TEST: Boss WL Series

 Despite guaranteed stable signal transmission, the instrument cable has a difficult time on stages around the world these days. What was considered exquisite special equipment for the better-off just a few years ago has now even found its way into the hobby sector thanks to digital radio with all its advantages and disadvantages due to constantly falling retail prices.

With the WL series consisting of the models Boss WL-20, Boss WL-20L and Boss WL-50, Japan's finest in terms of stompboxes now wants to conquer the area of low budget guitar transmitters and has thought about a few interesting ideas.

“But my cable sounds much better…”

Opinions still differ on the basic sound of the various transmitters. Over the decades, the human ear has become so accustomed to the natural induction of the instrument cable that the sound of some transmitters appears to the user as too “clinical” or “sterile”. In order to prevent this argument, Boss has implemented various approaches that, depending on the area of use, are intended to help the listening impression by using a guitar cable simulation.

The Boss WL-20 model was designed for the electric guitarist. It includes a new technology called “Virtual Cable” and is intended to emulate the height attenuation of a 3 meter cable. It is recommended for electric guitars or electric basses with passive pickups.

The Boss WL-20L model is identical to the Boss WL-20, but does not have a “virtual cable” circuit. This model is recommended for active pickups or acoustic guitars with preamps etc. The operating time for both WL-20 models is given as 12 hours.

The third model, the Boss WL-50, goes one step further. It has the dimensions of a Boss standard floor pedal and can be placed at the beginning of the effects chain. It charges the guitar transmitter at the same time and has a “Virtual Cable” emulation that can be switched off if necessary, which can also be switched between long and short. In addition, it can be operated with 2 type AA batteries if necessary. The operating time is specified as 10 hours, which ensures good independence from electricity, for example for street musicians.

Concept and structure of the Boss WL series

WL-20 / WL-20L

The Boss WL-20 / WL-20L comes with very compact dimensions of (W x D x H): 87 mm x 25 mm x 38 mm and weighs only 60 grams in a robust-looking plastic housing and consists of a receiver and a transmitter. The receiver can be recognized by its slightly larger dimensions, a second LED and a 6.3 mm socket, behind which an interesting detail is hidden. Both components can be charged via a Micro USB port, or you can plug the transmitter into the receiver via the said socket and let both devices charge together via just one port. Any standard smartphone USB charger can be used as a charger. A USB cable is included.

Up to 14 radio links should be able to be operated in parallel, which search for their frequencies independently. For this purpose, the two components are also plugged into one another and then search for a free frequency range in the 2.4 GHz range within 10 seconds. So far, so simple. With a latency of just 2.3 ms, you can concentrate on your timing in peace; there is no noticeable delay here.

WL-50

Due to its use on the pedalboard, the Boss WL-50 offers a few extras that are not available on its sister models. Of course, the integrated charging slot proves to be particularly practical, where not only is the transmitter charged, but it also finds a nice place to park during transport. Furthermore, as with many floorboard tuners, a daisy chain circuit can be used for additional pedals in the power supply area if necessary.

Experience has shown that you should check in advance to see what power suckers are at the back of the effects chain. Overdrive and distortion usually work in the double-digit milliamp range, but a decent reverb can also draw around 500 mA and the power supply via daisy chain can often go to its knees. The housing makes a simple but stable impression; there are no rubber feet or rubber pads to prevent slipping on smooth surfaces. If necessary, you can also connect your instrument via a regular input socket.

The sound of the Boss WL series

When it comes to sound, the WL series leaves a really good impression. Compared to a high-quality 3 meter cable, the Boss WL-20 has just a tiny bit more treble and is a little less dependent on the guitar's volume control, in this case a 57'LP Gold Top, than the cable. The sound is marginally more compressed, but you only notice this if you sit in front of the speaker like a man possessed and devote yourself to the very hard A/B comparison.

The situation is similar with the WL-20L, although you can actually no longer hear any difference in the sound of a guitar equipped with EMG pickups. Here too, a tiny bit more compression, which in practice is no longer noticeable on a noisy stage anyway.

The cable simulation that can be switched in the WL-50, however, behaves a little differently than you are used to with a cable. The simulation acts like a treble stop in the upper treble range, which is also the case with a longer cable, but without the interaction of the cable. The height diaphragm works absolutely evenly, which is not the case with a cable. You can't say it's better or worse here, it just sounds different.


Compromises on the Boss WL series

Now let's move on to the other side of the coin, where you can't really speak of a problem. However, you have to keep in mind that there are a few drawbacks to be taken into account with the Boss WL series, and not just with it.

On the one hand, there is the frequency band of 2.4 GHz, which is used by almost all providers in this price range due to its unrestricted usability. Anyone who has ever played on larger stages or had to play in difficult rooms knows the problem. For my part, I had to play on the Full Metal Cruise last week with a 2.4 GHz transmitter on the theater stage in the belly of an ocean liner, or I wanted to, but unfortunately it couldn't be implemented. Countless signal drops due to the strong interference forced me to resort to a cable again.

The second show took place outdoors, which enabled good signal flow, but only up to a maximum of 10 - 15 meters. After that it’s closing time here too. So anyone who thinks they want to leave the stage in the direction of the audience or something similar with flashy shows must be clear about the radius of their area of operation. You can expand the radius a little, e.g. B. places his tuner on the edge of the stage in the middle of the stage and connects it to the amp with a cable. But if you plug the receiver directly into the amp, depending on the size of the stage, you won't even reach the other side of the stage, mind you, all with a direct optical connection. If even one drum set is in the way, the range of motion becomes slightly smaller.

This means that you can still get around easily with the radio link in a club without major broadcasting systems, but you also have to take into account the horde of cell phone users who pound on the 2.4 GHz range during the show. Remember, 300 visitors equals 300 more stations in your frequency band.

For me personally, however, the main problem with the WL series is the protruding plastic body on Paula class guitars with the socket in the frame. What can be solved quite easily with a Strat, brings with it some problems with Paula-type guitars, both visually and in terms of handling. People can have different opinions about the appearance of a guitar, but if a plastic body that is almost 6 cm deep protrudes from an instrument made of wood, it looks anything but charming, especially since the body does not look like a guitar. B. with the XVive U2 at least something can be folded away.

The problem only really becomes noticeable when you want to use the wireless gaming feel for appropriate shows. In fact, it is only a matter of time before an artistic performance causes either the transmitter or, even worse, the entire input socket to break from its anchorage. In my opinion, you shouldn't use the WL series if you think you have a rampant in your ranks.


Conclusion

With the Boss WL series, Japan's leading manufacturer of FX pedals offers three uncomplicated, good-sounding guitar radio routes. If you want to quickly replace your cable with more freedom of movement, are not a proven showman and are not planning to use it on large stages, you should give the products a try.

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Additional Informations:



Boss is a brand of effects pedals and other musical equipment manufactured by Roland Corporation. The company was founded in 1973 by Ikutaro Kakehashi, who also founded Roland. Boss pedals are known for their durability, reliability, and wide range of sounds. They have been used by some of the most famous guitarists in the world, including Jimi Hendrix, Eric Clapton, and Eddie Van Halen.

The history of Boss pedals can be traced back to the early 1970s, when Kakehashi was working on a new type of guitar amplifier. He wanted to create an amp that would be more portable and affordable than the large, expensive amps that were available at the time. Kakehashi also wanted the amp to have a variety of built-in effects, so that guitarists could create a wide range of sounds without having to use separate pedals.

In 1973, Kakehashi released the Roland JC-120 Jazz Chorus amplifier. The JC-120 was a hit with guitarists, and it quickly became one of the most popular amps in the world. The amp's built-in effects, including chorus, reverb, and vibrato, were particularly popular, and they inspired Kakehashi to develop a line of standalone effects pedals.

In 1977, Boss released its first three pedals: the OD-1 Overdrive, the DS-1 Distortion, and the PH-1 Phaser. These pedals were an instant success, and they quickly established Boss as a leading manufacturer of effects pedals.

In the years that followed, Boss released a wide range of pedals, including the CE-1 Chorus Ensemble, the DD-3 Digital Delay, and the MT-2 Metal Zone. These pedals became essential tools for guitarists of all genres, and they helped to shape the sound of modern music.

Today, Boss is one of the most popular brands of effects pedals in the world. The company's pedals are used by guitarists of all levels, from beginners to professionals. Boss pedals are known for their durability, reliability, and wide range of sounds. They are an essential part of the modern guitarist's toolkit.

