All Boss phasers up until the PH-3 has been analog phasers based on BBD circuits. The PH-3 has a digital design that’s very different both in design and sound. The PH-3 has 4, 8, 10 and 12 stage phasers and also three new modes called Fall, Rise and Step. Rise and Fall creates unidirectional phasing sounds. That means that the phasing sound will always be going down or always be going up. The Step mode applies filter modifications in a non-consecutive manner giving some unique phasing effects.
Compact pedal with vintage BOSS phasing effects.
“Rise” and “Fall” effects for unidirectional phasing sounds.
Includes classic 4-, 8-, 10-, and 12-stage phasers.
Realtime control of rate via Expression Pedal input.
Digital Sampler with 2 Octave Plus Range and Controllable Dynamics The RSD-10 digital effects unit incorporates a sampling function as well as a delay function in a single body. Used in the Sampler mode, 2 octaves and more of scale can be produced as well as a duration of up to 2 seconds for the sampled sound. With an innovative circuit to control pitch with audio signals in a different manner to both MIDI and CV/GATE, the RSD-10 will transform any synthesizer into a sampling keyboard just as you would connect an effects unit. Depending on the synthesizer it is used with, a wide range of effects such as dynamics, pitch bending, modulation, portamento, attack and decay times, can be controlled. What’s even more attractive is that the RSD-10 is not restricted for use with synthesizers alone, but can be used with a drum pad (optional BP-1) rhythm machine and pedal switch. In the Digital Delay mode, a 2ms delay to an ultra-long delay of up to 2000ms can be obtained. To top things off, the RSD-10’s 12-bit digital system in tandem with the noise reduction system ensures sound that’s clear and free of noise.
RANGE/MODE: To select between the delay and sampler modes. In the delay mode, you can choose 1 of the 5 delay time ranges while the sampler mode lets you select from autorecording, manual recording, gate- or trigger-generated sampling effects.
FINE/PITCH: When the unit is in the delay mode this will enable you to fine-adjust the amount of delay time. When the RSD-10 is used as a sampler, this control will adjust the playback sound pitch.
PLAYBACK TRIM: Operative only when the unit is in the sampler mode, this allows you to vary the tail-end or the latter part of the playback sound to cut off any unnecessary portion of the sound.
FEEDBACK/OVERDUB: For selecting the number of repeats desired when the unit is in the delay mode and for adjusting the level of overdubbing when the RSD is in the sampler mode.
EFFECT LEVEL: For controlling the proportion or ratio of the direct sound to the effect (delay or sampled) sound.
Point Of Performance With the RSD-10, you are free to utilize any sound that’s available to aid you in creating new sounds. The RSD-10 frees you from any restrictions – you can produce a human voice from a synthesizer, sample the shriek of a tire and create truly special effects by over-dubbing. No matter what sound you create, it is essential to produce that sampled sound with a high S/N ratio. You can make sure your sampled sound preserves a high S/N ratio by setting the LEVEL switch to a point just before the input overload indicator lights up. If you’re trying to pick up a sound with a microphone, a preamplifier is needed (RPQ-10 etc.), but a cassette deck in the Recording Standby mode will also serve to preamplify the signal If the same sound is to be used repeatedly, it is advisable to put the sound on tape. In addition, other effects such as sound-on-sound may be initiated by setting ultra-long delay times of up to 2000ms.
Trick & Shock In the Sampler mode, turn the FINE/PITCH to adjust the pitch of the sampled sound. This will allow you to create effects which are just like sweeping the sound source. The Fig. shows a down-sweep setting. Rotate the knob clockwise to raise the sound’s pitch and sweep up. Electronic drum pitch sweep sounds are simple to create too. Please be aware that this control will not function if a keyboard is connected to the unit.
Fine Tonal Compensation with 10-Band Graphic Equalizer The RGE-10 Graphic Equalizer was specifically designed for ultra low-noise performance to enable it to be used in recording studios and onstage as well as to be connected to the finest audio equipment. The RGE-10 equalizes in 10 bands, in steps of an octave from as low as 31 Hz to 16kHz providing ideal flexibility for settings as well as ease of use. Up to +/- 12dB of cut and boost are available, making the RGE-10 an extremely adaptable equalizer, handling it all from fine tonal compensation to startling sound creations. A prominent feature of graphic equalizers is of course the visual confirmation of the equalized frequency curve. The RGE-10 takes it one step further with an LED indicator for each slider, letting you check settings on dark stages or studios and making quick further changes possible.
