TEST: Boss HM-2w

 How do you manage to scare off as many readers as possible already with the first sentence so far that he hardly dares to read the next lines further. Well then, the word of the day is "Swedish Chainsaw Metal"! Now it's out and I can literally feel how not only all guitarists from the field of jazz, pop and country turn away in disgust, but also the majority of rock, even metal guitarists show a rather pinched facial expression. Only a small selection of extreme metal guitarists listens expectantly and rushes excitedly to the following lines. Well then, it's time for the resurrection of the Boss HM-2, but in its newly reissued Waza version called Boss HM-2w.

History lesson

One thing up front, discussing sounds is strictly speaking totally pointless, especially when it comes to distorted sounds in the realm of metal. The sometimes completely overdistorted noise, which is expected from the listener in some extreme areas of this genre, is more to be seen as an art project than as a serious form of music, which follows at least rudimentary areas such as rhythm, chord progression and melody. But it is what it is, while Elvis still scared our grandmothers to death with his hip swing, nowadays the only thing left to do is to flee into the total dissolution of any harmonic sound sequences, combined with "vocals" that have more to do with digestive noises of any kind than with any kind of human sounds, in order to provide at least a hint of shock effect.

In order to find a suitable companion in terms of guitar sound here, one was at the right address at the Boss company almost three decades ago. While the overdrive pedals in the form of the OD-1 or SD-1 are still used today as an alternative to the TS9 for the purpose of blowing the amp, the distortion pedals from Boss have always polarized, so that until today at the "most terrible of all distortion pedals" not only the legendary Metal Zone, but also the predecessor of our test pedal Boss HM-2w is mentioned. Launched in the late eighties, the pedal did not even begin to gain a foothold in the hype of hair metal / tail rock, so the pedal was taken off the market again in 1991.

However, with the increasing popularity of the extreme metal faction, the pedals, which were first manufactured in Japan and later in Taiwan, became increasingly popular, so that a worldwide petition was started in which fans of extreme metal asked Boss to reissue the pedal. In particular, Scandinavian bands, which were always ahead in the harmonic cluster area and against which even bands like Slayer musically had a touch of Backstreet Boys, defined with their "Swedish Chainsaw Metal" a "musical" area that was economically negligible, but in terms of attention always caused a furor. Well then, you wanted the extreme, you got the extreme.


Structure and conception of the Boss HM-2w

The Boss HM-2w comes as already for decades almost all other Boss pedals in the classic layout. The dimensions have not changed and also the ingenious battery compartment along with the easiest access has remained. What has changed, however, is the so-called Waza version, in which a small switch on the front of the pedal can be varied between two basic sounds. In the S for Standard mode, the Boss HM-2w imitates the typical HM-2 sound of the eighties, in the C for Custom mode, the same sound gets a kind of "loudness" function, where the bass and treble range is pushed more in combination with an additional increase in the degree of distortion. For those who actually still place their pedals on the floor in free-flight wiring (are there still guitarists who work without a floorboard?), the Boss HM-2w has a rubber pad on the bottom that covers about 50% of the bottom and gives a better grip.

As always, you can choose between battery or power supply operation, whereby the Boss HM-2w turns out to be very frugal in terms of power consumption and can easily cope with a simple 9V / 100 mA power supply. As control options, the Boss HM-2w offers an output control, a bass and treble control and a distortion control. Two special features are immediately noticeable, which should cause confusion for one or the other user. First, there is the 12 o'clock position of the volume control. With almost all pedals, 12 o'clock is roughly +/- 0 dB, meaning that what goes into the pedal in terms of level, comes out again. However, this is different with the Boss HM-2w, here the 12 o'clock position is accompanied by a significant volume drop. Although a clear booster effect can still be heard at right stop, but for a 1:1 level setting you have to go to about 3 - 4 o'clock. Very unusual.

Furthermore, the frequency range of the treble control also clearly captures the midrange, so that depending on the position and the equipment used, you can also create a scoop sound. Here it is necessary to test the respective area of application, whether this type of sound management works.


The Boss HM-2w in practice

As already mentioned, the Boss HM-2w can actually only one sound, but in different versions, depending on whether you switch the pedal in front of a clean or a distorted amp. One thing up front, who wants to operate the pedal in his ancestral sound, comes around a Noisegate after the pedal not around, unless he wants to deactivate the pedal immediately in every break in the game. As with many other high-gain pedals, the amount of ambient noise is extremely high, regardless of whether you turn up the guitar's volume knob or not. Many will criticize that a hard-set noise gate likes to cut off a decaying tone harshly once in a while, but believe me, in the genres of music where this pedal is used, this fact simply doesn't matter.

It is interesting that the Boss HM-2w is operated by its fans with pleasure once like the eternal cliché of the Plexis, speak all controls on right stop. The result is an extremely pumping and scratchy high-gain sound, which allows a maximum of two-tone sounds, which must also be played extremely clean, so that everything does not suffocate in a single mush. The best way to work, in my opinion, is with single notes, which provide the greatest definition.