**Some of the most popular Boss pedals include:**

* OD-1 Overdrive
* DS-1 Distortion
* PH-1 Phaser
* CE-1 Chorus Ensemble
* DD-3 Digital Delay
* MT-2 Metal Zone

**Boss pedals have been used by some of the most famous guitarists in the world, including:**

* Jimi Hendrix
* Eric Clapton
* Eddie Van Halen
* Jimmy Page
* Stevie Ray Vaughan
* Kurt Cobain

**Boss pedals are known for their:**

* Durability
* Reliability
* Wide range of sounds
* Affordability

**Boss pedals are an essential part of the modern guitarist's toolkit.** They are used by guitarists of all levels, from beginners to professionals. If you are looking for a high-quality, reliable effects pedal, Boss is a great option.

**Here are some of the reasons why Boss pedals are so popular:**

* **Durability:** Boss pedals are built to last. They are made from high-quality materials and are designed to withstand the rigors of touring and everyday use.
* **Reliability:** Boss pedals are known for their reliability. They are built to last and are backed by a comprehensive warranty.
* **Wide range of sounds:** Boss pedals offer a wide range of sounds, from classic overdrive and distortion to more experimental effects.
* **Affordability:** Boss pedals are affordable, making them a great option for guitarists of all budgets.

## Digging Deeper into the History of Boss Pedals: From Innovation to Icon

While the previous article provides a solid overview, here's an even deeper dive into the history of Boss pedals, packed with more details and insights:

**Early Innovations and Market Disruption (1973-1980s):**

* **Birth of a Brand:** Ikutaro Kakehashi's vision for portable, affordable amps with built-in effects led to the JC-120 and the subsequent birth of Boss in 1973.
* **Compact Revolution:** 1977 marked a turning point with the release of the OD-1, DS-1, and PH-1 pedals. Their small size, robust build, and affordable price challenged the bulky, expensive rack effects then favored by professionals.
* **Pioneering Technology:** The DD-2 (1983) became the first mass-produced digital delay, opening doors for affordable, high-quality time-based effects. Boss continued pushing boundaries with innovative pedals like the VB-2 Vibrato (1982) and the GE-7 Graphic Equalizer (1979).
* **Collaboration and Artist Endorsement:** Early endorsements from renowned guitarists like Eddie Van Halen and Jimmy Page catapulted Boss pedals to iconic status. Strategic collaborations with Ibanez (TS-9 Tube Screamer) and MXR (M101 Distortion+) further widened their appeal.

**Expansion and Diversification (1990s-2000s):**

* **Multi-Effects Units:** Responding to changing trends, Boss introduced multi-effects units like the ME-50 (1991) and GT-3 (1996), offering diverse effects and processing power in a single unit.
* **Digital Dominance:** The DD-5 (1994) and DD-6 (1999) solidified Boss's leadership in digital delays, while advancements like COSM modeling technology on pedals like the GT-10 (2002) expanded sonic possibilities.
* **Boutique Appeal:** Recognizing the popularity of boutique pedals, Boss released limited-edition "Waza Craft" versions of classic pedals like the OD-1W and DS-1W, capturing vintage tones with modern refinements.
* **Expanding Palette:** Beyond stompboxes, Boss ventured into loopers with the RC-20XL (1998) and modulation effects with the MD-2 (1999), cementing their position as a comprehensive effects solutions provider.

**Adapting and Innovating in the Digital Age (2010s-Present):**

* **Embracing Digital:** The Katana Artist amplifier (2016) embraced digital modeling technology, offering versatile amp tones and onboard effects in a compact format.
* **Blending Analog and Digital:** The DD-200 (2017) and the MD-500 (2017) combined classic Boss tones with advanced digital features, showcasing the brand's ability to adapt to modern demands.
* **Connecting Musicians:** The Blues Cube series amps (2018) integrated wireless technology, reflecting the focus on digital connectivity and ease of use.
* **Future-Proofing:** The GX-100 (2021) offered powerful multi-effects processing with USB audio interface capabilities, catering to modern players who integrate recording and digital workflows.

**Beyond Pedals: A Legacy of Impact:**

* **Shaping Genre Sounds:** Boss pedals have played a crucial role in shaping the sounds of rock, blues, alternative, and countless other genres. The DS-1's distortion fueled heavy metal, while the CE-2 chorus defined countless 80s pop tracks.
* **Democratizing Effects:** By making high-quality effects accessible and affordable, Boss empowered musicians of all levels to explore sonic possibilities previously reserved for professionals.
* **Enduring Design and Philosophy:** The distinctive stompbox design and commitment to rugged construction have become synonymous with Boss. This "built-to-last" philosophy and user-friendly controls further contributed to their enduring popularity.

TEST: Boss Waza Tube Amp Expander

 One thing you have to hand it to Boss, you won't get bored with one of the biggest trademarks in the instrument sector. Even if not all of the new products of recent times have been a hit in terms of sound, the Asian company certainly cannot be accused of standing still when it comes to product policy. With the Boss Waza Tube Amp Expander, Boss ventures into an area that is brimming with tonal mines! You are planning nothing less than the complete volume and sound management of a full tube amp live and in the studio without the structurally-related sound losses beyond the sonic peak. Can you set an ambition higher? I do not think so.

The concept of the Boss Waza Tube Amp Expander

Through the new editions of various Boss floor effects under the “WAZA” label, the trademark, which should not be confused with Danish crispbread, has earned a good reputation among guitarists. Aware of this, Boss has also given this slogan to its new product, which presents itself as a Swiss army knife in terms of tube amplifier management.

The main selling point is a newly designed load box whose functionality goes far beyond the usual load boxes and is intended to minimize their main problems. More on that later. The product also offers an FX loop and a speaker simulation for direct input plus effects such as compressor, EQ, delay and reverb. The microphone type simulation and its distance from the speaker can also be varied and managed in up to 10 rigs using an app on the computer.

The load box of the Boss Waza Tube Amp Expander

Sometimes it is very important to read a single sentence of a product description to the end. I admit, when I heard the words “load box in front of a vintage amp,” I secretly felt my internal shutter drop. How often in my life have I listened to the full-bodied announcements from various manufacturers, who always advertised with the argument of “identical sound at room volume” and how often they all failed miserably.

Turning down the volume of an all-tube amp is very easy. Simply solder a few load resistors in series, provide cooling, and you're done. What is completely left behind, however, is the interaction of the amplifier with the loudspeaker, which, depending on the deflection / size / wattage / magnets, generates chaotic return currents, which, in conjunction with the amplifier's output stage, create a kind of give-and-take. Every component interacts with every other component, which is castrated with a simple load resistance and is accompanied by an equally eggless sound. What horrible sounds we didn't have in the eighties. have to experience.

Aware of this, Boss offers a circuit called “Reactive Load”. The Boss Waza Tube Amp Expander should not only be able to continuously minimize the output volume of the amplifier if necessary, but also be able to vary the resonance of different cabinets and speakers using the Resonance-Z and Presence-Z controls. According to the manual, various 4x12" cabinets can be built with Celestion Vintage 30, Greenbacks, G12T-75 or even Fender and Vox combos with corresponding 10" Alnicos or Jensen speakers. The built-in 100 watt power amplifier then raises the volume-reduced signal back to the final stage or rehearsal room volume.

I admit, the product information makes you curious. If the announcements come true, at least the philosopher's stone would be found live. I can already see whole hordes of FOH's from Boss populating the venues on their knees, thanking me, because the guitarists' eternal argument "it only sounds good loud" would finally be banished to the leftover ramp from the day before yesterday. My equipment arsenal includes, among other things: exactly a Boss preset (Marshall JCM 800 + Marshall 4x12" Closed + Celestion G12T-75), so I'm very curious to see how the Boss Waza Tube Amp Expander reproduces the original in the A/B comparison. However, I'm also very curious to see what a G12T-75 sounds like when it's supposed to simulate a Vintage 30. Despite all the euphoria, a touch of skepticism just won't go away.

Incidentally, the principle of the load box can also be reversed. A cute Fender Tweed Champ e.g. B. with its 5 watt output power can also be inflated to 100 watts using this principle and can therefore stand up to a dynamic drummer if necessary.

