the ac companiment of a particular ehythm or piece of recorded music. The HA-5is thus affective for practicing and copying songs and playing techniques Fatigue-free playing even alter Jong hours of use. Because the HAS adds a wide stereo effect to the sound of a musical instrument, the sound image wil nol be concentrated ata single “point "inside the musician's bead. Thus, a musician cancom- doriably use the HAS even for iang periods of tine Provides the versatility of a headphone jam session, | Two HA-S units can be connected | together by means of asingle guitar | cord Hone person plays a guitar | and the other plays @ keyboard, toth musicians can play while | istoning to the other person s play- | ng. In additon. three or mote HA'S | units can be easily connected {og 2ther by means of the optionat 25 muttipe jack, alowing an entire bard 10 jam together RH-11M Stereo Headphones with Built-In Microphone for musicians who wish to sing. Exceptionally ight in weight. the optional AH-11M Headphones with a Bullin Microphone allows @ musi. cianto sing while playing a musical anstrument a AH-11M Stereo Headphones with Built-in Microphone SPECIFICATIONS Headphones: Type: Dynamic open ait Speaker Oynamsc 12x polyester-lim + Impedance: 500 + Sensitmty: 11d6'mW = Power handing capacity: 10am\y tor ‘one unit) « Frequency response: 184210 ‘22kHz » Microphone: Type: Dynamic, Directvity:Ditlerontal. bi-cérectional «# Frequency response: SOHz 10 20kHz {al closecangs) » Impedance: 1600 # Assembly Weight. 2.4.02, without cord, Tolal weiaht: 3.267 wath eat and 9 nunc 2DCHROMATIC TUNER = Chromatic Tuner (with soft case) Unlike conventional tuners, the @ The world's TU-12 automatically 74-12 Chromatic Tuner fully reads and displays tha note being automates tuning adjustment played andts pitch through a revolutionary digtal ‘@ in addition fo the chromatic processing system, thus tuning mode which permits fully efiminating adjustment of the automatic tuning, the TU:12 has a switch for each note to be tuned. When sot in the chromatic ‘mode, tuning can be done by simply playing the Instrument. The TU-12 1s also equipped with two triangular LEDs that light up when a perfect pitch Is achieved inorder ta speed up the tuning . in addition, the Pitch button permits the TU-12 to be sot at different concert pitches between 440Hz and 45H: (In tHz step). The sweep mater has indications for the range be- tween —50 cent and +50 cent. The world’s best-selling tuner, the compact and high- performance TU-12 Is ideal for tse with al! types of guitars, including bass guitars, guitar mode whch is convenient f tuning after replacing guitar strings, © The highly sensitive builtin con- denser mcrophane makes the TU-12ideal for acoustic instruments. © put and output jacks make st possible to connect ail types of ele Cine guitars, including bass guitars. lo the unit for quick tuning cuning lve performances ® Two trangular shaped LEDs pro- vide ata glance indication of which direction the musician must adjust ne instrument m order to become in tuna. Both LEDs light up when the instrument in perfect tune faciltating tuning even in dark Jocations or irom a distance. © The 7U+12 incorporates @ sweep meter that is specially designed to facitlate optimum tuning. @ The TU-12 also incorporates a batiery indicator which inorcates the amount of battery power remaining. © Compact, lightweight design Onty 170g ea) BE ER 1. Lower pitch 2. Higher pitch 3. Perlect pitch oe, ‘SPECIFICATIONS Power QV Batlery.AC Adapter (PSA Adaptor) * Current draw-7mA (LED off), 20mA nng range C185 "Accuracy: #1 cen! *Oscilator Quartz (3579545MH2) Buitan microphone Eleciretcondenser merophone * mensions. 145(W) x35{H)x53(D) mm (SB" x15" x2 1") * Weight: 170 g(037 Ibs ) 7