Challenge yourself, create new sound effects, how to connect, sequence, and tone modulation is the focus of debate for years! In order to make better use of BOSS's many products for friends who love to create sounds, and to use their imagination to create sounds, here are some commonly used techniques and tone modulation requirements and new connection methods to help friends. Develop new ideas for new sound production.
• For effects that require sound wave seal detection, such as automatic wah and octave effects, connect to the guitar as much as possible. Wah pedals generally need to be connected before the distortion, so that it can better control the distortion, of course, the distortion of the sound after the distortion is also good. The sound changes brought by the wah sound also have a great relationship with the connection position. Before and after the distortion, it is very different. You can try different sounds.
• Connecting the EQ after distortion can completely shape the tone.
• The reverb effect needs to be connected at the end of the effect chain for maximum effect.
• Chorus/delay/reverberation connections should be carefully monitored for changes in sound.
• The volume pedal should be connected before the delay effect so that the vibration frequency of the sound is not reduced when the volume is low. The intensity of the distortion can be controlled if the volume pedal is connected before the distortion.
• Connecting a noise reduction effect can reduce the noise caused by distortion and some modulation effects, but it also cuts some signals and makes appropriate modulation according to different situations.
Reverb modulation!
The reverb time sets the length of the reverb and attenuation, and the reverb level controls the intensity of the reverb. If you want a clean, bright reverb, reduce the level of reverberation and set a longer reverberation time. The large level and short reverberation time will produce a thick tone. The TONE knob is used to add brightness and depth to the sound. To make the tone you want, you can set it in the middle position, then turn and set the appropriate tone position according to different needs.
Delay modulation!
You can use the delay to get a wider range of sounds. If you want to have a two-tone, similar to the effect of the duo, you need to set a short delay (50ms or less) and no feedback. To get a long effect delay with reverb, you can set the delay time to 100-200ms. Set to 300ms may match your drum time to create an interesting sequencer effect. If a delay of 800ms or longer is used, a delay effect of the harmony chain can be produced. Finally, remember that separating the direct sound and the delay effect sound creates a full, three-dimensional effect.
Use the chorus type effect!
The change in chorus effect is usually mono or stereo. When using mono, the chorus provides a rich effect sound. When using stereo, you can get a wide sound effect.
Use the flamer effect to create a short delay!
The basic circuits for chorus, chrome and delay effects are the same. So sometimes the same effect can be produced. Setting the reproductive's resonance to 0 produces a chorus effect. Setting all of the fananger controls to zero position produces a single short delay effect.
Combine short delay and long delay!
If you connect a chrome and a delay, you can add a short delay and a long delay effect to the sound. Two delays produce a distinctive reverb effect and the sound is broad and full.
When using chorus with other instruments at the same time!
When a guitarist uses a chorus effect with a keyboard player, the sound will become unclear. In this case, if the keyboard or synthesizer or electric piano is chorused, the guitar uses a clean "no effect" tone.
Use an octave before distortion!
This can produce very heavy distortion effects. Keep a certain pitch and connect the octave to the effect chain closest to the guitar.
Transpose according to the feeling settings!
Using an expression pedal, you can control the pitch and time values ​​in real time on the PS effects.
Use a single block to stimulate speaker distortion!
Some overload or distortion effects can be used to motivate the speaker's gain distortion for greater distortion and tone, or a single block can be used to drive the sound of another single block.
Use an overload monoblock!
As the input speaker's signal increases, the distortion becomes larger. An overload effect can be used to increase the signal strength of the input. There are two setting methods as shown in the figure. Setting the speaker to crunch can get a strong distortion effect.
Use two distortion monoblocks (MT-2+DS-2)
Using the SD-1 as a thruster, set the SD-1 DRIVE knob to low and the LEVEL setting to high. Set BD-2 to normal distortion. The rhythm of the bomb only needs to adjust the BD-2. When playing SOLO, set the SD-1 tone to a sharper setting. Remember that noise or feedback may occur during use in this situation, paying attention to adjustments.
Use a balance or compression!
An equalizer or compressor can also be used as a good thruster. Using equalization will increase gain and pointer distortion at different frequencies. Using compression, you can also get distinctive distortion sounds through changes in TONE and ATTACK.
Equalization adds a new range of sounds to guitar SOLO!
When you connect an equalization before the distortion, connecting an equalization after the distortion emphasizes the defined tone frequency and makes the SOLO tone even better.
Challenge yourself, create new sound effects, how to connect, sequence, and tone modulation is the focus of debate for years! In order to make better use of BOSS's many products for friends who love to create sounds, and to use their imagination to create sounds, here are some commonly used techniques and tone modulation requirements and new connection methods to help friends. Develop new ideas for new sound production.