The front of the Boss Waza Tube Amp Expander

It goes without saying that you can't get the currents of a full tube amp under control with digital technology alone, which also explains the heavy weight of 6.8 kg. By the way, Boss once again shows its practical sense by giving the Boss Waza Tube Amp Expander extra high rubber feet. The product will probably sit primarily on the head and manages to stay above the carrying handle thanks to the high feet. I love practical details! However, Boss also supplies 2 rack wings so that the product can also fit in a 2U rack if necessary.

The panel with the load box and its three controls starts on the far left. Further to the right is the selector switch for the 10 different rigs, which can also be accessed with a foot switch. There is also a reverb control that can choose between 3 different rooms via software. The FX loop, the effects, a solo circuit and the amp itself can be activated or deactivated using 4 push buttons. A Line Out control manages the output level to the FOH / Studio Mixing Desk and a Phones control takes care of the volume of the headphone amplifier. Then the ON/OFF switch plus operating LED, done.

The back of the Boss Waza Tube Amp Expander

The back of the Boss Waza Tube Amp Expander is also very extensive. In particular, the line out section and the FX loop area have been extensively reworked in every respect in order to accommodate any form of floor pedals or 19" technology in the signal path. MIDI In / Out along with 3 footswitch inputs manage all switching processes that manage the different presets.

The Boss Waza Tube Amp Expander in practice

So, the tension is high as I put together my setup for the sound files, especially since flagship guitar YouTuber Tom Quayle doesn't leave out any superlatives in a nearly 9-minute Boss promotional video to describe the Boss Waza Tube Amp Expander as the hottest thing since the establishment of the Kemper algorithm to praise. However, I have to admit that the sound files in the promotional video made me a bit skeptical.

Well, let's take an original Marshall JCM 800, model 2204 and put a Marshall 4x12" with a Celestion G12T-75 on the back, the same preset that Boss uses, among other things. want to emulate in its factory settings. A nice average sound setting, gain at full stop, master at 12 o'clock. The whole thing is microfinished with 2 pieces. SM57 according to the Fredman method, i.e. everything once through the entire standard department. The sound is corresponding. With a Fame Ironfinger Forum IV (https://www.amazona.de/test-fame-forum-iv-e-gitarre/) as a signal generator, the sound is open, powerful, highly dynamic with the classic, throaty basic sound that this combination represents , in fact the blueprint of the New Wave of British Heavy Metal. Iron Maiden, Saxon, Judas Priest, you name it. Now the question is, can the Boss Waza Tube Amp Expander authentically recreate this sound with its DSP power?

The short answer: no

The long answer: In direct comparison to the original, the Boss Waza Tube Amp Expander also struggles with the same problems as all other reducers. The sound is less dynamic, more opaque and, above all, less powerful. What may not be perceived as strongly in the rehearsal room or on stage in a band context becomes even more apparent in the A/B comparison in the studio. As soon as the DSP starts working, the sound loses its character.

This doesn't have to mean that the sound delivered is bad, it just doesn't match the quality of the original. And here, in my opinion, the dog is biting its own tail. When it comes to bringing good to very good sounding amps to the stage or studio, there is a whole armada of excellent sounding amps that offer great sound at moderate volume even on small club stages. Boss, on the other hand, has targeted the admittedly difficult group of vintage amp nerds as its target group and I think there could be problems there.

Of course, I was also interested in the sound of the other speaker emulations, but unfortunately that didn't really change my mind. Take the example of emulating a Celestion Greenback in the “Classic Stack” preset and compare it with the G12T-75 from the “Brit Stack”. In the original, there are worlds of sound between the speakers; here the two sounds sound almost the same. You can't turn a G12T-75 into a greenback at the push of a button. To be clear, the Boss Waza Tube Amp Expander produces good sounds, most of which are far beyond what other manufacturers sell as emulation, but it fails in its ambitions.

For the sake of completeness, I also included 2 presets from the rig's factory settings. Everyone should make their own sound assessment.

Conclusion

With the Boss Waza Tube Amp Expander, the Asian manufacturer has set itself a very high goal, which is not quite achieved. The product cannot live up to the claim of taking away the immense volume at the tonal peak from a vintage amp and saving the sound components 1:1 into a moderate volume; the DSP mixes too much with a “rug over the speaker” and one Reducing the dynamics in the event. There is no question that the Boss Waza Tube Amp Expander is the best-sounding reducer of its kind to date, so everyone should find out for themselves whether the product is right for them.

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Additional Informations:

The story of Boss pedals, a name synonymous with robustness, innovation, and the shaping of musical sounds across genres, is deeply intertwined with the evolution of electronic music gear. This tale begins in the early 1970s, a period marked by rapid technological advancements and a burgeoning interest in electric guitar effects.

Boss is a brand name under Roland Corporation, founded by Ikutaro Kakehashi in Osaka, Japan, in 1972. Roland's inception was driven by Kakehashi's vision of creating new and innovative electronic musical instruments. Before Boss pedals came into existence, guitar effects were either built into amplifiers, like reverb and tremolo, or were large, cumbersome units that were not easily integrated into a musician's portable setup.

The genesis of Boss pedals can be traced back to the development of compact, easy-to-use, and reliable stompboxes that allowed musicians to alter their sound in real-time with their feet. The first breakthrough came in 1976 with the release of the B-100 The Boss, a preamp with clip-on pickup. However, it was the introduction of the CE-1 Chorus Ensemble in 1976 that truly marked Boss's entry into the effects pedal market. The CE-1, derived from the Roland JC-120 Jazz Chorus amplifier's built-in chorus effect, offered guitarists a lush, swirling chorus effect in a standalone unit for the first time.

Building on the success of the CE-1, Boss sought to innovate further. In 1977, Boss released the OD-1 Overdrive, the PH-1 Phaser, and the SP-1 Spectrum (a parametric equalizer), marking the first use of the now-iconic compact pedal design. This design was revolutionary, offering a robust, user-friendly format that could withstand the rigors of touring while providing guitarists with new sonic possibilities. The OD-1, in particular, became a staple for guitarists seeking to push their amps into warm, natural-sounding overdrive without excessive volume.

The compact pedal format was a hit, leading to the expansion of Boss's lineup. Throughout the late 1970s and 1980s, Boss introduced pedals that would become industry standards, including the DS-1 Distortion (1978), the SD-1 Super Overdrive, the CE-2 Chorus, and the DD-2 Digital Delay—the world's first compact digital delay pedal. Each pedal introduced innovations in sound processing technology, from the analog warmth of overdrive and distortion to the crystal-clear repeats of digital delay.

The DD-2 was a landmark product, utilizing the same technology as Roland's SDE-3000 rack unit but at a fraction of the size and cost. This pedal demonstrated Boss's commitment to bringing professional-quality effects to a wider audience, a philosophy that has guided the company since its inception.

In the 1990s, Boss continued to innovate, introducing the MT-2 Metal Zone, which became infamous for its aggressive distortion, and the TU-2 Chromatic Tuner, one of the first compact pedal tuners that became essential on many guitarists' pedalboards. The TU-2, in particular, showcased Boss's understanding of musicians' needs beyond effects, offering precise tuning in a durable, easy-to-use format.

Entering the 21st century, Boss didn't rest on its laurels. The company embraced digital technology to create pedals like the DD-7 Digital Delay, which offered more delay time and modes than ever before, and the RC loop station series, which revolutionized live performance for solo artists and experimental musicians.

Behind every pedal, from the earliest overdrives to the latest digital innovations, lies Boss's commitment to quality, reliability, and sound. This commitment has made Boss pedals a mainstay on pedalboards around the world, used by beginners and professionals alike.

The story of Boss is more than just a tale of technical innovation; it's a narrative about understanding and responding to the needs of musicians. Boss pedals have become integral to the sound of countless genres, from rock and metal to funk and electronic music. As we look to the future, Boss continues to innovate, ensuring that whatever new sounds emerge, Boss pedals will be at the forefront, shaping the music of tomorrow.

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.

TEST: Boss Kartana Artist MK II

 In times when it has become too cumbersome for many musicians to transport their beloved all-tube head plus cabinet, modeling amps are booming. They have to be light, compact, versatile and with an easily adjustable final volume so that they don't get too annoying in a bar when the guitarist starts to solo. The Boss company is addressing exactly this point with its Katana series and is now bringing the battleship onto the market with the Boss Katana-Artist MkII, although the product name itself shows that Boss finally wants to leave the bedroom as a practice room. This test will show whether it succeeds.

