TEST: Boss Modeling Pedals Special

 With modeling in general it's always like that. The approach of generating analog reproductions via a loudspeaker using digital emulation always presents engineers with the same challenges. The entirety of the components used, such as construction, filters, circuitry and loudspeakers, allow for an almost unlimited number of combinations and can therefore only be reproduced in a rudimentary manner by a single amplifier/loudspeaker combination. Many manufacturers therefore recommend feeding their products into the return of the FX loop in order to limit the natural discoloration to the last building blocks of the signal path.

The concept of the Boss company, which is generally considered to be the inventors of modeling technology and now has an impressive repertoire of modeling pedals, seems all the more interesting. These pedals are primarily designed to be operated in front of an amp that is set as neutral and clean as possible, which further increases the demands on the algorithms used.

Four of the biggest names in guitar amplifier construction compete in the comparison test:

- BC 2 (Vox AC 30)
- ST 2 (Marshall)
FBM-1 (Fender Bassman)
FDR-1 (Fender Deluxe Reverb)



construction

All protagonists come in the Boss standard housing, which has been tried and tested a million times over and has proven its roadworthiness and workmanship time and again. Equipped with 4 controls, some as double potentiometers, even more complex control options can be coordinated in the smallest of spaces. As always, all controls are slightly recessed to minimize the risk of accidental damage caused by the artist's footwork. The very simple and quick battery change should also be mentioned here. My guitar technician once managed to insert a battery during an announcement that lasted almost 10 seconds because the power supply was smoked, I guess it couldn't be more practical.

In contrast to the Boss standard housings, the Fender models have a structured surface paint, which results in a more grippy feel. While the BC 2 and ST 2 models are a type of multiple modeler that covers several models or channels from Vox and Marshall, the Fender emulations are an exclusive collaboration with the parent company, which also has the trademark Includes name on the case. Normally, a modeler sometimes has to perform adventurous lyrical pull-ups in order to tell the customer what sound he is trying to copy and in order not to violate trademark law. Here the manufacturer can take advantage of the full, of course not without paying Fender the appropriate licenses.

BC-2: This is Boss about emulating the most famous combo amplifier of all time, the VOX AC 30. The Level, Bass and Treble controls are self-explanatory, but things get interesting with the control on the far right, the ominous sound potentiometer. Here the three characteristics of the AC-30 are reproduced from almost completely clean to crunch to powerful overdrive, in connection with the different inputs of the original up to the top boost variant.

ST-2: The design of the controls is the same as the BC-2 pedal. Here too, in addition to the level control and the two-band tone control, there is a sound control that slides through several periods of the product range. Starting with the ominous “holy grail Plexi” through the 800 series up to the 2000 series, which also likes to push the limits when it comes to gain.

FBM-1: The pedal is based on an official cooperation between Fender and Boss and is therefore allowed to print all protected trademarks on the surface. In addition to the original Fender lettering, the brown / beige color scheme is also reminiscent of the tweed original from 1959. In contrast to the BC-2 and ST-2, Boss is concerned with the most accurate copy of a single sound and flexibility with this pedal Model policy is not required here. Therefore, not only have the control ranges been increased from four to six (Bass, Treble, Middle, Presence, Gain and Level) using two double potentiometers, but the pedal has also been given a second input in the form of the bright input, which is also present in the original.

FDR-1: Like the FBM-1, the pedal has 2 double pots, this time not to expand the tone control, but to use the reverb and tremolo circuit famous from the original (which was also incorrectly called “Vibrato” in the original - Leo Fender confused it basically the terms) to emulate. You can also vary the speed of the tremolo effect by holding the footswitch.




Practice

In principle it would actually be too good to be true. Imagine you work in a cover band that plays an average repertoire of world guitar hits and you own the four pedals mentioned above. With the exception of the Carlos Santana or Mesa Boogie sector, you would have pretty much every guitar sound in world history available in the pedal area, be it the Beatles, Status Quo, Queen, AC/DC, Deep Purple, Doobie Brother, Steve Ray Vaughan, Creedence Clearwater Revival, Brian Adams, Aerosmith and many thousands of other six-string protagonists, ideally mostly regardless of the amplifier used.

Maybe the local P.A. Renters also have some guitar backline in the catalogue, you can simply rent it for little money and leave your personal amp cabinet at home to protect your back. 2 guitars in the gig bag, a handful of cables, four pedals on the floorboard and off goes Luzy. Sounds very tempting indeed.

BC-2: We start with the sound control on clean and adjust the two-band sound control according to our taste and the amplifier speaker used. Even the first sounds make you sit up and take notice. Turn the wheel of time back 50 years, in which amplifiers were not overdriven as much as possible (which could almost never be achieved live due to the predominantly weak power amplifiers) and you can recognize the classic Beatles sound. Slightly nasal with clear highs and lots of crunch.

