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First off, the PS-2 features a full 2 SECONDS of delay time. Bam! Right off the bat, I’m hooked. Delays that max out at 1 second are useful for what they do, but sometimes you just want more, and 2 full seconds is the perfect amount. With the 3 Delay modes, you can select the maximum delay time for each (125ms, 500ms, 2s), and then adjust that accordingly to your taste with the Manual control knob. Turning that knob while in Manual pitch shift mode produces some fun and far out, space-age sounds, as well as weird, dissonant notes and gloomy, sludge-driven tones. This is a great little vintage delay in and of itself, but the ability to change to a nice pitch shifter with a turn of a knob is an excellent option, especially for live settings, where odd noise and feedback rule, and nothing is off limits. Boss has created many great pedals, and this one is no slouch. If you can find one, they won’t break the bank, but will give you hours and hours of experimenting and honing your tone. Specs: Controls: Balance (between effect in direct signal), Feedback (for amount of repeats, and very unique pitch shifting effects), Fine-Manual (for adjusting delay times and pitch) and Mode (for selecting any of the 6 modes). It’s like an Eventide H-910 in a stompbox. For modern Eurorack heads, I’m sure Tom Erbe wouldn’t mind me saying it’s a Makenoise Echophon in a stompbox. They go for ?50-?100 on eBay. We’re going to re-route that voltage to the 3.5mm socket switch. If a plug is inserted into the socket, the voltage from the pot is replaced by the voltage from our modular. Here’s the Boss PS-2 Schematic. The incoming voltage goes through a diode, so shouldn’t damage the pedal, but you’ll have to experiment to get the right voltages. For example, on the pitch shift, the centre point is about 4.5v. If you put in 0v, it will dive down, shifting down many octaves. Will this work with the Boss ps-3 as well!? It’s like adding a new instrument to our modular setup. http://www.duda-tech.pl/dudatech/upload/boss-tuner-metronome-tu-80-manual.xml

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Assembling the pedal back together was a bit stressing, but with a bit of pressure it all fit back inside the box. Thank you for sharing this and for making some amazing modules. Izhar With cutting the trace from the pot, does this mean that the pedal loses some of it’s functionality in standard mode. I.e. Without a cv cable plugged in, does it function normally. If not, it would just be a case of adding a small toggle inline to route the signal back to the trace, correct. Thanks in advance. And like any MIJ Boss pedal, this one is collectable, too, and a cool addition to any pedal board. Auction ends 25 Feb, 201020:39:01 GMT (UK ONLY) It works both as a pitch shifter and a digital delay and it is perhaps surprising that it doesn’t use the same chip as the DD-3 and DSD-3. Pitch shifting is limited to one octave up or down while maximum delay time is 2 seconds. Notify me of new posts via email. To find out more, including how to control cookies, see here. Check the latest browser version The Boss PS-2 has a diagram on the pedal below the knobs to help you out. However, in the manual mode the Boss PS-2 can be hard to get a good sound of. You have to hook up a tuner to the tuner out jack and use its reference frequency to set the pitch manually. The Manual knob should be set to middle C which will be at the 12 o'clock position. Then you can adjust up and down from there. The pedal has a little bit more than a two octave range for its manual adjustment. It not a very sophisticated device in that sense, so it has little need for patches or editing them. There is a manual for the Boss PS-2 and it not the greatest manual but it does its job. It goes into detail about the manual pitch settings for harmonies and such. The Boss PS-2 's manual also have a few sample presets in it. As well as a few pages for documenting the users own presets. Pages the user could photocopy for use through their many sets. http://www.feynburg-uhren.de/userfiles/boss-tuner-tu-12-manual.xml

The device is digital all the way however there is no way of knowing its firmware number. I'm sure that even Boss wouldn't be able to tell me either. No my unit has not been upgraded. The process would probably be quite difficult to do. There are some upgrades that feature circuit bending. Another upgrade is a capacitor replacement to remove the high pitch noise the pedal produces. My style is a mixture of almost all reneges and variations. This pedal kinda fits more in with the more experimental sounds, shred and dual-like guitar work. However, the delay modes do suit my styles as the repeats can become a feedback loop. I've used a few different amps with it: Peavey Backstage, Laney LX120H, Peavey Valve King 100 watt head, and the Peavey Tubefex. For what it is it does work with those amps. With all of them the