The concept of the Boss Katana-Artist MkII

The Boss Katana-Artist MkII is a 1x12" modeling combo that offers up to 100 watts of power amplifier power if required. However, the power can also be reduced to 50 watts or 0.5 watts using a rotary switch on the right-hand side of the front of the housing, or it can be completely deactivated via a standby circuit for recordings via USB or headphone operation. With a weight of 19 kg, the combo is still significantly less than a comparable all-tube combo, but the combo is not one of the lightweights in the industry.

The combo offers 5 basic sounds (Acoustic, Clean, Crunch, Lead, Brown) in 2 different shapes each, of which 8 sounds can be saved, accessible via Boss's own GA-FC footswitch (not included), via buttons on the Front panel or a corresponding MIDI bar. Each sound can be bent accordingly using a standard three-band tone control. Furthermore, the Boss Katana-Artist MkII has an internal multi-FX device, consisting of the effects Booster, Mod, FX, Delay and Reverb, all well-known and executed in the classic Boss quality.

In addition to the master volume (logical...), the master section of the amplifier also offers presence (unusual for modeling amps) and an additional solo volume function, which temporarily increases the volume for the guitarist for solo parts. Very helpful for pub gigs without a PA, or overslept FOH. As a special feature, a speaker called WAZA Custom developed for this combo was used, which, in collaboration with the Coutour control and a slider that offers the presets Vintage, Modern and Deep, is intended to pick up and emulate various characteristics of different speakers and speaker housings.

The backside

In addition to the many editing options on the front, there is a no less interesting back of the Boss Katana-Artist MkII. In addition to the 8 ohm output for the internally installed loudspeaker, 2 pieces can also be used. If you connect 16 ohm cabinets, you should have the opportunity to run the combo via a full stack. In addition to the aforementioned connections for MIDI bar and GA-FC, there is another socket for the solo switch, an AUX-In in mini jack for practicing with recorded songs, TRS Out for headphones or recording purposes (with a frequency-corrected signal), and a serial one FX loop and, as a further special feature, an expand switch along with a line out or power amp in, in order to be able to establish a real stereo setup with a second Boss Katana-Artist MkII. The effects of chorus, delay and reverb are also reproduced in stereo in this setup.

The Boss Katana Artist MkII in practice

One thing you have to hand it to Boss, they make every effort, both in the manual and in their online presence, to present the modeling concept only as a means to an end and not with sentences like "... sounds like ..." or ... is identical to ..." targeting easy-to-impress beginners and alienating the ambitious user before even the first sound comes out of the loudspeaker. We all know it, the worse the sound implementation, the more noise in advance, so there is already a lot to be said for the sound quality of the Boss Katana-Artist MkII.

It is also very pleasant that, with one exception, Boss only points out the basic orientation of the sound when choosing a preset and does not refer to the big names in the amplifier industry with mostly disappointing parallels. You couldn't resist the reference to "Brown", especially since, as it turned out later, the sound made possible had pretty much nothing to do with the term of art from the EVH-Variax-Marshall era. So be it.

Let's start with an unusual order in the test operation and first look at the built-in effects, simply because this area can be dealt with the quickest. Let's think for a moment, the most successful manufacturer of effects pedals in the world builds an amplifier, how good might the internal effects be? Even! Of course, the Boss Katana-Artist MkII offers a good selection of very good-sounding effects, as if you had packed a small pedalboard with the 5 bread-and-butter effects in your gig bag. All effects offer the usual Boss quality, everything is great! The only interesting thing is the booster algorithm, which is rarely found in a modeling setup, but more on that later.

Now let's move on to a component that Boss spends a lot of energy and marketing on, the WAZA loudspeaker. According to the company info, the brief was to develop a 25 watt Celestion Greenback (described internally as "the rich harmonic overtones of the renowned 25W British stack speakers from the 1960s"... cute!) that could still handle 100 watts. For visual association, the back of the speaker was also beautifully painted in Nato green. Before the LS hardcore guys start verbally throwing hard objects again in the sense of “this isn’t physically possible”, yes, of course it’s not physically possible, but I would like to remind you again that we are dealing with a modeling combo do this by not only calculating the parameters of the amplifier, but also by requiring a loudspeaker whose basic orientation is as neutral as possible and can be bent in the best possible way in terms of sound.

After playing for a long time, you have to attest that the speaker has two peculiarities. On the one hand, the speaker actually manages to generate a fairly consistent sound at different volume levels. The algorithms have picked up on the characteristic interaction of an all-tube amplifier with regard to return current - loudspeaker compression and calculated it from high volumes or into low volumes. In addition, the speaker in the Combi Shape / Cab Resonance offers a large selection of presets responds, which in turn enables a large selection of tonal tendencies. Is the WAZA a greenback? Of course not, but unlike the Greenback, which generates ONE excellent sound, it has several good sounds, which increases its flexibility immensely.

Now let's take a look at the amplifier section. Here too, please always take into account the area of application of the amplifier. In my opinion, the Acoustic section is a nice bonus, but it doesn't turn an electric guitar into an acoustic guitar, but is more of an ultra-clean channel for sounds that should never distort. Warning, it's not a Roland Jazz Chorus!

The Clean algorithm adds a noticeable pinch of warmth and, as expected, leaves a very good impression. As expected, the depth of an all-tube combo with the capital “F” cannot be achieved, but the Boss Katana-Artist MkII is significantly lower with a retail price of €649. As soon as the first half waves are cut off in the Crunch channel, you can live out your instinct to play, especially with the Variation, Gain, Volume, Master, Contour and Cab Resonance controls/switches. You can feel that the Boss development department really made an effort to transfer the interactions of an analog amplifier to the digital world. Many control movements start at a similar point as the big brothers, and the tonal selection in relation to the basic character is immense.

This trend also continues with the Lead and Brown presets. You can also choose between different rock sounds, although real high gain can only be achieved in conjunction with the aforementioned booster. In my opinion, this programming made sense, as it meant that the adjustment in the channel itself could be carried out more finely and with a higher resolution.

What the Boss Katana-Artist MkII doesn't convey in terms of sound, despite all its variability, is the combination of character and depth in the sound. All sounds are good, there are no failures, but the basic sound of the combo remains a bit thin in direct comparison to other stage amplifiers despite the high volume reserves. In order to avoid any misunderstandings, the combo is very flexible, almost predestined for AOR cover bands and offers a good price/performance ratio for the retail price, therefore a clear purchase recommendation, although the sound of the combo cannot be compared to the next higher league in the four-digit range throw one pot together, that would be unfair!

Conclusion

With the Boss Katana-Artist MkII, the Japanese manufacturer is expanding the ambitions of its Katana series towards club stages. The amplifier is very flexible in terms of sound, offers good detailed solutions and has a very good price/performance value. The latent lack of character and depth in the basic sound is offset by a universal area of application in practice.

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Additional Informations:

The Boss Katana Artist is a versatile and powerful guitar amplifier that has been used by a wide range of artists in a variety of genres. Some of the most notable artists who use the Katana Artist include:

* **Andy James** is a British guitarist who has played with artists such as Paul Gilbert, Yngwie Malmsteen, and Uli Jon Roth. He is known for his technical playing style and his use of a variety of effects pedals. James uses the Katana Artist for its clean and distorted tones, as well as its built-in effects.

* **Billy Gibbons** is an American guitarist who is best known as a founding member of the rock band ZZ Top. Gibbons is known for his blues-rock style and his signature guitar, the "Pearly Gates." He uses the Katana Artist for its warm, overdriven tones.

* **Kirk Hammett** is an American guitarist who is best known as a member of the heavy metal band Metallica. Hammett is known for his aggressive playing style and his use of a variety of effects pedals. He uses the Katana Artist for its high-gain tones and its built-in effects.

* **Joe Satriani** is an American guitarist who is known for his instrumental rock music. Satriani is known for his virtuosic playing style and his use of a variety of effects pedals. He uses the Katana Artist for its clean and distorted tones, as well as its built-in effects.

* **Steve Vai** is an American guitarist who is known for his work as a solo artist and as a member of the rock band Whitesnake. Vai is known for his eclectic playing style and his use of a variety of effects pedals. He uses the Katana Artist for its versatility and its ability to produce a wide range of tones.

These are just a few of the many artists who use the Boss Katana Artist amplifier. The Katana Artist is a versatile and powerful amplifier that is well-suited for a variety of musical genres. If you are looking for a high-quality amplifier that can produce a wide range of tones, the Katana Artist is a great option.