From 9 a.m. the first crunches start, which slowly develop towards Rory Gallagher or Status Quo. Finally, at 12 o'clock the gain of a normal AC 30 is reached which is driven without additional boosters or overdrives. This is where the Queen sound comes in, i.e. single coil and a lot of attack in the treble range. From 3 o'clock onwards, the BC-2 visibly moves away from the original and offers a high gain level for solo sounds or real distortion. But the pedal never loses sight of its intention and offers very good VOX sounds throughout the entire control path, which are very close to the original.

ST-2: Here too, the same procedure as with the BC-2, first everything on clean, tone control neutral. Oh yes, that's Marshall, everyone respects. Rarely have I met a modeler who defined the protagonist as clearly at the first attack as the ST-2. Nicely distorted, extremely dynamic in the saturation and the specific midrange component of the EL34 in the finish. The modeler really sticks to my style of playing, really great cinema. AC/DC, Free or even old Zeppelin sounds fill the room.

As the “sound proportion” increases, not only does the level of distortion increase, but in fact the sound control lives up to its name. In terms of sound, the changed tone control of the 800/900 series with master volume is slowly coming into the picture. Early eighties metal associations quickly make the rounds, Priest, Maiden, Saxon, all before high-gain amps ironed out the last remaining dynamics, also very nicely done.

So then, let's see how high levels of distortion in the pedal translate into the sound. And lo and behold, even at full throttle the chords remain transparent and the infamous muddy sound of many competitors does not occur. What I really like is the consistently high midrange content in all sound presets. Marshall has never been predestined for the so-called scoop sound, so it's a relief that the designers didn't make the mistake of trying to generate the "bathtub" via the pedal. Limiting yourself to the sonic specialties pays off; the ST-2 impresses across the board.

FBM-1: Who would have expected at the time that an amplifier that was originally designed for bass players would fail so mercilessly in its intended area of application and at the same time become so mercilessly successful among guitarists. He also provided the circuit diagram for Marshall's holy grail, the Plexi, which Jim Marshall was happy to “take over”. The basic sound is also due to his original approach, which is accompanied by sparkling highs, powerful bass and very moderate distortion. In addition, the 10” speakers play a crucial role in shaping the sound.

I really like the natural compression of the pedal, which beautifully reproduces the natural behavior of a tube. The FBM-1 is ideal for breathing more life into a rather inconsequential amp. The amp almost experiences something like an exciter function, especially if you set the gain control in the lower range. The classic “American” sound with strong highs and moderate mids was well achieved, and the pedal also reacts very well to dynamic playing. Blues, including the harder Texas blues variant down to country and jazz, are the FBM-1's preferred playing fields and it serves them perfectly.

FDR-1: Like the Bassman adaptation, the FDR-1 comes very close to its output amplifier, the 65 Deluxe Reverb, right from the first notes. The classic powerful bass, the typical middle hole and the radiant highs are reproduced very well and ensure a great feel-good factor. The well-known slight muddy sound as the distortion increases was also carried over very well and ensures the ultimate blues tone with a subtle crunch. The emulation of the spring reverb is credible, the tremolo effect is classic. A real blues cannon with a very nice sixties flair.

Now I'm already hearing the first questions: "Wouldn't it make more sense to place the pedals in the FX return to eliminate the sound coloration of the preamp?". That's exactly what I did first, an A/B comparison between the two connection options. Interestingly, the regular guitar input sounded fresher and even more authentic. From the looks of it, both the signal level and frequency modulation were designed to use the more sensitive input jack of an amp. Of course, this also has the advantage that amps can be used without an FX loop.


Conclusion

To put it bluntly, vintage lovers who can spend 2 hours happily discussing carbon pressed capacitors and the composition of the solder in their point-to-point wiring will hate this test! Hated because it is a practical test and is not overshadowed by the mojo, aura and shining children's eyes.

The fact is that there is of course a difference to the original amplifier in terms of signal routing, tone response and tone shaping. Logical, right? Anyone who seriously believes that even with the most sophisticated algorithms one could pack a complete amplifier chassis, including construction and loudspeakers, into a compact pedal without any differences in sound and play it back through any amplifier, has spent very little time in their life with sound shaping busy.

What excites me much more is the fact how outrageously close these compact pedals come to the original via any amplifier. It is up to the artist whether he actually uses an amp that is as neutral as possible and emulates the original amplifier or rather uses the pedals as a booster or sound shaper for a sound that has already been personally colored. Here everyone can indulge their joy of experimentation until they give up, it's worth it. By the way, of course a neutrally adjusted, high-quality all-tube head with a 4x12" cabinet also sounds different to the 8" practice squeaky from the teenager's room, so please don't start with the wrong expectations.

All pedals once again ensure that BOSS's excellent reputation in the effects sector is maintained. Workmanship, sound and practicality are beyond any doubt and bring plenty of mobility to the amplifier park. Guitar plus four pedals in the gig bag now also means guitar plus three combos and a full stack in the gig bag. If that doesn't convince you, have fun towing.