Boss celebrates 40 years of the DS-1 Distortion and at the same time introduces a new amp series and expression pedal.
Anaheim, CA (January 18, 2017)
Boss Introduces New Acoustic Singer Amplifier Series
Boss (Booth 303A, Level 3) has introduced the Acoustic Singer amplifier series, a new line of stage amplifiers designed for acoustic guitar and vocals. Offering class-defying sound and onboard features such as acoustic resonance, looping, automatic harmonies, effects, and more, the compact ACS amps give acoustic musicians everything they need to deliver inspiring and impactful live performances.
The Acoustic Singer Pro ($699 street) and Acoustic Singer Live ($499 street) models are carefully tuned for pro-level audio performance onstage. Newly designed bi-amped power sections and custom speakers provide punch and dynamics previously unavailable in this class. The Acoustic Singer Pro is equipped with an 8" speaker, dome tweeter, and 120 watts of power, while the Acoustic Singer Live is equipped with a 6.5" speaker, dome tweeter, and 60 watts of power.
The Acoustic Singer amps offer independent channels for acoustic guitar and vocal. Each channel features a discrete analog input circuit and 3-band EQ for studio-quality sound, plus an input pad, anti-feedback control, and dedicated reverb. The vocal channel can alternately be used to mic an acoustic guitar, or to connect a mic or second pickup installed in the guitar.
The guitar channel features acoustic-resonance processing for restoring natural, woody tone to stage guitars with undersaddle piezo pickups. Two types of chorus effects are available as well. The vocal channel is equipped with selectable phantom power, plus a lush delay/echo effect optimized for voice.
A unique feature of the Acoustic Singer amp is its built-in vocal harmony function, which is derived from the popular VE-8 Acoustic Singer pedal. It provides real-time harmonies that follow the guitar input, making it easy to achieve impressive vocal sounds automatically. Each Acoustic Singer amp is also equipped with a looper, allowing users to create on-the-fly backing with vocals and guitar.
Acoustic Singer amps feature balanced DI outputs for connecting to a stage PA, plus USB for direct recording to a computer. Thereās also an aux input for playing backing music from a smartphone, as well as jacks for connecting optional footswitches to control looper, harmony, and effects functions while performing.
Boss Celebrates 40th Anniversary with Limited-Edition DS-1-4A Distortion Pedal
Boss has announced the DS-1-4A Distortion, a limited-edition stompbox that commemorates the 40th anniversary of Boss compact pedals. This special version of the long-running DS-1 Distortion pedal features a unique black and gold look and the classic tone thatās been a favorite of guitarists everywhere for nearly four decades. The DS-1-4A is the first release of the anniversary year, which will be celebrated with many other activities throughout 2017.
In 1977, Boss introduced the OD-1 Overdrive, PH-1 Phaser, and SP-1 Spectrum, the very first pedals in the compact series. Over the last 40 years, the iconic line has been loved by generations, with 115 unique pedal models produced and well over 15 million units sold. Boss pedals are used every day by all levels of players, from famous touring pros to bedroom hobbyists. Today, Boss produces over 50 compact series models that cover the effects needs of guitarists, bassists, and other musicians around the world.
Boss stompboxes are renowned for their great sound, rugged durability, and a unique, highly functional design that remains vital four decades on. But while these primary factors havenāt changed, the technology that goes inside the pedals has continually evolved. Boss has always maintained a breakthrough spirit as a sound innovator, using accumulated expertise and many different approaches to achieve one goal: the best sound.
The DS-1 Distortion was introduced in 1978 as part of the second wave of compact pedal releases. Its hard-edged attack and smooth sustain was an instant success among guitarists, going on to fuel the signature sounds of numerous rock legends. This humble orange pedal has enjoyed such enduring popularity thatās itās remained in the lineup to this day, outselling every other Boss pedal to date.
The limited-edition DS-1-4A ($59 street) features a sleek black body with gold lettering, gold knobs, and a vintage silver thumbscrew for the battery compartment. The pedal comes in a special box with the Boss 40th anniversary logo, and will be available in 2017 only. A special anniversary webpage celebrating 40 years of Boss compact pedals will launch on January 18, 2017 as well.Boss Announces EV-30 Expression Pedal
Boss has just announced the EV-30, an all-new expression pedal for controlling parameters on devices with 1/4" TRS expression inputs. Striking the perfect balance between practicality and playability, the compact EV-30 is ideally suited for use on pedalboards and anywhere space is at a premium.
The EV-30 ($99 street) shares the same rugged, space-saving design of the popular FV-30H/L volume pedals and PW-3 Wah, offering pro-level performance in a small footprint. A key feature of these pedals is an innovative internal mechanism that delivers smooth action, precise control, and lasting durability. In addition, the pedal chassis is constructed of die-cast aluminum, providing a rock-solid foundation while maintaining reduced weight for easy transport.
The EV-30 is equipped with two expression outputs, enabling the user to control two different effects from a single pedal. A convenient polarity switch provides compatibility with nearly any device that supports expression control, from stompbox pedals and multi-effects to keyboards, MIDI controllers, and beyond.