In addition to the aforementioned artists, the Katana Artist has also been used by:

* **Alex Lifeson** (Rush)
* **Brent Hinds** (Mastodon)
* **Chris Broderick** (Megadeth)
* **Dave Mustaine** (Megadeth)
* **Dimebag Darrell** (Pantera)
* **Don Felder** (The Eagles)
* **Doyle Wolfgang Von Frankenstein** (Alice Cooper)
* **Eric Johnson**
* **Frank Gambale**
* **Gary Hoey**
* **George Lynch** (Dokken)
* **Gilby Clarke** (Guns N' Roses)
* **Greg Howe**
* **Gus G.** (Firewind)
* **James Hetfield** (Metallica)
* **John 5** (Marilyn Manson)
* **John Petrucci** (Dream Theater)
* **Kerry King** (Slayer)
* **Kirk Hammett** (Metallica)
* **Marty Friedman** (Megadeth)
* **Michael Amott** (Arch Enemy)
* **Mike McCready** (Pearl Jam)
* **Neal Schon** (Journey)
* **Paul Gilbert**
* **Randy Rhoads** (Ozzy Osbourne)
* **Richie Sambora** (Bon Jovi)
* **Robben Ford**
* **Ron Thal** (Guns N' Roses)
* **Scott Henderson**
* **Slash** (Guns N' Roses)
* **Steve Lukather** (Toto)
* **Steve Vai**
* **Synyster Gates** (Avenged Sevenfold)
* **Zakk Wylde** (Black Label Society)

The Boss Katana Artist is a popular choice for guitarists of all levels, from beginners to professionals. It is a versatile and powerful amplifier that can produce a wide range of tones. If you are looking for a high-quality amplifier that will last for years, the Katana Artist is a great option.

TEST: Boss Katana Air

 If there is one segment of the amplifier sector that has seen massive growth in recent years, it is the practice amplifier sector. This is not surprising, as the priorities of the Millennium Generation have shifted massively when it comes to stage presence. While for the previous generation the order of buying an instrument, learning an instrument, forming a band and performing live performances was considered to be set in stone, for many young musicians the formation of a band is far too time-consuming and organizationally demanding and replacing the clappers in the audience with the Clicks on YouTube have already started. However, why one would want to play the electric guitar, which was invented solely for the purpose of counteracting the high volumes of a drummer or an orchestra, is another matter.

Powerful, dynamic all-tube half-stack machines, which can also stand up to a hard-hitting drummer, pose a massive problem in terms of volume due to their orientation in the bedroom home recording studio and not only cannot exploit their sonic strengths, but are more of a burden for partners and neighbors. Aware of this, there are more and more names in the amplifier sector that, although they create a thunderous reverberation around the world when they are mentioned, have so far stayed away from the direct movement of the air. One of these protagonists is Pedal Gigant Boss, which recently attracted attention with the Katana series. Due to the overwhelmingly positive response, the Japanese manufacturer is now preparing to knit an all-round carefree package for domestic use with the Boss Katana Air, which offers some interesting detailed solutions.


The concept of the Boss Katana Air

As you can already see from the name of the product, the name “Air” plays a major role, although not like with Apple products, where the name primarily refers to reduced weight, but rather in relation to the use of all kinds of cables. In As a final consequence, which means battery operation for the Boss Katana Air, the product can actually be operated without any cables. The guitar signal, any streamed playalong music or even the operating voltage can be transmitted wirelessly using various protocols, which makes the Boss Katana Air ideal for mobile use.


Construction of the Boss Katana Air

With dimensions (W x D x H): 340 mm x 144 mm x 181 mm, the Boss Katana Air is in the regions of a standard WLAN / Bluetooth radio, which in many places has already taken over the function of the home stereo system, with the simple plastic housing suggests a lower weight than the estimated 2.2 kilograms. On the bottom is the battery compartment, which requires 8 AA batteries for wireless operation. The amplifier delivers 20 watts when operated on batteries and 30 watts when operated via a power supply.

The sound is transmitted by 2 seemingly tiny 3 inch (7.5 cm) speakers, which serve as the only sound source. Unfortunately, an additional speaker cannot be connected. On the back, the product has the input for the included power supply, whereby the values 13 V DC at 4A (!) ensure that no other power supply can be used. The top of the case is dominated by an oversized, solid handle made of chrome-plated plastic, which at first glance seems quite oversized.

At second glance, however, the dimensions of the handle become clear. On the right top of the housing there is a charging slot for the included WL-T guitar transmitter, which, when plugged in, is flush with the handle and is therefore protected by the handle when placed on long, flat surfaces. The transmitter activates automatically as soon as it is pulled out of the slot. It also has a motion sensor that switches off the transmitter when it is inactive (the guitar is on the tripod) to save energy. When the guitar moves, it automatically reconnects to the amplifier.

The rest of the top of the Boss Katana Air shows many parallels to a regular amplifier panel. In addition to a selector switch that selects between 5 different presets (Acoustic, Clean, Crunch, Lead, Brown), there is also a volume control, a three-band tone control, a reverb control and a master volume control. The two controls called BST/MOD and DELAY / FX are a little more unusual and have dual functions as well as being very flexible in the FX range used. A total of 50 different effects are available, and 6 sounds can be saved internally. But how are you supposed to swap the effects and access the presets?


Bluetooth and app

Another special feature of the amplifier is the consistent connection to the Bluetooth interface, which not only enables music to be played for practice sessions in addition to an optional mini-jack on the front panel, but also complete management of all amplifier parameters using the optionally available app. The app turns out to be a real highlight in sound management, as it not only controls the amp completely remotely, but also saves the programmed sounds and manages a tuner. What deserves special attention is the ability to influence the order of the effects chain, similar to how you would do it on a physical floorboard.


The sound of the Boss Katana Air

If you let the above mentioned If you think about the performance overview again, your expectations regarding the sound are correspondingly high. Just in anticipation of the “original” 50 boss effect sounds combined with the Eddie van Halen-like “Brown” sound feature, you wait for the ultimate banger impression in the first chord played. That's naive! You should always keep in mind that every aspect of the sound, no matter how small, is an emulation of a modeling amp. Even if you are the manufacturer of the Boss effects, no matter how good the modeling is, it only comes close to the sound shaping of real transistors and resistors.

In terms of physics, speakers with a diameter in the single-digit range are not even remotely capable of realizing the complex interaction of an all-tube amplifier with the voice coil of the speaker, especially since they are also supposed to reproduce the music from the Bluetooth stream. Therefore, “logarithm rules” and their sound are only decided by the programmers. So, after we've pulled down all the users, let's listen to the sound that the Boss Katana Air can produce, where I see the interface sound in the second row. If I buy an amplifier with speakers, I also want to hear the sound of the speakers, otherwise I can also load the plug-in Armada from the manufacturer XY into Logic.

As expected, the Clean channel performs very well. Without the cut-off half-waves, even very small speakers sound pleasant and give the signal a subtle treble boost, which is quite close to a typical eighties metal ballad sound. As the distortion increases, the amp unfortunately has to pay tribute to the small speakers. The modeling tries to compensate for the overemphasis on heights as best as possible, but this inevitably only works within a narrow frame. The sound becomes quite scratchy and yet comparatively musty at the latest with Lead or Brown with activated overdrive or booster, which you need for a high-gain sound, which is very difficult to achieve with such speakers.

You should also approach the matter objectively when it comes to effects. The algorithms are really well programmed, but the Boss Katana Air does not achieve the original, which is often promoted as a reference in advertising videos. As I said, how should he?

Interestingly, in contrast to adult stage amplifiers, the amp can demonstrate its sonic advantages especially at very low volumes, which is very suitable for its actual area of use. Late in the evening or in rented apartments with thin walls, you first have to find a good, flexible sparring partner who is ready for demo recordings or finger exercises at lightning speed without any effort and of this quality.

Unfortunately, there is a big problem when using active pickups, in this case an EMG 81/85 set or a DG set with EMG SA pickups. Apparently the amplifier cannot cope with the low-impedance, quite powerful level of the pickups, as the distortion increases and a resonance is produced, as if the springs of a Fender vibrato system were vibrating. This problem did not exist with passive pickups. Unfortunately, I couldn't determine whether the transmitter or the amplifier itself was responsible for this, but the fact is that, strictly speaking, you cannot use the amp with EMG pickups or similar. The attached sound file number 9 shows the problem.