CONTROLS EQUALIZER SLIDERS: 10 sliders set at frequencies from 31 Hz (lows you tend to feel as vibrations in the air more than as sounds you hear) to 16kHz (extreme highs that help to accentuate or control harmonics) let you boost or cut up to 12dB at each of the 10 frequency bands. Each slider also has a center click setting for quickly and accurately returning to a flat “0dB” setting. LEVEL: For minimizing any level differences between the direct and equalized sound. This lets you control up to +12dB of level by moving the LEVEL slider up or down to eliminate differences in level.
Point Of Performance Tonal compensation, from a very fine degree to radical changes are easily effected with the RGE-10’s 10 bands in octave steps over the frequency range from 31 Hz to 16kHz. In combination with the visual confirmation of the frequency curve, the unit is also effective for processing sounds previously mixed, and providing fine tonal compensation for instruments and vocals too. But the RGB-10 really comes into its own for creating a spacious, open sound which will best match the acoustic characteristics of a hall during live performances. In Fig. 1, the setting is useful for making vocals stand out. In this setting, a boost can be centered around 1kHz, with just a touch of boost at 4kHz too. This will add clarity to the vocal and gives it an open sound. If the hall makes this setting give a tinkly or metallic sound to the vocals, apply slight cuts around the 4kHz area. Fig. 2 is a setting that adds some power to sound that has been already mixed down on a multi-track recorder. Cut out unwanted 31 Hz rumble by using the RGE-10 as a subsonic filter or emphasize the bass drum at 62Hz and 125Hz and add attack at 4kHz and 8kHz.
Trick & Shock Stereo effects can be obtained from a monaural signal by using 2 RGE-10 units. Use a J-5 multiple jack to split the input into 2, and connect each to an RGE-10 equalizer. Now set the sliders on each so the settings on one unit are the opposite of the other’s sliders. Apply boosts/cuts alternately: if 31Hz is boosted on Channel A, cut 31Hz on Channel B, and so on. When the sound is played back through an amplifier, the left and right channel tonal characteristics are synthesized in space, delivering wide, pseudo-stereo sound.
The RDD-20 employs a 12-bit PCM system plus analog logarithm compression for high quality compatible with a 16-bit system. Continously variable delay time between 0.75 to 400ms with flat frequency response up to 15kHz. Also equipped with Delay Tone control.
PCM System: 12-bit plus analog logarithm compression
Delay Timer Controls: Range (1 5.3.6, 12 5, 25. 50. 100, 200, 400ms), Fine(x0.5 to x1)
Frequency Response: 20Hz to 15kHz (+1/-3 dB) Delay, 10Hz to 60kHz (+1/-3 dB) Direct
4 Different High-Performance Functions Integrated Into a Single Unit. The RCL-10 Compressor/Limiter is a dynamics processor integrating the functions of a compressor, limiter, expander and noise gate into its compact dimensions. A high-performance VCA makes possible a very high S/N ratio with low distortion to ensure your sound stays clean without distortion. The compressor will even out the levels of sounds with wide dynamic ranges, while the limiter will just compress input peaks, thus reducing distortion. The expander function acts to expand or increase dynamic range, for those times when sound with great dynamics is required. The independent ATTACK TIME and RELEASE TIME controls allow the user to make very fine adjustments to achieve the exact effect he seeks. The noise gate function keeps noise down when nothing is being played. There’s also a key in jack for producing a gate echo effect when the unit is combined with a reverb.CONTROLS
THRESHOLD: For selecting the level of the signal at which compression/limiting will be activated.RATIO: This adjusts the ratio of compression. Setting this control determines whether the RCL-10 will function as a compressor, limiter or expander. ATTACK: For adjusting the amount of time before compression/expansion/limiting comes into play. RELEASE: For setting the time till the desired point of release.