• For effects that require sound wave seal detection, such as automatic wah and octave effects, connect to the guitar as much as possible. Wah pedals generally need to be connected before the distortion, so that it can better control the distortion, of course, the distortion of the sound after the distortion is also good. The sound changes brought by the wah sound also have a great relationship with the connection position. Before and after the distortion, it is very different. You can try different sounds.
• Connecting the EQ after distortion can completely shape the tone.
• The reverb effect needs to be connected at the end of the effect chain for maximum effect.
• Chorus/delay/reverberation connections should be carefully monitored for changes in sound.
• The volume pedal should be connected before the delay effect so that the vibration frequency of the sound is not reduced when the volume is low. The intensity of the distortion can be controlled if the volume pedal is connected before the distortion.
• Connecting a noise reduction effect can reduce the noise caused by distortion and some modulation effects, but it also cuts some signals and makes appropriate modulation according to different situations.
Reverb modulation!
The reverb time sets the length of the reverb and attenuation, and the reverb level controls the intensity of the reverb. If you want a clean, bright reverb, reduce the level of reverberation and set a longer reverberation time. The large level and short reverberation time will produce a thick tone. The TONE knob is used to add brightness and depth to the sound. To make the tone you want, you can set it in the middle position, then turn and set the appropriate tone position according to different needs.
Delay modulation!
You can use the delay to get a wider range of sounds. If you want to have a two-tone, similar to the effect of the duo, you need to set a short delay (50ms or less) and no feedback. To get a long effect delay with reverb, you can set the delay time to 100-200ms. Set to 300ms may match your drum time to create an interesting sequencer effect. If a delay of 800ms or longer is used, a delay effect of the harmony chain can be produced. Finally, remember that separating the direct sound and the delay effect sound creates a full, three-dimensional effect.
Use the chorus type effect!
The change in chorus effect is usually mono or stereo. When using mono, the chorus provides a rich effect sound. When using stereo, you can get a wide sound effect.
Use the flamer effect to create a short delay!
The basic circuits for chorus, chrome and delay effects are the same. So sometimes the same effect can be produced. Setting the reproductive's resonance to 0 produces a chorus effect. Setting all of the fananger controls to zero position produces a single short delay effect.
Combine short delay and long delay!
If you connect a chrome and a delay, you can add a short delay and a long delay effect to the sound. Two delays produce a distinctive reverb effect and the sound is broad and full.
When using chorus with other instruments at the same time!
When a guitarist uses a chorus effect with a keyboard player, the sound will become unclear. In this case, if the keyboard or synthesizer or electric piano is chorused, the guitar uses a clean "no effect" tone.
Use an octave before distortion!
This can produce very heavy distortion effects. Keep a certain pitch and connect the octave to the effect chain closest to the guitar.
Transpose according to the feeling settings!
Using an expression pedal, you can control the pitch and time values ​​in real time on the PS effects.
Use a single block to stimulate speaker distortion!
Some overload or distortion effects can be used to motivate the speaker's gain distortion for greater distortion and tone, or a single block can be used to drive the sound of another single block.
Use an overload monoblock!
As the input speaker's signal increases, the distortion becomes larger. An overload effect can be used to increase the signal strength of the input. There are two setting methods as shown in the figure. Setting the speaker to crunch can get a strong distortion effect.
Use two distortion monoblocks (MT-2+DS-2)
Using the SD-1 as a thruster, set the SD-1 DRIVE knob to low and the LEVEL setting to high. Set BD-2 to normal distortion. The rhythm of the bomb only needs to adjust the BD-2. When playing SOLO, set the SD-1 tone to a sharper setting. Remember that noise or feedback may occur during use in this situation, paying attention to adjustments.
Use a balance or compression!
An equalizer or compressor can also be used as a good thruster. Using equalization will increase gain and pointer distortion at different frequencies. Using compression, you can also get distinctive distortion sounds through changes in TONE and ATTACK.
Equalization adds a new range of sounds to guitar SOLO!
When you connect an equalization before the distortion, connecting an equalization after the distortion emphasizes the defined tone frequency and makes the SOLO tone even better.
Challenge yourself, create new sound effects, how to connect, sequence, and tone modulation is the focus of debate for years! In order to make better use of BOSS's many products for friends who love to create sounds, and to use their imagination to create sounds, here are some commonly used techniques and tone modulation requirements and new connection methods to help friends. Develop new ideas for new sound production.