The EV-30 works great with Boss pedals equipped with expression pedal inputs, such as the DD-500 Digital Delay, VB-2W Vibrato, DM-2W Delay, and others. Itās also a perfect fit for Boss multi-effects such as the GT-100 and GT-1, as well as Boss effects switchers like the ES-8 and ES-5.
For more information:
BOSS
The original Roland Space Echo RE-201 is comparable in size to an amp head.
The majestic Roland Space Echo is having a bit of a resurgence. Hereās a breakdown on what makes it tick, and whether or not itās right for you.
In this article, we delve into one of the most cherished gadgets in my guitar collection, the Roland Space Echo RE-201. This iconic piece of equipment has been used by legendary musicians like Jonny Greenwood, Brian Setzer, and Wata from Boris, which only heightened my desire to own one. A few years ago, I was fortunate to acquire a vintage RE-201 in good condition and at a reasonable price.
Using the RE-201 today has its advantages and disadvantages, particularly due to its size, which is comparable to an amplifier head. When compared to modern equivalents like delay pedals or software plugins that closely emulate the original, the vintage RE-201 can seem inefficient. Here, I share my personal and subjective experience with it.
The RE-201 is a tape echo/delay effect that gained popularity in the 1970s and ā80s. Unlike the more complex analog BBD delays or digital delays, tape delays use magnetic tape to simultaneously record and play back sound via a magnetic tape head (similar to a guitar or bass pickup). Because the recording head and playback head are in different physical locations, there is a time gap during the recording and playback process, creating the ādelayā effect. This concept was first discovered by Les Paul in the 1950s using two tape machines simultaneously.
However, this method has a drawback: The magnetic tape used as a storage medium has a limited lifespan. Over time, the quality of the tape degrades, especially with continuous use. This degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo lies! New tapes produce clearer, hi-fi sounds, while older tapes tend to produce wavy sounds known as āmodulated delay.ā Additionally, increasing the number of tape-head readers extends the gap time/delay time of the output, and activating multiple tape-head readers simultaneously creates unique echo/delay patterns.
āThis degradation is marked by muddy, wavy sounds and unavoidable noise. Yet, this is precisely where the magic of real tape echo/delay lies!ā
Just as how fuzz and distortion effects were discovered, the āimperfectionsā of tape also represent a historical fact about how the creative process in music follows an absurd, non-linear, and unique pattern. In everyday practical life, signal delay is something typically avoided; however, in a musical context, delay adds a deeper dimension. Today, itās hard to imagine a pedalboard without a delay effect at the end of the chain.
This uniqueness inspired me to create Masjidil Echo, embracing the āimperfectionā of a vintage tape echo/delay with magnetic tape that hasnāt been replaced for years. Many newer pedals, such as the Boss RE-20, Strymon El Capistan, and the Catalinbread Echorec and Belle Epoch, draw inspiration from vintage tape repeat machines. Each has its unique interpretation of emulating tape echo, all in a more compact and maintenance-free format. Real tape delay requires periodic maintenance and has mostly been discontinued since the mid 1980s, with Roland ceasing production of the Space Echo entirely in 1985.
However, in recent years, interest in real tape echo has surged, perhaps due to nostalgia for past technology. As a result, many vintage delay units have appeared on marketplaces at increasingly gargantuan prices! If youāre considering acquiring one, I recommend thinking it over carefully. Are you prepared for the maintenance? Will you use it for regular performances? Are you ready for the fact that magnetic tape will become increasingly difficult to find, potentially turning your machine into a mere display piece? I donāt mean to instill fear, but the real deal, in my opinion, still canāt be fully emulated into a more practical and future-proof digital format.
So, Iāll leave you with one final question for consideration: What if the genealogy of technology were reversed chronologically, with multihead/multitap delay discovered digitally in the 1950s, and in the 2000s, a technological disruption led to the invention of mechanical tape echo to replace digital technology? Which would you choose?
In collaboration with Cory Wong, the Wong Press is a 4-in-1 Press pedal features Coryās personal specs: blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
In collaboration with Cory Wong, this Wong Press is a 4-in-1 Press pedal features Coryās personal specs: Iconic blue & white color combination, customized volume control curve, fine-tuned wah Q range, and a dual-color STATUS LED strip indicating current mode/pedal position simultaneously.
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, heās been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Coryās custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Coryās near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Coryās feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lightsāblue for Wah mode and green for Volume modeāmaking live performances more intuitive and visually striking.
Features
- True Bypass
- 4 in 1 functionality (volume, expression, wah, volume/wah)
- New dual-color STATUS LED strip indicating pedal mode and position in real time
- Coryās custom volume curve and wah Q control
- Classic-voiced wah tone with flexible tonal range
- Active volume design for keeping lossless tone
- Separate tuner and expression outputs for more connection possibilities
- 9V DC or 9V battery power supply
Introducing the Hotone Wong Press - Cory Wong's signature Volume/Wah/Expression Pedal - YouTube
Check the product page at hotone.com
Big time processing power in a reverb that you can explore for a lifetime.