And otherwise?

An additional big downer at the end. I don't know which technology (perhaps the broadcaster?) Boss may have purchased from third-party providers and therefore has to compensate for a different profit margin, but the retail price is clearly too high even for the really extensive offering. While the Katana Mini changes hands for just under 100 euros and even the Katana 50 (199 euros) and Katana 100 (295 euros) combos remain under 300 euros, Boss charges the impressive price of 429 euros for the Boss Katana Air, which makes it uninteresting for the majority of the users in question. Would you buy a Katana 100 with a cheap transmitter such as If, for example, you had the

Conclusion

With the Boss Katana Air, the Japanese manufacturer enables completely cable-free signal transmission for guitar, streaming portal and operating voltage in every respect. The concept impresses with a wide selection of sounds and an extensive app interface, which is unparalleled in a practice amp. Only the comparatively high retail price and the incompatibility with active pickups spoil the good impression of the Boss Katana Air.

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Boss, a division of Roland Corporation, has been a vanguard in the music electronics industry, particularly renowned for its compact effect pedals that have shaped the sounds of generations of musicians. However, Boss's ventures into the realm of amplifiers, while perhaps less heralded than their stompboxes, embody the same commitment to innovation, quality, and musicians' needs. This exploration into Boss amplifiers will delve into their historical context, technological advancements, and the unique features that set them apart in a crowded market.

### Historical Context

Boss's journey began in the 1970s, focusing initially on effect pedals. Their entry into the amplifier market was driven by the same ethos that guided their pedal designs: to provide durable, high-quality, and versatile products that cater to musicians across genres and skill levels. The amplification line sought to embody the reliability and tonal variety that had already made Boss a household name among guitarists.

### Amplifier Technology and Innovations

One of the hallmarks of Boss amplifiers is their embrace of cutting-edge technology. The company has been at the forefront of integrating digital modeling technology into their amps. This technology allows players to access a vast array of tones and effects within a single unit, emulating the sounds of classic tube amps, modern high-gain models, and everything in between. Boss's Waza Craft series, for example, represents the pinnacle of this approach, offering custom-tuned amplifiers that blend traditional craftsmanship with modern functionality.

The Katana series, another standout in the Boss amplifier lineup, demonstrates the company's commitment to versatility and value. These amplifiers are designed for musicians who demand a wide tonal palette and high-quality effects in a practical, gig-ready package. The Katana amps are notable for their "stage-ready" tones, a concept that emphasizes the importance of an amplifier's ability to perform in live settings without extensive tweaking.

### Features That Set Boss Amplifiers Apart

#### 1. **Tone Customization and Built-in Effects**

Boss amplifiers are distinguished by their extensive tone customization capabilities. The built-in effects, which draw from Boss's deep well of pedal technology, allow players to sculpt their sound without the need for external gear. This integration of effects and amplification not only simplifies the signal chain but also opens up creative possibilities that are both accessible and deep.

#### 2. **Connectivity and Software Integration**

In the digital age, connectivity is crucial, and Boss amplifiers excel in this area. Features like USB connectivity for direct recording and software that allows for deep editing of tones and effects underscore Boss's understanding of modern musicians' needs. The ability to store and recall presets via footswitches further enhances the live usability of these amplifiers, making them a versatile choice for performing musicians.

#### 3. **Solid-State Reliability with Tube Tone**

Boss has also been instrumental in advancing solid-state amplifier technology. Their efforts to combine the reliability and maintenance-free operation of solid-state designs with the warm, dynamic response of tube amps have led to innovations that challenge the traditional tube vs. solid-state debate. This blend of reliability and tonal richness means that Boss amplifiers offer the best of both worlds, suitable for rigorous touring schedules and studio work alike.

### Conclusion

Boss amplifiers are more than just an extension of the brand's legendary effect pedals. They are a statement of innovation, quality, and musician-focused design. From the groundbreaking Waza Craft and Katana series to their ongoing advancements in amplifier technology, Boss continues to redefine what musicians can expect from their gear. Whether it's through the integration of effects, the embrace of digital modeling technology, or the commitment to reliability and tonal diversity, Boss amplifiers stand as a testament to the brand's enduring legacy in shaping the sound of music.

TEST: Boss GT-1000

 What has been announced over the last few years has now finally become reality. The guitarist guild is divided into two camps. The first faction indulges in the classic amplifier - box - loudspeaker - microphone principle, as it has been practiced for almost 70 years. The result is a lot of moving air, an excellent sound with the right components, but this comes at the cost of all the disadvantages such as high weight and setting up/dismantling the equipment. The other faction, spurred on by the immense success of the Kemper amp, pays homage to the same or one of its competitors, such as the Ax FX or the Line 6 Helix, detached from any form of physical experience and freed from lugging around the components. For the second faction, industry giant Boss now has the Boss GT-1000 effect processor available, which wants to give emulation fans one more competitor with even better modeling of the analog originals.

Modeling Bible…

To start with, I personally always have big problems with the statement “sounds exactly like” in the modeling field because it is simply not possible. This statement has NOTHING to do with whether a sound sounds good or bad, but just as even the best in-ear system cannot reproduce the exact same sound of a speaker you are standing in front of, a modeling amp can reproduce the original Reproduce the form of an amplifier, box, etc. Physics sets irrefutable limits here.

This is not a judgment, just a statement. In this test I will avoid making a direct comparison between e.g. B. a black or brownface, Plexi or whatever as a measuring stick, as it would simply be unfair to the modeler. Manufacturers like to flirt with names for their presets that clearly create an association with the original, but in my opinion this is a huge mistake because they can only lose. Therefore, with these products it is only about their sound and their conception, which as we will see is more than just remarkable.

The Boss GT-1000 can also be used as a classic mine collection or switched into the FX return of an amp. However, we will primarily focus on the D.I. The sounds of the product concern us, as this is also where the Boss GT-1000 is intended to be used.

The structure of the Boss GT-1000

The first impression of the Boss GT-1000 is promising. A lot of sheet steel, resilient plastic on the side panels and a large display with dimensions (W x D x H): 462 mm x 248 mm x 70 mm ensure a weight of 3.6 kg, which is an impressive size for a floor pedal. With a retail price of 850 euros, the product is one of the more expensive of its kind and has to deliver accordingly, but the extensive connection peripherals on the back of the case suggest that there are some extras.

In addition to the input and stereo out for the Amp FX Loop, a total of 11 jack sockets also enable the switchable insertion of two separate FX devices, the connection of 2 expression pedals, the connection of headphones and the channel switching of a connected amp. There is also USB for DAW operation, MIDI in/out and as a focus, two symmetrical XLR sub outputs, which output the frequency-corrected modeler signal. Very nice, once again 2 D.I. Boxes saved for live operation. There is also an expression pedal, also made of metal, which of course also performs wah-wah functions, the movement of which can be adjusted using a knurled screw on the side. The stepped design of the two rows with a total of 10 foot switches also speaks for a well thought-out design. First impression, very good!


The signal processing of the Boss GT-1000

We get to the menu navigation of the Boss GT-1000 via 6 rotary controls, all of which also include push functions. As expected, the product offers everything that the current Boss product range offers, which after a rough estimate resulted in almost 100 different effects, which are found in the standards such as compressor, distortion, modulation and room effects. There are also 16 amplifier simulations.

The signal chain is freely configurable, i.e. you can move the effects in any order. The assignment of the individual buttons can also be freely configured, which is a huge advantage in practice.

Bluetooth and more

The editing was done very nicely with the Boss Tone Studio app, which can be controlled both from your home computer and on the go using iOS products. The clarity increases again massively here, with the iOS solution offering another bonus for live operation.

Provided you play directly into the console and have a transmitter or a correspondingly long cable, you can edit the sounds on the Boss GT-1000 in real time using your smartphone during the sound check in the infield and adapt the sound to the respective room conditions, e.g. B. by taking back the reverb or drive portion after consultation with the FOH.


The Boss GT-1000 in practice

The editing options of the Boss GT-1000 are so extensive that you can only take a very, very small selection of sounds into account. If you have a lot of time, you can put together and save your own personal setup for every song you want to interpret. Whether you have several sounds for each song, e.g. B. for intro / verses / solo or similar per bank, or assigning only one sound to each song, is up to each musician.

