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RX-100 Reverb Box

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RX-100 Reverb Box

This analog stereo reverb was available in the early 80s. Somewhat unorthodox to see that one channel has input and output jacks on the front while the other channel has input and output jacks placed at the back of the enclosure. Stereo output can be generated from a mono input signal by phase shifting one channel 180 degrees. This is controlled using the mode switch on the front panel.

Specifications

  • Input Impedance (Level): 4.7kOhm,-50dB (Ch. A-B) – 470kOhm,-20dB (Ch. A)
  • Output Impedance: Less than 600 Ohm
  • Delay Time 20mS – 400mS
  • Power Consumption: 3.5W
  • Dimensions: 13.4″ x 3.7″ x 11.5″
  • 5.7lbs.

RPQ-10 Preamp Parametric Eq

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RPQ-10 Preamp Parametric Eq

Boss Micro Studio Series Vol.1, 1986:

A 2-band Parametric Equalizer That’s a Key Performer When Creating Sounds

The RPQ-10 is a 2-band equalizer with a built in preamplifier. Being of the parametric type, the center frequency in each of the two bands, LOW (40Hz – 1kHz) and HIGH (600Hz – 15kHz), may be boosted or cut (up to +/-15dB) as desired, along with full Q (frequency bandwidth) control. Compared to a graphic equalizer which mainly emphasizes tonal compensation, the RPQ-10 makes for much more impressive and dedicated sound creations. The slide controls are all LED-equipped for instant visual confirmation of settings, even on dark stages. A built-in MIC INPUT jack makes provision for directly connecting a microphone to the RPQ-10, adding a lot of flexibility to vocal effects and for preventing howling feedback. All this is done with superb sound quality, thanks to the strict selection and control procedures Boss maintains for all its products, giving you the benefits of its continuing search for sonic excellence.

CONTROLS

  • INPUT LEVEL:
    For adjusting the level of the signal coming into the RPQ-10. It should normally be set to the highest setting possible before the OVERLOAD indicator flashes.
  • FREQ (HIGH, LOW):
    These sliders will let you select the center frequency range you wish to boost/cut.
  • Q (HIGH, LOW):
    These sliders controls the bandwidth of the frequency you wish to boost/cut.”A” is for sharp, narrow equalizing at the predetermined frequency point while setting the slider toward “SX.’ will provide a broad-ranging boost/cut which acts like a convetional tone control.
  • LEVEL:
    For selecting the amount of desired boost/cut by +/- 15dB.
  • TOTAL LEVEL:
    To compensate for differences in level between the pre- and post-equalized signal. This slider has a built-in LED which flashes to indicate overload on the equalized signal.
RPQ-10 Preamp Parametric Eq

Point Of Performance

The 2-band (HIGH and LOW) configuration of the RPQ-10 Parametric Equalizer proves it to be an extremely useful unit when you want to create wide-ranging tonal modifications. Fig. 1 shows a setting for effectively using this equalizer. Set the Q and LEVEL controls to maximum settings to bring about a radical change of frequency response. Next, while playing an instrument, adjust the FREQUENCY control up and down to locate the optimum equalizing point while listening to the changes in tonal response. Lastly, adjust the Q and LEVEL controls for completing the setting. In this way, it’s simple to emphasize the attack of a guitar or bass, and is also good for adding a metallic touch to an electric piano sound. For line recording purposes, the preamplifier section of the RPQ-10 plays an important role. In Fig. 2, we have a notch filter setting which is most effective in curbing feedback on vocals. Tonal characteristics retain their original properties because the Q control allows very sharp or narrow cuts to be made.

Trick & Shock

The RPQ-10 is flexible enough to create wow or phaser effects. Set all the LOW BAND slide controls at their center positions. Next you increase the Q and LEVEL settings to the maximum, and slide the FREQUENCY control up and down in time with the music being played. The result? Wow effects. Now, with the same setting, lower the LEVEL controls. You can now create light phaser effects. It’s an especially useful trick when processing sound that’s already recorded.

RPH-10 Phaser

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RPH-10 Phaser

Boss Micro Studio Series Vol.1, 1986:

3 Different Phasing Modes Let This Phaser Create a Multitude of Effects

A new generation RPH-10 Phaser with 12-stage phase-shift circuitry and recording studio quality sound. According to the mode selected, 3 completely different effects can be produced. Mode I (6 stages) is for soft and light phase-shifting, while Model II (10 stages) creates deeper phase-shifting all the way from the lows to the highs. Mode III (12 stages) is for when a sharp and intense phasing effect is required. Apart from the basic RATE, DEPTH and FEEDBACK controls, the RPH-10 is also equipped with a MANUAL control to adjust the center frequency around which the phase shifting occurs. With this control, it becomes easy to find a setting that is suitable for a particular instrument. A custom IC, newly-developed, is utilized in the phase-shift circuitry to produce phase-shifting which is exceptionally smooth. Although phasers usually tend to get noisy as the number of stages increases, the RPH-10’s built-in noise reduction system ensures a wonderfully clear sound.