NOISE GATE FUNCTIONS:
THRESHOLD: For selecting a point beyond which the input signal will noise-gated. DECAY: For adjusting the time it takes for the input signal to decay and fade out. OUTPUT LEVEL: This will adjust the level of the compressed/limited signal being output.
Point Of Performance Because the RCL-10 incorporates the 4 different functions of compressor, limiter, expander and noise gate, it is important that the user fully understands each function and effectively uses each function. In Fig. 1, the relationship between the threshold level and ratio is shown when employing the RCL-10 as a compressor/limiter/expander. As shown here, just the signal which exceeds the threshold level is compressed or expanded, depending on your particular requirement. It is important to note that compressors and expanders generally shape the sound in a total manner, so care should be taken to set the THRESHOLD and RATIO controls at low settings. But when the RCL-10 is used as a limiter to squash input peaks, set the THRESHOLD and RATIO controls to higher levels. Fig. 2 illustrates the principles of a noise gate where any signal lower than the set threshold level is muted, thus keeping noise away from the music. In the noise gate mode, the best method of use is to set the DECAY TIME to obtain a natural decay effect. With Fig. 3, you see the setting for use as a limiter, perfect for preventing distortion during recording and for eliminating undesired input peaks for chopper bass playing.
Trick & Shock Through the Key In jack, the unit’s gain can be controlled by an external audio signal, therefore allowing a variety of special effects to be created with the RCL-10. An example is to connect a tape recorder to the input jack and control the recorded music with a guitar or keyboard linked to the Key In jack. In this way the music can be played back only when the notes with signals higher than the set level are played to trigger the recorded music. In this way, “scratch” effects are easily produced.
Superior S/N Ratio Achieved with Built-in Noise Reduction The RBF-10 is a stereo flanger with its 2 outputs consisting of D+E and D-E. Most conventional flangers are only applicable for guitars and basses due to their tendency to decrease S/N ratio as the direct sound is intensively modified. Overcoming this barrier is the RBF-10’s built-in noise reduction circuitry for noiseless flanging. That means that the RBF-10 can be used with anything from keyboards to vocals. In addition to the RATE and DEPTH controls, there is a MANUAL control for selecting the center frequency of the flanging effect. The FEEDBACK control assists in creating rich flanging effects with normal or inverted phase. With the MIX control, the proportion of direct to the effect sound may be varied. By creatively using these controls, many different sound effects ranging from an intense jet-like whooshing to a pleasant chorus type sound to vibrato may be produced.
CONTROLS MANUAL: For selecting the center frequency of the flanging effect. Set it to best match your instrument’s tonal characteristics. RATE: For adjusting the speed of the flanging effect. Turn clock wise for increased speed and counterclockwise to slow it down. DEPTH: This adjusts the depth of the flanging modulation. Turn clockwise for a deeper-sounding effect and counterclockwise for shallower flanging. FEEDBACK: For controlling the amount of the feedback signal in normal (NOR) or inverted (INV) phase. Increase the FEEDBACK setting for emphasizing the flanging effect. MIX: For adjusting the proportion of direct sound to effect sound. Very useful when the RBF-10 is patched into a mixer effects loop.
Point Of Performance The RBF-10 can produce very intense effects, so good musical sense is required to make optimum use of this unit. Fig. 1 is the setting for “jet” flanging. By inserting a distortion unit just before the RBF-10, that metallic guitar sound so essential to heavy metal music can be produced. When used with a synthesizer, the RBF-10 will really make a lead solo stand out from the rest of the backing. The key here is to increase the FEEDBACK level to a point where the prominent characteristics of flangers are really emphasized. Good examples are represented by Anthony Jackson’s playing, when accentuating the treble on bass, or adding flanging effects to cymbals and other percussion during recording, which is possible with the RBF-10’s superior S/N ratio. The range of exciting applications is limited only by your imagination. Fig. 2 depicts a chorus like setting. The very wide range of control afforded by the RBF-10 enables chorus- and phaser-like sounds to be produced as well.
Trick & Shock For most flanging effects, normal (NOR) feedback is usually applied. The RBF-10 will even allow you to invert (INV) feedback. This Invert Feedback function is really helpful when you want to create deep resonance effects, without that metallic-sounding characteristic of flangers. The result will be a pleasing, mild sound with slightly unusual flanging effects, somewhat similar to a phaser.