Already with the first tones you can see a significant improvement in the response behavior of the product. The processor also hangs nicely on the guitar's volume control for a modeler and integrates the reduced level very neatly into the desired sound. In fact, the AIRD technology gives the individual sounds more dynamism and a better representation of one's own style, but unfortunately the sounds themselves, especially the high gain sounds, do not get any better, even if the product offers a significant leap in quality compared to its predecessor models .

As is almost always the case with all modelers, almost all of the distorted sounds on the Boss GT-1000 sound a bit “occupied”, which means that the openness and immediate attack of a real amplifier - box - loudspeaker constellation is missing here too. Even if the CPU never gives the feeling of working at its limits, the distorted amp modules are not really convincing. The sound itself is sufficient for a home session or to record a quick demo, but in a real band constellation, compressed sounds of this type cannot prevail.

Even the often touted all-for-one solution for studio, stage and rehearsal room only works up to a certain level of professionalism. A well-booked dance band will certainly find appropriate quality in the product, especially since the focus is usually not on high-gain sounds and they usually have the solo from “Walking By Myself” in their repertoire as maximum distortion. A Kemper, on the other hand, if there is already a D.I. If it has to be an amplifier, the Boss GT-1000 can't hold a candle.

Even in the studio, Boss has to come to terms with reality. A really good solution for ambitious home recording, every professional record production will always rely on a microphone solution. That's not to say that the Boss GT-1000 sounds bad in any way. On the contrary, in the modeling class it undoubtedly takes one of the top places in terms of sound. But you should know where the limits of the product are and not be blinded by the various advertising videos packaged as test reports so that you can sell all of your amplifiers and cabinets from now on.

Conclusion

With the Boss GT-1000, one of the strongest names in the pedal sector has a very good modeler on offer, which, with a wide selection of sounds, puts it at the forefront of D.I. Recording area occupied. With a high degree of flexibility, you can cover a very wide range of areas of application, from the control center in the live area, to the personal workstation for finger exercises, to direct recording in the home studio.

In terms of sound, the AIRD technology scores with better dynamics and a better reproduction of the more personal style. If you are looking for an ambitious multifunctional device, you should definitely give the Boss GT-1000 a try.

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Boss is a Japanese company that manufactures effects pedals and other musical equipment. It is a division of Roland Corporation, which was founded in 1972. Boss was founded in 1977 by Roland's founder, Ikutaro Kakehashi.

The first Boss pedals were the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum. These pedals were designed to be affordable and easy to use, and they quickly became popular with musicians around the world. In the years that followed, Boss released a wide variety of pedals, including the DS-1 Distortion, CE-2 Chorus, and DD-3 Digital Delay. These pedals became essential tools for guitarists of all genres, and they helped to define the sound of modern music.

In the 1980s, Boss began to expand its product line to include other types of musical equipment, such as amplifiers, synthesizers, and drum machines. The company also began to release more specialized pedals, such as the MT-2 Metal Zone and the BF-3 Flanger. These pedals appealed to a wider range of musicians, and they helped to solidify Boss's reputation as a leading manufacturer of musical equipment.

In the 1990s, Boss continued to innovate with the release of new pedals, such as the RC-2 Loop Station and the GT-6 Guitar System. These pedals offered new features and capabilities that were not available from other manufacturers, and they helped to keep Boss at the forefront of the music technology industry.

In the 2000s, Boss began to release digital pedals, such as the DD-7 Digital Delay and the RV-5 Digital Reverb. These pedals offered high-quality sound and a wide range of features, and they quickly became popular with musicians who were looking for more advanced effects.

Today, Boss is one of the most popular and respected manufacturers of musical equipment in the world. The company offers a wide variety of pedals and other products that are used by musicians of all levels, from beginners to professionals. Boss is known for its innovative products, its high-quality sound, and its commitment to customer satisfaction.

**The following is a timeline of some of the most important events in the history of Boss pedals:**

**1972:** Roland Corporation is founded by Ikutaro Kakehashi.

**1977:** Boss is founded as a division of Roland Corporation.

**1978:** The first Boss pedals are released: the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum.

**1981:** The DS-1 Distortion is released.

**1982:** The CE-2 Chorus is released.

**1983:** The DD-3 Digital Delay is released.

**1986:** The MT-2 Metal Zone is released.

**1990:** The BF-3 Flanger is released.

**1995:** The RC-2 Loop Station is released.

**2000:** The GT-6 Guitar System is released.

**2005:** The DD-7 Digital Delay is released.

**2010:** The RV-5 Digital Reverb is released.

**2015:** The Waza Craft series of pedals is released.

**2020:** The Boss 500 series of pedals is released.


## Beyond the Timeline: Digging Deeper into the Boss Legacy

**From Humble Beginnings to Global Domination:** While the timeline provides a solid overview, the story of Boss goes beyond a list of dates and model numbers. Here's a closer look at the key factors that shaped the company's rise and cemented its place in music history:

**1. Ikutaro Kakehashi's Vision:** The founder, Ikutaro Kakehashi, was not just an entrepreneur but a passionate musician himself. This personal connection to music fueled his vision for **accessible, affordable effects units** that musicians could easily carry and use on the go. This accessibility factor became a core tenet of Boss's philosophy, setting it apart from more complex, studio-bound equipment.

**2. Design Philosophy: Form Follows Function:** The iconic look and feel of Boss pedals didn't happen by accident. The compact, durable design with easy-to-use knobs and switches prioritized **functionality and practicality**. This user-friendly approach resonated with musicians of all skill levels, making even complex effects attainable and encouraging experimentation.

**3. Uncompromising Quality:** While affordability was important, Boss never compromised on quality. The pedals were built with **robust metal enclosures and reliable circuitry**, ensuring they could withstand the rigors of gigging and touring. This emphasis on durability established a long-lasting reputation for reliability, a key factor in Boss's enduring popularity.

**4. Evolution Through Innovation:** While some might associate Boss with classic, "vintage" sounds, the company never stagnated. From analog to digital, from stompboxes to multi-effects processors, Boss consistently **pushed the boundaries of technology**, staying relevant and appealing to new generations of musicians. The 2015 Waza Craft series and the 2020 Boss 500 series exemplify this continued commitment to innovation and reimagining classics.

**5. Artist Endorsements and Cultural Impact:** From Jimmy Page's iconic DS-1 distortion on Led Zeppelin's "Immigrant Song" to Kurt Cobain's haunting chorus tones with the CE-2 on Nirvana's "Come As You Are," countless artists have utilized Boss pedals, shaping countless iconic sounds and contributing to the company's **influential role in popular music**. This association with legendary musicians further boosted the brand's appeal and mystique.

**6. Community and Legacy:** Today, Boss pedals are not just tools; they're a gateway to a **global community of musicians** connected by shared experiences and sonic explorations. Online forums, fan groups, and countless tutorials showcase the passion and creativity these pedals inspire. This community keeps the Boss legacy alive and ensures its continued relevance for years to come.

**In Conclusion:** The history of Boss pedals is more than just a list of specifications and milestones. It's a story of innovation, passion, and a commitment to making music accessible and empowering for everyone. This dedication has earned Boss a loyal following and a place of honor in the hearts and rigs of musicians worldwide. With its continued emphasis on quality, adaptability, and community, the Boss legacy looks poised to shape the future of music creation for generations to come.

TEST: Boss GT-100

 What hasn't happened in recent years when it comes to “stompboxes”. If you had told me a few years ago that the days of 19 inch guitar products for the live sector were apparently numbered, I would have called you crazy. However, if I look at the current landscape, one could easily come up with the idea. What some time ago was happy in terms of computing power if it could squeeze a single effect into the AD/DA algorithms reasonably well, let alone generate a real multi-effects product, today boasts of the computing power of a home PC and the storage capacity of a hard drive.

Established studio technology veterans bring out stop boxes that can really stand up to their rack brothers in terms of sound, and the “big names” of floor pedals also regularly upgrade their products, mostly in terms of sound quality and workmanship. The BOSS company, which has always been at the forefront of floor multi-effects devices for years, is now bringing the successor to the legendary GT-10 onto the market, which, with a new computing chip and new technology, has added one more zero to the GT-100 product name .



construction

With dimensions of 542 mm x 271 mm x 80 mm, the GT-100, which is manufactured in Taiwan, is already one of the larger representatives of its category, and its weight of just under 5 kilograms suggests its massive construction. Completely made of metal, the board appears to be rock-solid in its design, especially since it rests on 4 very solid and soft rubber feet, which ensure sufficient stability even on smooth surfaces. A 9V power supply is included; due to the complex electronics, the GT-100 is not designed for battery operation.