CONTROLS

  • MODE: For selecting one of the following 3 modes. Mode I provides 6-stage shifting for a mild phasing effect, while Mode II offers a deeper effect due to 10-stage shifting. Mode III is for very intense and powerful 12-stage phasing.
  • MANUAL: This will select the center frequency of the phase-shifting and helps to match the phase-shifting to the type of instrument used.
    RATE: For adjusting the speed of the phasing effect. Turn clockwise for increased speed and counterclockwise to slow it down.
  • DEPTH: For adjusting the depth of the phasing effect. Turn clockwise for a deeper-sounding effect and counterclockwise for shallower phase-shifting.
  • FEEDBACK: For controlling the amount of feedback signal to create a stronger phasing effect.
RPH-10 Phaser

Point Of Performance

Having 3 different modes, the RPH-10 allows the user to produce a very wide array of effects, from the sharp and intense to a soft and light effect. Effectively employing these 3 modes will allow the RPH-10 to display its full potential. In Fig. 1 you see the setting utilizing Mode I to produce a phasing effect which is shallow and natural-sounding. An ideal setting for electric piano, one that delivers an open, wide type of sound with a slight emphasis on the highs, you ‘II find it often used by Richard Tee. Mode II is used in Fig. 2 to create deeper phase shifting, an effect that really puts synthesizer lead solos in the spotlight It’s also effective for guitar backing where muting is used. By setting RATE to a slightly lower position, you have the perfect sound for reggae cutting. With Mode III, a deep and very intense phasing sound is effected by taking full advantage of the 12-stage phase circuitry. It’s a setting that really adds sparkle to synthesized strings with the RATE control lowered just a bit.

Trick & Shock

Using two RPH-10 units, you can produce true stereo phasing with the modulation of the two units being mixed. First, connect the 2 units through the MODULATION BUS jack. Set the RATE lower r and the DEPTH greater on the first unit. For the second unit, use opposite settings. The result is the complex modulation effect as shown in the Fig. below. 

PV-1 Rocker Volume

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PV-1 Rocker Volume

Boss Pocket Dictionary Vol 1-2 (1984-1985):

The PV-1 Rocker Volume pedal plays an important role in controlling volume levels. The PV-1 can also be used to produce a violin-like sound with no attack by lowering the volume during picking and by pressing the pedal after picking is finished.

  • A Hall effect device makes the PV-1 a revolutionary volume pedal that can completely eliminate scratching noise even during long periods of use.
  • The maximum volume level is variable between Unity gain and a + 20dB boost in gain.
  • A powerful sound comparable to that of an electric guitar with hum-bucking type pickups can he produced from an electric guitar with single coil type pickups by simply pressing the pedal.
  • The angle and stroke of the pedal is determined according to the latest principles of ergonomics in order to minimize player fatigue over long periods of use.
  • A lightweight aluminum diecast case ensures carrying ease and durability.
PV-1 Rocker Volume

Specifications

  • Power: 9V Battery, AC Adaptor (ACA Adaptor)
  • Current draw: DC 9V, 5mA
  • Input impedance: 470kOhm
  • Output load impedance: Over 10kOhm
  • Maximum attenuation: Over 80dB
  • Dimensions: 110(W) x 65(H) x 320(D)mm (4,3″ x 2.6″x 12.6″)
  • Weight: 1 3 kg (2.86 lbs.)
  • Accessory: Vinyl Bag.

PD-1 Rocker Distortion

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PD-1 Rocker Distortion

As it is the setting of the pedal that determines the amount of distortion the player can adjust this while playing. This is rather unique feature in a distortion pedal. There is also a warp mode where distortion with much higher gain is generated.

NS-50 Noise Suppressor

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NS-50 Noise Suppressor
NS-50 Noise Suppressor

The NS-50 uses a VCA together with a high speed envelope for noise detection instead of the filters that most noise supressors uses. The result is that noise is removed while removing less of the signal. The NS-50 has both stereo in and out. It has an effects loop and an indicator built up of 8 LEDs that shows the noise reduction level. The unit can be switched on or off through a remote jack and there’s a level switch on the back to chose the input level (+4dBm/-10dBm)

MA-15A Micro Monitor Amp

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MA-15A Micro Monitor Amp

Boss Pocket Dictionary Vol. 1-4 (1984-1987)

The easy-to-operate MA-15A Micro Monitor Amplifier can be used as a practice amplifier, stage monitor and more. It is compact, yet produces 15W of output power, and incorporates a full-range 12cm speaker that produces a clear, powerful sound. A headphone jack also lets you enjoy practicing without disturbing others.