If you're looking for the warmth or dynamic of an all-tube snare, you're completely wrong with the Boss HM-2w. Here it is exclusively about the brutal and brute force of the half-wave cut, without any consideration for pleasant, pleasing sounds. The Boss HM-2w has from the basic sound indeed a very own tone, which immediately animates to a way of playing, which one had not yet discovered at all in itself, which makes the pedal very interesting in several respects. This does not have to mean that one now automatically falls into the laughing stock of corpse painting and lyrics about slaughtered virgins, but the personal, artistic horizon could indeed be expanded. Death metal riffs with country lyrics in the style of "the woman comes back", "the dog returns home" and "the car starts again", would perhaps also be an interesting variation.

However, the pedal with its partly "Fuzz Pedal Meets Broken Amp" reminiscent sound will scare off many classic pedal operators who have become accustomed to more pleasing tones from their pedals. The sound is really nasty, mean, unsettling, with the subtlety of a chainsaw, but that's exactly the pedal's specialty. I dare to doubt whether the Japanese really had this field of application in mind for their pedal at the end of the eighties, but the terry towel is now also created by a mistake in the loom and you could dry your hands afterwards super on it, from therefore.

The sound files were recorded with my Sound Ciry Master One Hundred, an amp that is great for distortion pedals of any kind and from the setting goes a touch into the saturation.



Conclusion

With the Boss HM-2w, the Japanese manufacturer once again brings a legend to the market, which will polarize like hardly any other. On the one hand, the extreme sound of the pedal will scare off many users, on the other hand, the sound shows you a side of you that you did not know until now. To what extent the musician finds this development interesting or disturbing is in the eye of the beholder.

But the fact is, 90% of all users will hate this sound, 10% will love it, but 100% will talk about it, which is always the basis for a legend in the end.

Additional informations:


- Distortion pedals, also known as "overdrive" or "fuzz" pedals, are a type of effect pedal used by guitarists and bassists to create a distorted, crunchy sound. These pedals are a staple in the rock and metal genres, but can be used in a variety of musical styles.

Distortion pedals work by clipping the signal of an instrument, which causes it to distort and produce harmonics that give it a gritty, aggressive sound. The amount of distortion can be controlled with the gain knob on the pedal, allowing the player to achieve everything from a light overdrive to a heavy, saturated tone.

There are three main types of distortion pedals: overdrive, distortion, and fuzz. Overdrive pedals are designed to simulate the sound of a tube amplifier being pushed to its limits. They typically produce a warm, smooth sound with a moderate amount of distortion. Distortion pedals, on the other hand, produce a more aggressive sound with a higher level of distortion. Fuzz pedals produce an even more extreme, almost "broken" sound that is popular in genres like garage rock and psychedelic rock.

Distortion pedals can be used in a variety of ways. Some players use them to add a little bit of grit to their sound, while others use them to completely transform their tone. They can be used to create a solo boost, to add sustain, or to create a more complex, layered sound. Some players even use multiple distortion pedals in a chain to achieve a unique sound.

When selecting a distortion pedal, there are a few things to consider. First, players should consider the type of music they play and the tone they are trying to achieve. Different pedals will produce different types of distortion, so it's important to choose one that matches the desired sound. Players should also consider the quality of the pedal, as well as its durability and reliability.
Some popular distortion pedals on the market include the Boss DS-1, the Pro Co Rat, and the Ibanez Tube Screamer. Each of these pedals has its own unique sound and character, and players should experiment with different pedals to find the one that works best for them.

In conclusion, distortion pedals are an essential tool for any guitarist or bassist looking to create a distorted, crunchy sound. These pedals come in a variety of types and styles, and can be used in a variety of ways to achieve different tones and effects. When selecting a distortion pedal, players should consider the type of music they play, the sound they are trying to achieve, and the quality and reliability of the pedal.

Boss Pedals is a Japanese company that manufactures guitar and bass effects pedals. Founded in 1973, Boss has become one of the most well-known and respected names in the music industry. The company's pedals are used by countless professional musicians in a variety of genres, and are renowned for their high-quality sound and durability.

Boss Pedals has a wide range of effects pedals, including distortion, overdrive, chorus, delay, and many more. Each pedal is designed to produce a specific effect, allowing musicians to tailor their sound to their exact preferences. The company is known for its innovation in the field of guitar effects, and has introduced many groundbreaking products over the years.

One of Boss Pedals' most iconic products is the DS-1 Distortion pedal. This pedal, introduced in 1978, quickly became popular among guitarists and is still in production today. The DS-1 is known for its versatile sound and rugged construction, and has been used by countless artists in a variety of genres.

Another popular Boss Pedals product is the TU-3 Chromatic Tuner. This pedal is used by many guitarists to ensure that their instrument is in tune at all times. The TU-3 is known for its accuracy and ease of use, and has become a staple on many pedalboards.

Boss Pedals is also known for its compact pedal design. The company's pedals are built to withstand the rigors of touring and live performance, and are often much smaller than their competitors' products. This makes it easier for musicians to fit multiple pedals on their pedalboard without taking up too much space.

In addition to its effects pedals, Boss Pedals also manufactures other music-related products, including amplifiers, multi-effects processors, and drum machines. The company has always been dedicated to creating high-quality, innovative products that musicians can rely on, and this dedication has helped them to remain a leader in the music industry for nearly 50 years.
Overall, Boss Pedals is a company that has had a significant impact on the music industry. Its effects pedals are used by musicians all over the world, and its commitment to quality and innovation has helped it to maintain its position as one of the most respected names in the business. Whether you're a professional musician or just getting started, a Boss Pedal is a great investment for anyone looking to create a unique and innovative sound.