As with almost all current products, complex floorboard solutions like the GT-100 can no longer be described as a stompbox in the true sense. Rather, using current modeling technology, the entire signal train from the preamplifier of an amplifier to the last link in the chain, the loudspeaker, is emulated and adjusted to the respective needs. In collaboration with the new DSP-2 chip developed by Boss itself, the magic word from the BOSS development department is COSM technology, which, according to the company, can reproduce the sound of even the difficult vintage models much better.

At the same time, the ambitious guitarist will have to think about choosing his setup. Of course, you can also connect the GT-100 in front of a classic amp, but it remains to be considered whether, when designing a modeling amp, it would be better to just use the power amplifiers of your amp plus speakers via the return loop or an external power amplifier with a box . Given the countless presets, you can usually only use a completely clean amp anyway, where the preamp causes more adjustment problems than enriches the sound.

By the way, it can't be mentioned often enough, I can only recommend that every manufacturer uses a leaflet and every user to find out about the exact concept of a speaker simulation and to deactivate it when using it with a regular amplifier! I know countless musicians, even colleagues, who send the sounds designed for direct in on their home PC through their amplifier and are then surprised by the rather thin and weak sound.

The front of the product offers a veritable flood of connection peripherals. From left to right there is first the input socket (converted with a 24-bit/44.1 kHz A/D converter), followed by an aux-in, which enables the connection of an MP3 player or similar. This is followed by two outputs, which can be used in both stereo and mono mode (left socket) and the obligatory headphone out, which was pleasantly designed as a 6.3 mm jack stereo socket and not as a mini jack. This is followed by an external FX loop (In/Out), which was usefully equipped with ground lift if necessary. Sometimes mains hum can occur when operating within an FX loop of an amp, which can be prevented with the same switch.

An Amp Control socket allows you to integrate the amplifier's footswitch insert into the switching process, which is helpful when changing channels within the amp combined with changing effects within the GT-100. External expression pedals or switches can be included in the management of the product via Sub Control / Sub Exp. The GT-100 is connected to a PC via a mini-USB port protected with a protective plug, followed by two MIDI in/out sockets. A power switch, the power supply connection socket secured by a strain relief and a Kensington theft protection complete the connection panel.

On the front, the GT-100 comes with eight switches, which manage the total of 400 patches (200 user + 200 preset) as well as an internal looper and an Accel effect for the respective sound. The internal electronics are managed using two displays, eight endless controls, six pressure switches and, last but not least, a master volume output or expression pedal. The entire device appears extremely tidy and, despite the immense editing options, is never overloaded or even convoluted.



Practice

As soon as you switch the device on for the first time, the GT-100 boasts the clarity already described. All functions can be managed intuitively via the two displays and allow quick access to all parameters. The letters and numbers are very legible and can be easily seen even in direct sunlight. The remaining hardware is the BOSS technology that has been established for years, robust foot switches, an expression pedal made of metal and potentiometers that can easily handle the occasional accidental shoe strike.

When it comes to sound, BOSS is actually opening new doors with the new DSP when it comes to the depth of sound and authenticity of the models. The infamous digital “scratch”, which is still present on most modeling boards, has actually completely disappeared on the GT-100. Even when fed directly into the computer, the new speaker emulation algorithms are convincing. I have rarely heard a modeling process that simulates a working loudspeaker so well.

In the effects area, too, the sound gains significantly in resolution and depth, everything seems a bit more intense than you were used to. The expression pedal does a good job, although the control path is a little shorter than you are used to with most stand-alone pedals. The ACCEL/CTL switch is also very nice, which allows you to briefly change a selected sound in terms of volume, FX component or gain for a solo passage or a small effect change, all of which is of course freely configurable.


Conclusion

With the GT-100, floorboard expert BOSS is bringing its latest battleship in terms of sound output onto the market. The specially developed DSP-2 and the new COSM technology actually deliver what the marketing promised before the market launch. Spatial effect depth at the highest level and very authentic amp modeling make the GT-100 an all-purpose weapon in the live sector.

Especially when things have to happen quickly, with direct feed into the P.A. or when used to save time in the project studio, the GT-100 shows its great strengths. It has rarely been so easy to generate such a good sound in such a short time.

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Additional Informations:

In the expansive landscape of modern music, few brands have etched as indelible a mark as BOSS, a division of the Roland Corporation, known for its groundbreaking effects pedals that have redefined the soundscapes of genres across the spectrum. The story of BOSS is a saga of innovation, resilience, and an unwavering commitment to musicians worldwide, from the bedroom guitarist to the stadium-filling rock star. This narrative delves into the origins, development, and enduring legacy of BOSS pedals, a staple in the arsenal of musicians seeking to push the boundaries of their sonic expression.

### The Prelude: Roland's Visionary Beginnings

The genesis of BOSS can be traced back to the early 1970s, within the innovative milieu of the Roland Corporation, founded by Ikutaro Kakehashi in Osaka, Japan. Kakehashi's vision was to create instruments and devices that would transcend the limitations of traditional music production, making new sounds and techniques accessible to artists around the globe. Roland quickly distinguished itself with a series of synthesizers and electronic musical instruments that captured the imagination of musicians and producers alike.

### The Birth of BOSS: A Brand is Born

In 1973, the BOSS brand was officially launched as a response to the burgeoning demand for high-quality, reliable, and user-friendly effects units. The first product to bear the BOSS name was the B-100 The Boss, a clip-on preamp and pickup for acoustic guitars. However, it was the release of the CE-1 Chorus Ensemble in 1976 that truly cemented BOSS's place in music history. The CE-1, derived from the chorus effect in Roland's JC-120 Jazz Chorus amplifier, offered guitarists the ability to replicate the lush, shimmering sounds that had become increasingly popular in studio recordings, directly from a compact pedal unit.

### Innovation and Expansion: The 1980s Boom

The 1980s marked a period of explosive growth and innovation for BOSS. The introduction of the compact pedal series, with the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum (a parametric equalizer), in 1977, revolutionized the effects pedal market. These units were not only rugged and roadworthy, thanks to their metal casing and rubber-stomp activation, but they also provided musicians with an unprecedented level of control over their sound.

The decade saw the release of some of BOSS's most iconic pedals, including the DS-1 Distortion (1978), a staple in rock and metal genres; the DD-2 Digital Delay (1983), the world's first compact digital delay pedal; and the MT-2 Metal Zone (1991), renowned for its rich, complex distortion. Each new pedal was a response to the evolving needs of musicians and a testament to BOSS's commitment to quality and innovation.

### The Digital Revolution and Beyond

As digital technology advanced in the late 1980s and 1990s, BOSS continued to innovate, embracing new possibilities to enhance the functionality and versatility of its products. The introduction of the GT series multi-effects processors in the 1990s provided guitarists with a comprehensive solution for their effects needs, combining dozens of effects, amp modeling, and programmability in a single unit.

Despite the proliferation of digital modeling and software-based effects, BOSS's compact pedals remained highly sought after for their distinctive sound, durability, and ease of use. The company's dedication to innovation was further demonstrated with the introduction of the Waza Craft series, offering premium versions of classic BOSS pedals with enhanced sound quality and additional features.

### A Legacy of Excellence

Today, BOSS's catalog boasts an extensive range of products, from stompboxes to multi-effects processors, wireless systems, and more. Yet, at its core, BOSS remains dedicated to the same principles that guided its inception: innovation, reliability, and a deep understanding of musicians' needs.

BOSS pedals have become more than just tools for musical expression; they are integral components of the musician's identity, capable of transforming a straightforward guitar signal into a landscape of sonic textures and tones. The brand's influence extends beyond individual products, shaping the development of music production and performance technology as a whole.

### The Road Ahead

As BOSS continues to navigate the future of music technology, its legacy serves as a foundation for ongoing innovation. With advancements in digital processing, connectivity, and user interface design, BOSS is poised to remain at the forefront of the industry, providing musicians with the tools to explore new horizons of creativity.

The story of BOSS is a vibrant chapter in the history of music, marked by a series of innovations that have expanded the possibilities of sound. It is a narrative of how vision, ingenuity, and an unwavering commitment to quality can create a legacy that resonates across generations.