  • High and Low gain inputs allow the MA-15A to be connected to a wide array of instruments, including guitars, keyboards, microphones, etc.
  • The MA-15A can be connected to a tape recorder or FM tuner by means of the Auxiliary input, permitting you to play an instrument while also operating a tape recorder or tuner, thus facilitating the practice of playing techniques.
  • An optional MSA-100 Speaker Adaptor allows the MA-15A to be attached to either a music stand, microphone stand or wall/ceiling for adjustment of the angle of the unit.

Specifications

  • Power: AC Powered
  • Output: 15W (RMS)
  • Power consumption: 23W
  • Speaker: 5 inch full range
  • Dimensions: 300(W) x 167(H) x 162(D)mm (12″ x 6.7″ x 6.5″)
  • Weight: 3 1 kg (7.5 lbs.)
  • Accessory: Metal adapter for Microphone stand

Boss KM-60 6 Channel Mixer

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Boss KM-60 6 Channel Mixer

The KM-60 is similar to the KM-6 but it has some additional features. There’s a send/return effects loop on every channel. The send jack can be used for monitoring if there’s nothing in the return jack. There is also a master effect loop with separate volume controls for left and right on effect return. The KM-60 also has a built in low cut filter.

Boss KM-60 6 Channel Mixer

Specifications

  • Power Consumption: 4W
  • Inputs: 6
  • Input Impedance: 3.9kOhm (150dB), 33kOhm (135dB, -20dB)
  • Outputs: 2
  • Output Impedance: 300 Ohm
  • SN Ratio: Over 64dB
  • Individual Channel: Level, Treble, Bass, Effect Level, Pan, Input Attenuator
  • Master Controls: Level (left, right), Effect (left, right)
  • Channel Effect: Send (6) 300 Ohm (0dB), Return (6) 10kOhm (-26dB)
  • Master Effect: Send (1) 300 Ohm (0dB), Return (2) 20kOhm (-26dB)
  • Stereo Monitor Out: 8
  • Dimensions: 19″ x 3.7″ x 10.8″)
  • Weight: 10.4 lbs.

HC-2 Hand Clapper

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HC-2 Hand Clapper

Boss Pocket Dictionary Vol. 1-2 (1984-1985):

For a wide array of clapping effects.

HC-2 Hand Clapper

The HC-2 produces the sound of hand clapping when the pad is tapped
Equipped with a Hall control that allows adjustment of the reverberation level and a Dry control that adjusts the clapping tone, the HC-2 can create a wide range of hand-clapping effects
The HC-2 can be connected to other devices, such as a drum machine or a synthesizer, in order to synchronize the clapping with sounds from other instruments

HA-5 Headphone Amp, Play Bus

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HA-5 Headphone Amp, Play Bus

The HA-5 has built-in overdrive, stereo chorus and stereo short delay functions. There is a microphone jack with a separate volume control. This makes the RH-11M headphones ideal as it has a muilt-in microphone. The Play Bus part of the HA-5 comes from the ability to connect several HA-5 units together. Using a Multiple Jack J-5 as many as 4 people can jam together over the play bus.

HA-5 Headphone Amp, Play Bus

HA-5 Specifications

  • Power: 9V DC (UM-3 x 6), PSA AC Adaptor
  • Input Impedance: Input 470kOhm, Mic 2.2kOhm, Cassette (Line in) 47kOhm, Phones 8Ohm-300Ohm
  • Play Bus input impedance: 10kOhm
  • Dimensions: 90mm (W) x 120mm (H) x 42mm (D) (3.5″ x 4.7″ x 1.7″)
  • Weight: 350g (0.77 lbs.)

RH-11M Specifications

  • Type: Dynamic Open Air Speaker, Dynamic 12µ polyester film
  • Impedance: 50Ohm
  • Sensitivity:101dB/mW
  • Power Handling Capacity: 100mW (one unit)
  • Frequency Response: 18Hz-22kHz
  • Microphone: Dynamic, differential, bi-directional
  • Frequency Response: 50Hz-20kHz
  • Impednace: 160Ohm
  • Weight:2.4oz without cord, 3.2oz with cord and 2 plugs

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