effect may not be as pounced as the later pitch shift pedals. It can be noisy if the feedback is all the way up in the delay modes while the pedal is off. I can be noisy in the delay modes with the power on as it does loop the feedback into itself. It can even be noisy in the manual pitch mode with the Manual adjustment knob at 12 o'clock. By offsetting the Manual knob in the Manual pitch mode the pedal can produce a chorus like sound. The Boss PS-2 seems to make your guitar tone shallow. Since, it has very primitive Analog to Digital and Digital to Analog converters. The pedal is capable of creating various sounds. Using the feedback knob in the manual mode make the guitar create some synth like sounds. I've used it live before. I'm sure there were musicians that gigged with it years. Well until Boss the PS-3. Or until the Whammy came along and became so iconic. Though I probably wouldn't use it live now. I use the Whammy or my Amps built-in effects if I need a combination of the two. The hardware has seemed to last for three decades. Through the harsh humidity that the southern part of the United States is known for. http://www.drupalitalia.org/node/72167

Sure I've got corrosion settling in on certain places now. So the Boss PS-2 would probably last several more years. I wouldn't use it for live sets because of my other effects as well as the fact it's a vintage pedal. The Boss PS-2 's finish has lasted for quite some time. It is thick and high quality finish. Probably a higher quality finish than what Boss is offering on their current pedals. It seems to have multiple layers of primer building up to is blue metal flake paint job. Mine has some dings though most of the being from the last eight years. Sometimes the Boss PS-2 is a good match sometimes. Other times I've let it become a distraction. There were a few times where the pedal made me a salve to my own creation. I've been playing on and off for over ten years. Gear I own: Fender F5 Acoustic, Ibanez GRG250DX, ESP EC-10, Dean EAB bass, Ibanez GTR 70 Bass, Boss PS-2, DigiTech Whammy, Dean Markley PT-13, Electro-Harmonix LPB-01, Electro-Harmonix Big Muff Pi NYC Reissue, Electro-Harmonix Nano Clone, Ibanez WD-7, Fender Classic Phaser, Dunlop Crybaby GCB-95, Boss CS-3, Danelectro Chill Dog Octave, Peavey TubeFex, Peavey Backstage. I wished I would have had asked for a demonstration of the pedal or some more time with it. If it were stolen I wouldn't buy it again as I have something else already to fill the void. If I didn't I would buy a DigiTech Whammy instead. However, I already on the DigiTech Whammy. I love the feedback it has with the delays, the synth sounds it has with the feedback and manual pitch adjustment. I love that I could create organ effects. I hate that it the Boss PS-2 sounds so primitive and weak. I hate having to use a tuner to set the pedal up. My favorite feature is the tuner out. I hate having to use it to adjust the pedal. However, it can be fun to use as a second output. In the Pitch Shift mode it generates a frequency you can play with. When I bought it I didn't know that much about pedals or things to compare it to. https://christiansymbolkits.com/images/boss-pro-se-50-manual.pdf

Later on I did compare it to the other Boss pedals, Behringer 's pitch shifter, the Whammy. I chose the pedal at the time mainly because I was given a exceptional deal on it. I wish it had either a expression pedal jack or a treadle to shift the pitch. As well as, better pitch shifting and tracking. Such as the kind of chord tracking the Whammy five has. Subscribe for updates. Register your product and stay up-to-date with the latest warranty information. Among them are everyday guitar staples like overdrive, distortion, and reverb, as well as unique effects like Slow Gear and Slicer, just to name a few. And, of course, BOSS pioneered the famous chorus pedal in 1976, a now-standard effect that’s regularly used by players in every style of music. To date, 20 different models have provided delay and echo effects in one form or another. Sit back and settle in as we run down the entire history of BOSS delay pedals through the decades, from 1978 to present. BOSS and Roland (its parent company) have been innovating with delay effects since their earliest days. On the Roland side, the RE-201 Space Echo—first introduced in 1974—is widely regarded as the premier tape-based delay unit ever made. Starting in 1983, rack units like the SDE-3000 Digital Delay were at the forefront in music tech, and they became vital components in guitar effects systems used by the biggest names in music. To achieve these goals, BOSS has continually pushed the envelope with both analog and digital technologies, setting many trends that continue to influence the industry to this day. There’s a lot to cover, so let’s get started with the rundown! The DM-1 Delay Machine—the very first BOSS delay unit—provided a more affordable and compact alternative. While limited in frequency response and versatility in comparison to a Space Echo, the analog DM-1 had a very nice sound and provided delay times up to 500 milliseconds. https://www.mozartcantat.nl/wp-content/plugins/formcraft/file-upload/server/content/files/1627358102c747---brigham-round-digital-hygrometer-manual.pdf