An astoundingly lush and versatile reverb of incredible depth and flexibility. New and older BigSky algorithms included. More elegant control layout and better screen.
Itās pricey and getting the full use out of it takes some time and effort.
$679
Strymon BigSky MX
strymon.net
Strymon calls the BigSky MX pedal āone reverb to rule them all.ā Yep, thatās a riff on something weāve heard before, but in this case it might be hard to argue. In updating what was already one of the marketās most comprehensive and versatile reverbs, Strymon has created a reverb pedal that will take some players a lifetime to fully explore. That process is likely to be tons of fun, too.
Grinding out impressive DSP power via an 800 MHz tri-core ARM processor with 32-bit floating-point processing, the BigSky MX introduces seven brand-new reverb algorithms, allows users to load any compatible convolution reverb (or impulse response) as well as to use two reverbs simultaneouslyāin series, parallel, and splitāplus it delivers several other mind-bending features. Given this wealth of goodies, itās impossible to test and discuss every sound and function, but what we heard is exciting.
Infinite Space
The updated MX will look very familiar to those who know the original BigSky. The form factor is nearly identical, though the MX is a bit larger. Its control interface is similar too, albeit rearranged into a single row of knobs that looks more balanced. Rotary controls include decay, pre-delay, tone, mod, parameter 1, parameter 2, and mix. A value knob enables effect-level manipulation on the larger, clearer OLED screen. It also allows you to select between the older or āclassicā algorithms from the original BigSky and the seven new ones. Three footswitches allow for preset selection, bank up or down (two switches pressed together), and an infinite hold/sustain switch thatās always available. The rotary ātypeā knob in the upper-left corner spins between 12 basic reverb voices. As with most things Strymon, many of these controls are multi-function.
Also very Strymon-like are the top-mounted, 5-pin DIN MIDI I/O connections, which come in handy if you want to maximize the pedalās potential in a MIDI-controlled rig. But you can access more than enough right from the pedal itself to satisfy the needs of most standard pedalboard-based setups. A USB-C port enables computer connection for MIDI control via that route, use of the Nixie 2 editing app, or firmware updates.
There are stereo jacks for both input and output, plus a multi-function 1/4" TRS/MIDI expression jack for use with a further range of external controllers. The standard center-negative power jack requires a DC supply offering at least 500 mA of current draw.
It is utterly hypnotic and addictive once you settle in and work a little more intuitively.
Skyās the Limit
The BigSky MX was, initially, a bit mind-boggling on account of the seemingly endless possibilities. But it is utterly hypnotic and addictive once you settle in and work a little more intuitively. Suffice it to say, the core quality of the reverb sounds themselves are excellent, and the sheer variety is astounding. Beyond the standard emulations, I really dug several permutations of the cloud reverb, the chorale mode (which adds tenor and baritone harmonizing tones), and bloom mode (which generates deep synthesizer-style pads), and I could have gotten lost in any of these for hours if there wasnāt so much more to explore. Among the highlights: There is now an option to pan reverbs across the stereo field. The MX also uses audio design concepts borrowed from tape delays to create rhythmic pattern-based reverbs, which is an excellent compositional tool.
The Verdict
This latest evolution of the already impressive and super-capable BigSky is the kind of pedal that could cause you to disappear into your basement studio, never to return. The sounds are addictive and varied and can be configured in endless creative ways. The programmability and connectivity are also superb. Additionally, the new algorithms werenāt added at expense of the old BigSky algos. Thereās no doubt that it will be flat-out too much horsepower for the guitarist that needs a few traditional sounds and, perhaps, a few more spacious options. And it would be interesting to know what percentage of the pedalās customers end up being synth artists, engineers, or sound designers of one kind or another. If youāre the kind of guitar player that enjoys stretching the sound and capabilities of your instrument as far as they will go, the BlueSky MX will gladly ride along to the bounds of your imagination. It may test the bounds of your budget, too. But in many ways, the BigSky MX is as much a piece of outboard studio gear as a stompbox, and if youāre willing to invest the time, the BigSky MX has the goods to pay you back.
āThe Player II Series represents our continued evolution in design and functionality,ā said Justin Norvell, EVP of Product, FMIC. āWe listened to the feedback from musicians around the world and incorporated their insights to refine and innovate our instruments. The re-introduction of rosewood fingerboards is a restoration of the āoriginal Fender recipeā and will no doubt be a fan favorite - but we didnāt want to stop there. Weāve also incorporated our rolled fingerboard edges for a broken-in feel, upgraded hardware, and have some new body options as well- which underscores our commitment to providing players and creators with the tools they need to express their unique sound and style. The Player II Series is not just an upgrade, it's a detailed re-imagining of our core silhouettes, highlighting our dedication to quality and the continuous refinement of our instruments.ā
Additionally, Player II offers new options for chambered ash and chambered mahogany bodies for the Player II Stratocaster and Telecaster models, which will be available in October. Designed for musicians ready to elevate their craft, the Player II Series sets a new standard for quality and performance in the mid-price range.