Released 1996, the GX-700 took over as the new rack mount guitar multi efects processor. It builds on the earlier GL-100 Guitar Driver and also borrows much of its functionality from the Roland GP-100. It features analog overdrive/distortion, a number of digital effects and a COSM amp modeller. The amp modeller contains 7 models ranging from the Roland JC-120 to the Peavey 5150 higain amp and there are 9 different speaker simulations to choose from.
The following effects are included in the GX-700: Overdrive/Distortion, Wah, 3 Band Equalizer, Noise Suppressor, Modulation (Flanger, Phaser, Pitch Shifter, Harmonist, Vibrato, Ring Modulator, Humanizer), Delay, Chorus, Tremolo/Pan and Reverb. Only one modulation effect can be used at the same time so the Flanger and Vibrato can not be used simultaneously. There is mono or stereo outputs.
The GX-700 has 100 factory presets and another 100 memory locations for storing user patches. The patches can be chosen from the front panel or through a MIDI foot pedal like the FC-200. The FC-200 can be used in either manual mode for switching effects on or off or in editing mode for creating new sounds.
The GL-100 is a compact 1U rack-sized preamplifier which offers a selection of tones ranging from smooth and mellow jazz tones to heavy distortion and everything in between. Ideal for live performance use onstage with a guitar amp, direct to a mixing console, or for line-level recording applications, this versatile unit achieves an exceptional level of expressive control. The ability to produce an extensive range of tones with performance flexibility makes the GL-100 an ideal unit for today’s diverse musical styles.
Simulating the sound characteristics of renowned guitar amps
Through extensive research and analysis of the sound characteristics of a variety of popular large guitar amplifiers, BOSS developed a line driver circuit which has been incorporated into the GL-100 to faithfully simulate these characteristics.
A switchable speaker simulation circuit produces output similar to the fat, solid sound reproduced by a guitar amp’s speakers, even when the GL-100 is connected directly to a mixer.
Two independent channels and nine preset modes
Two independent channels are provided along with nine preset tone modes that offer a selection of frequently used guitar tones. You can switch between the channels using the front panel or an optional footswitch (FS-5L). Channel 1’s Mode control is ideal for soloing with three powerful drive settings capable of reproducing “vintage tube amp” sounds, as well as two types of distortion. Channel 2’s Mode control is optimized for rhythm backing with four selectable tones. Equalization and volume settings can be used to further modify the preset tones.
Versatile and Simple to Operate
Minute sound adjustment is possible via the built-in parametric EQ, with 4-bands for Ch1 and 3-bands for Ch2.
Equipped with Effect Send/ Stereo Return jacks, as well as Buffer Out, Monitor Out, and XLR Balanced Out jacks.
The BE-5M is similar to the BE-5 but has programmable memory in addition to the functionality of the BE-5. It has the same 4 effects that the BE-5 has: compressor, analog overdrive/distortion, digital delay, chorus. It also has a built in noise suppressor. The BE-5M can store up to 8 patches. Each patch stores effect on/off status, effects loop status and output level.
The DSD-3 is identical to the DSD-2 apart from the model designation. The DSD-3 was however released with a much lower price than its predecessor. This was made possible because of a drop in semiconductor prices at the time. As a result Boss decided to release it as a new version rather than dropping the price of the existing DSD-2.
Controls: E.Level, F.Back, Delay Time, 4-way Mode switch
Connectors: Input, Trig. In, Output, AC Adaptor
Current Draw: 55 mA (DC 9V)
Weight: 400g/0.88 lbs.
Input Impedance: 1Mohm
Residual Noise Level: -95dBm (IHF-A) Effect -100dBm or less (IHF-A) Direct
Recommended Load Impedance: 10kOhm or greater
Delay Time: 50 to 200ms in S Mode, 200 to 800ms in L mode
PCM System: 12-bit plus analog logarithm compression
Frequency Response: Sample/Delay 40Hz to 7kHz (+1/-3 dB), Direct 10Hz to 60kHz (+1/-3 dB)
Recommended AC Adaptor: PSA Series
Blue – Made In Japan
The DSD-3 was sold from August 1986 to December 1988.