Unlike the subsequent BBD-based models in the DM series, the DM-1’s circuit used a charge-coupled device (CCD), an electronic component that went on to be widely used in digital cameras. Since the DM-1 was produced for less than two years, it’s a rare bird on the used market, and commands some very high prices if you can find one. For the DM-2, BOSS employed a bucket-brigade device (BBD), as opposed to the CDD used in the DM-1. One of the ways they did this was to limit the frequency response of the effect sound. This compromise contributed to the DM-2’s characteristic warm, enveloping tone, which blends so well with a guitar or any other input signal. The world’s first digital delay in stompbox form (and also the first digital pedal of any type from BOSS), the DD-2 put the much higher audio fidelity and increased delay range of studio rack processors within easy reach of every musician. Roland’s flagship digital delay at the time was the SDE-3000, a rack unit regularly used in recording studios. Thanks to its rich, guitar-friendly sound, it also found a home in large-scale rack rigs used by serious pro players. However, the SDE-3000’s cost and form factor was beyond the means of many working musicians and casual players at the time. With that, the next formidable steps were to fit the rest of the electronics in as well, and to power it all with a 9-volt battery! With its max delay time of 800 milliseconds and clear-yet-warm tone, the pedal was an instant smash and a must-have item. The DD-2 set the standard for the flurry of digital delay stomps that would come after from BOSS and other manufacturers, and every one of them owes its heritage to this revolutionary pedal. Its replacement, the next-generation (but still analog) DM-3, was slightly more affordable. https://ampgrenaille.com/share/files/canon-fs200-user-manual.pdf

Evolving from the DM-2, it included some design tweaks that cleaned up the delay repeats for a clearer sound with less noise, an ever-present engineering challenge when trying to get the best performance out of analog BBD circuits. The DM-3 also featured a Direct Out jack for sending dry and effect signals to two separate amps, as well as some unique knobs not seen on any other BOSS pedals before or since. It’s perhaps a touch less gritty and more refined in the delay repeats, but that can be a good thing in many applications. It was the last all-analog delay pedal in the BOSS lineup for 26 years, until the introduction of the Waza Craft DM-2W in 2014. While samplers had started to hit the scene a bit earlier, they were typically high-cost devices used mainly in studios. True to the BOSS philosophy, they brought this evolving technology within reach of all musicians with the DSD-2. There’s also a Trigger input for triggering the sample from a drum pad or other external source. While the sampling capabilities were rather limited by today’s standards, the DSD-2—and later DSD-3—can be viewed as early descendants of BOSS’ immensely popular Loop Station products that would come many years later. This allowed manufacturers to bring less expensive products to the marketplace, and the DD-2 was a direct beneficiary of this trend. However, instead of dropping the price on the DD-2, BOSS decided to replace it with the new, lower-cost DD-3 instead. This longevity serves as an enduring testament to the skill and expertise of the BOSS engineering and development teams in getting it just right the first time out. Other than the model names on the cases, the DSD-2 and DSD-3 are essentially the same pedals. Why am I including it here. Because delay functionality is offered as one of its many sound modes. When used in stereo, the RV-2’s Delay mode functions as a panning or “ping-pong” delay, where the repeats alternate between the left and right outputs. {-Variable.fc_1_url-

However, most musicians think of delay and reverb as individual effects types—and use them in somewhat different ways—so we’re treating them as separate effects categories in this rundown.) Originally designed for the RRV-10 Digital Reverb in the MICRO RACK series, this first-generation chip offered an unprecedented amount of processing power in a compact pedal. It also pulled a lot of current, so the RV-2 could only run on the supplied AC power adapter (no batteries). It can be set up to one octave up or down, or to any interval in-between with Manual mode. A Tuner out jack allows you to connect to an external tuner (like the era’s BOSS TU-12 ) and accurately fine-tune the pitch interval as you twist the Manual knob and play. Yes, that’s a little inconvenient by today’s push-button standards, but it was