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Boss has since released several pedals using COSM, including the FBM-1 '59 Fender Bassman pedal and FDR-1 '65 Fender Deluxe Reverb pedal, introduced at the Winter NAMM show in January 2007. All Boss compact pedals use a "buffered bypass" type of silent foot switching utilizing Field Effect Transistors (FETs) to avoid clicks and pops.
The Boss MT-2 Metal Zone is a distortion pedal released by Boss in 1991. Designed for the death metal genre, the Metal Zone is characterized by its thick, tight tone and expanded EQ controls. [ 1 ] The extreme sounds the pedal is capable of producing made it successful yet divisive upon its release.
The Boss HM-2 Heavy Metal is a distortion pedal manufactured by Boss from October 1983 until October 1991. Designed to emulate a Marshall stack , it became associated with Swedish death metal and gained a cult following in the heavy metal scene .
A collection of effects pedals, including several distortions: a MXR Distortion + (top row, second from left), and a Pro Co Rat, Arbiter Fuzz Face, and Electro-Harmonix Big Muff (all middle row, from left). Distortion pedals are a type of effects unit designed to add distortion to an audio signal to create a warm, gritty, or fuzzy character.
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The Boss DS-1 is a distortion pedal for guitar, manufactured by the Roland Corporation under the brand name Boss since 1978. The first distortion effects unit made by Boss, [1] it has become a classic effect, used by many notable guitar players. [2] Boss released a successor, the DS-2. [3]
Notable examples of distortion and overdrive pedals include the Boss DS-1 Distortion, Ibanez Tube Screamer, Marshall ShredMaster, MXR Distortion +, and Pro Co RAT. A fuzz pedal, or fuzzbox, is a type of overdrive effects unit that clips a signal until it is nearly a squarewave, resulting in a heavily distorted or fuzzy sound.
Even by the early 1990s, when dedicated loop machines first went on sale, the term "live looping" had not yet been coined. The first dedicated loop device was the Paradis LOOP Delay. [ 6 ] The Paradis and other models had volatile memories, forcing composers to develop fresh loops live in front of their audiences — and thus, live looping came ...
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