bleeding-edge at the time. In one of its Delay modes, the PS-2 offered up to two full seconds of time, another BOSS delay pedal first. It also cost less, and could run on a 9-volt battery. Along with improved reverberation, the delay capabilities were greatly expanded in the RV-3 as well (so much so that “Delay” was added to the product name). Straight delay with up to two seconds is available, as well as modes that combine the delay effect with the pedal’s four different reverb types. As you can imagine, all these cool capabilities resulted in one wildly popular pedal! While the delay functionality is the same as the PS-2, the pitch-shifting abilities were really expanded. Pitch can be shifted up or down over two full octaves, and a Detune mode allows you to create chorus-like tones. In addition, each of these functions can be used in dual modes, where you can create two independent pitch shifts at once. Each can also be sent to separate outputs when the pedal is used in stereo. That’s more than double the maximum 800 milliseconds provided by the DD-3, the only dedicated digital delay pedal in the lineup at the time of our current stop. http://www.rlktechniek.nl/wp-content/plugins/formcraft/file-upload/server/content/files/162735846c066d---bright-backlight-travel-alarm-clock-with-temperature-manual.pdf

BOSS addressed this performance gap with the DD-5, and added a lot of high-end features along with it. Tempo-sync delays are also available, with the ability to tap in the time via an external footswitch.First off, the max delay was increased to 5.2 seconds (when using Long Delay mode), and the tap tempo functionality could now be accomplished with the onboard pedal switch. The Hold function was also enhanced, with 5.2 seconds of recording time and sound-on-sound overdubbing.This approach was widely embraced by creative musicians everywhere, and the series soon began to expand. Eleven sound modes provide a variety of delay flavors, including the standard DD-3 style delay, warm BBD analog and tape emulations (including dual-head Space Echo effects), reverse, SOS (sound-on-sound), and more. Warp mode from the DD-6 is also included, as well as new Smooth and Twist modes for additional unique sounds. The two onboard pedal switches make tap tempo, memory select, and other delay operations easier, and an external switch can be plugged in for additional control. Though there were a number of different models through the years, the RE-201 Space Echo was both the enduring benchmark and most popular. With three separate playback heads, built-in spring reverb, and distinctive 12-position Mode Selector, the RE-201 was easy to use and capable of a wide range of creative, organic echo effects. As such, it found a home in many different music applications, from recording sessions to arena performances. The Space Echo was also an important component in the reggae-driven dub sounds created by early electronic music artists. All of the original’s controls are completely replicated in the RE-20, and adjusting them in real time produces identical behaviors as well. For example, tweaking the Repeat Rate not only adjusts the delay time, but also mimics the unique pitch-shifting behavior that occurs in the RE-201 as its physical motors gradually slow down or speed up the tape loop. amorecucinastamford.com/ckfinder/userfiles/files/canon-fs200-owners-manual.pdf

Stereo operation is supported, and the delay time can be tapped in with the right pedal or an external footswitch. A Twist function is also available, which adjusts multiple parameters with a press of a pedal; this makes it easy for guitarists to replicate the dub-style runaway echo effects originally popularized by twisting the RE-201’s panel knobs. (Of course, similar effects are also possible by manually turning the RE-20’s knobs.) And, thanks to the RE-20’s digital design, there’s no need for periodic tape replacement and other maintenance hassles! Additionally, Hold mode now provides up to 40 seconds of sound-on-sound recording, allowing the DD-7 to function quite capably for looping tasks. The pedal also includes Analog and Modulate modes borrowed from the DD-20. All in all, the DD-7 delivers an amazing amount of delay versatility in one small pedal. Embodying the company’s spirit of innovation through the years, the TE-2 delivers a truly unique ambience effect never heard before in any other single pedal, from BOSS or anyone else. The resulting tone has elements of delay, reverb, filtering, and pitch modulation, and you can twist the pedal’s knobs to dial up all sorts of sounds, from subtle reverberation to long, swirling ambient washes. Pressing and holding the pedal switch engages the cool Freeze function, which holds the effect sound to provide an ambient bed for playing over the top. While both pedals are sought after, it’s the DM-2 that’s the most highly regarded, thanks to its warm, grungy delay tone that oozes retro musicality. In Standard mode, the DM-2W is a complete replica of the DM-2, delivering the same rich, all-analog tone that made the original such a classic. But BOSS wanted to go beyond a simple reissue, so they added a Custom mode that more than doubles the available delay time to 800 milliseconds, while slightly cleaning up the grittiness for more definition and clarity. The pedal also has the ability to send dry and effect sounds to two different amps, a feature grabbed from the DM-3. Finally, there’s a jack for controlling the delay time with an expression pedal, a handy modern feature not available in either the DM-2 or DM-3. It updates the mighty RV-5, which has reigned as the industry standard for over 12 years. While its predecessor sounds exceptional, the RV-6 kicks things up to new heights, delivering rich, expansive tones equal to or exceeding boutique pedals and studio rack units costing much more. However, the next-generation RV-5 focused on reverb only. As you tweak the Time and Tone knobs, the reverb and delay characteristics are adjusted in multiple ways under the hood, providing ideal combo tones at every setting. And with its incredible price-to-performance ratio, it’s by far the best value as well. If you’ve been looking for the delay pedal of your dreams, BOSS has really delivered with the DD-500! It can recreate the sounds of every pedal throughout the history of the BOSS delay lineup, plus famous units like the Roland SDE-3000 and Space Echo. In addition, it has a ton of fresh, modern effects that combine delays with filtering, modulation, pitch shifting, and more. And that’s just the start. You can read all about the features the amazing DD-500 has on tap in this previous post. Throughout this historic review, a common thread is certainly clear: BOSS is always innovating, striving to create top-quality products that support the needs of musicians of all levels, from amateur players to high-end pros ripping it up nightly for audiences in the thousands. They’ve certainly achieved that goal, as BOSS delay pedals continue to be embraced by players everywhere, inspiring them to take their music to new levels of creativity, originality, and expression. All battles are fought 1v1, with every battle being an equivalent to a boss fight. The Stands aid the characters in battle by giving them combat abilities, as well as special attacks. Puzzles are also a part of the game, requiring the use of Stands in order to solve them.They can deliver melee attacks, use a character-exclusive special ability, or summon their Stand to attack. All Stand Shoot attacks can be charged to increase their duration and eventually allow the player to attack separate from their Stand, opening up opportunities to create combos. Health cannot be restored in any matter other than Secret Factors, requiring a finer degree of skill from the player than other games of a similar genre in order to succeed.Actions such as taking damage or blocking attacks while a Stand is on will also decrease the meter. A Stand Break occurs if the gauge is depleted, leaving the player character unable to summon their Stand until the gauge refills, along with other situational disadvantages. A rank is lost with every 25 points missing, from S at 200 - 190 points, A at 189 - 176, all the way to E at 100 and below. All Secret Factors on a level collectively add up to 100 GioGio Points and are added with the percentage of the player's remaining health to make up to 200.There are cutscenes between stages and during some fights.In this mode, the player replays battles from SS Mode, but is now able to select different characters for that stage, regardless of whether or not they made an appearance in the canon fight.This mode is not initially available and completing at least one SS Mode fight is required to unlock it. The Gallery contains extras such as soundtracks, Stage Viewer, Story Drama, concept art, images, and characters models (for playable, unplayable, and unused characters). The Gallery Mode is set inside Diavolo's motel room from Chapter 540.Considered as side-objectives, chapters can have anywhere between none to four Secret Factors to be done. As the game itself is adapted nearly entirely from the manga, playing out the scenario akin to the official canon will activate these factors, and their effects: giving power-ups to health, Stand endurance, and strength to the character, as well as heavily influencing chapter grading. A counter over the heart next to the player's health displays the Secret Factor level, with 10 being the maximum; At max, the health and Stand gauges will have doubled in length. There are multiple occasions where Secret Factors must be done in a specific order to achieve them all. They are a unique feature that also celebrates the game's source material and reward fans and readers of the series.In each chapter, the player faces a different opponent.A chatbox cutscene ensues, featuring the argument between Luca and Giorno, where Luca demands payment from Giorno and at the end of which Luca is taken out. Later, Bruno Bucciarati confronts Giorno to interrogate him.Lastly, it taught the player about Secret Factors.Bucciarati describes the intense pain this is causing.This time of Giorno on the ground with Gold Experience after hitting Bucciarati. Thinking to himself that he has no choice but to use Gold Experience on Bucciarati, or else he may die.When all are achieved, Health will be MAX. Giorno must find Bucciarati and damage him enough to activate a cutscene where he hides in a civilian. Giorno then finds the civilian and beat Bucciarati. A cutscene shows Giorno and Bucciarati make peace as both find out they hate the drug trade. Thus Bucciarati agrees to let Giorno infiltrate his gang, Passione.It is very hard to see at first glance, but it should be a White spot on the ground. This activates a cutscene, where Giorno turns it into a Fly. It then will follow the correct stranger.When all are achieved, Health will be MAX. Polpo gives him a lighter and tells him to keep it lit for a day. At his school courtyard, a janitor splashes the lighter then starts it up, triggering the Stand Black Sabbath who comes forth to attack Giorno.However, the fight is made difficult as Black Sabbath hides in the shadows cast by an object and may grab Giorno to damage him. Birds occasionally fly across the map, and Black Sabbath may attack from their shadows. Once Black Sabbath is beaten, it is then shown being disintegrated by sunlight. Later, Giorno officially joins Passione. However, Giorno also makes Polpo kill himself by eating a gun turned into a banana as revenge for a janitor Black Sabbath killed.This will damage it after the attack.Doing this will activate a cutscene, where Black Sabbath goes into the Shadow. Showing Giorno how it works.This confirms Giorno's theory of its weakness.Though Secret Factor 3, will only happen after Secret Factor 1. is achieved. When all are achieved, Health will be MAX. Leone Abbacchio, Guido Mista, Pannacotta Fugo, and Narancia Ghirga. The story then jumps to the squad being assigned to be bodyguards for the Boss' daughter, Trish. Sent out to shop for supplies, Narancia is confronted by Formaggio, one of the assassins who want to capture Trish.The player can send out Aerosmith and control the plane, gaining its radar but making Narancia stationary. The fight is made difficult because Formaggio can shrink and hide in the arena. Moreover, if Little Feet hits Narancia, he gets shrunken and must now evade Formaggio's attacks. Once beaten, a cutscene will activate where Narnacia shoots Formaggio to death. However, more of the assassins are coming.Then take no damage from Formaggio's attempts to hit you, while shrunken.But best to be safe. When all are achieved, Health will be MAX.Fugo, Giorno, and Abbacchio are sent to Pompeii but Fugo is then ambushed. Illuso the assassin attacks from inside a mirror and drags him in.However, the controls for the Illuso levels are inverted as Fugo is inside a mirror. This only changes the Left and Right directions, all other actions are the same. If the player survives 2 minutes, the level ends.This is because Illuso has control of what goes in, and does not.To recreate the moment Fugo notices the word for Trash is spelled backward.When all are achieved, Health will be MAX. Meanwhile, Giorno and Abbacchio argue about what to do next. Prioritizing the objective, Abbacchio goes to the hiding spot of the key but is attacked by Illuso.The fight is made difficult as Abbacchio is trapped in the mirror world with inverted controls while Moody Blues is in the real world. Illuso regularly switches between the two, forcing changes in gameplay.Panicking, Illuso flees to the real world.He must now properly defeat Illuso. However, Illuso again switches between the normal and mirror worlds, forcing the controls to be inverted regularly. When controlling Purple Haze, the player must manage its six virus capsules. After the battle, Fugo is concerned for Giorno but the latter manages to create a cure from a snake he's created. Fugo is impressed.They board a train heading in the direction of Florence. However, the assassins Prosciutto and Pesci follow them. Prosciutto ages everyone in the train and defeats Mista, but Bucciarati comes forth in the restaurant to fight Prosciutto.However, Prosciutto and The Grateful Dead can also attack. Moreover, The Grateful Dead's aging power slowly saps Bucciarati's health.It is picked up by Bucciarati, who realizes Prosciutto is aging people through their Body Temperatures, and that Ice might be the way to prevent it. This does not assist in the Gameplay but is a recreation of the Scene in the Manga where it is concluded to be the reason.This will open a large Zipper Hole and activate a cutscene, where Prosciutto notices it and deduces Bucciarati's plan with it.This will instantly end the fight.When all are achieved, Health will briefly be at MAX.