• For effects that require sound wave seal detection, such as automatic wah and octave effects, connect to the guitar as much as possible. Wah pedals generally need to be connected before the distortion, so that it can better control the distortion, of course, the distortion of the sound after the distortion is also good. The sound changes brought by the wah sound also have a great relationship with the connection position. Before and after the distortion, it is very different. You can try different sounds.
• Connecting the EQ after distortion can completely shape the tone.
• The reverb effect needs to be connected at the end of the effect chain for maximum effect.
• Chorus/delay/reverberation connections should be carefully monitored for changes in sound.
• The volume pedal should be connected before the delay effect so that the vibration frequency of the sound is not reduced when the volume is low. The intensity of the distortion can be controlled if the volume pedal is connected before the distortion.
• Connecting a noise reduction effect can reduce the noise caused by distortion and some modulation effects, but it also cuts some signals and makes appropriate modulation according to different situations.
Reverb modulation!
The reverb time sets the length of the reverb and attenuation, and the reverb level controls the intensity of the reverb. If you want a clean, bright reverb, reduce the level of reverberation and set a longer reverberation time. The large level and short reverberation time will produce a thick tone. The TONE knob is used to add brightness and depth to the sound. To make the tone you want, you can set it in the middle position, then turn and set the appropriate tone position according to different needs.
Delay modulation!
You can use the delay to get a wider range of sounds. If you want to have a two-tone, similar to the effect of the duo, you need to set a short delay (50ms or less) and no feedback. To get a long effect delay with reverb, you can set the delay time to 100-200ms. Set to 300ms may match your drum time to create an interesting sequencer effect. If a delay of 800ms or longer is used, a delay effect of the harmony chain can be produced. Finally, remember that separating the direct sound and the delay effect sound creates a full, three-dimensional effect.
Use the chorus type effect!
The change in chorus effect is usually mono or stereo. When using mono, the chorus provides a rich effect sound. When using stereo, you can get a wide sound effect.
Use the flamer effect to create a short delay!
The basic circuits for chorus, chrome and delay effects are the same. So sometimes the same effect can be produced. Setting the reproductive's resonance to 0 produces a chorus effect. Setting all of the fananger controls to zero position produces a single short delay effect.
Combine short delay and long delay!
If you connect a chrome and a delay, you can add a short delay and a long delay effect to the sound. Two delays produce a distinctive reverb effect and the sound is broad and full.
When using chorus with other instruments at the same time!
When a guitarist uses a chorus effect with a keyboard player, the sound will become unclear. In this case, if the keyboard or synthesizer or electric piano is chorused, the guitar uses a clean "no effect" tone.
Use an octave before distortion!
This can produce very heavy distortion effects. Keep a certain pitch and connect the octave to the effect chain closest to the guitar.
Transpose according to the feeling settings!
Using an expression pedal, you can control the pitch and time values ​​in real time on the PS effects.
Use a single block to stimulate speaker distortion!
Some overload or distortion effects can be used to motivate the speaker's gain distortion for greater distortion and tone, or a single block can be used to drive the sound of another single block.
Use an overload monoblock!
As the input speaker's signal increases, the distortion becomes larger. An overload effect can be used to increase the signal strength of the input. There are two setting methods as shown in the figure. Setting the speaker to crunch can get a strong distortion effect.
Use two distortion monoblocks (MT-2+DS-2)
Using the SD-1 as a thruster, set the SD-1 DRIVE knob to low and the LEVEL setting to high. Set BD-2 to normal distortion. The rhythm of the bomb only needs to adjust the BD-2. When playing SOLO, set the SD-1 tone to a sharper setting. Remember that noise or feedback may occur during use in this situation, paying attention to adjustments.
Use a balance or compression!
An equalizer or compressor can also be used as a good thruster. Using equalization will increase gain and pointer distortion at different frequencies. Using compression, you can also get distinctive distortion sounds through changes in TONE and ATTACK.
Equalization adds a new range of sounds to guitar SOLO!
When you connect an equalization before the distortion, connecting an equalization after the distortion emphasizes the defined tone frequency and makes the SOLO tone even better.
• For effects that require sound wave seal detection, such as automatic wah and octave effects, connect to the guitar as much as possible. Wah pedals generally need to be connected before the distortion, so that it can better control the distortion, of course, the distortion of the sound after the distortion is also good. The sound changes brought by the wah sound also have a great relationship with the connection position. Before and after the distortion, it is very different. You can try different sounds.
• Connecting the EQ after distortion can completely shape the tone.
• The reverb effect needs to be connected at the end of the effect chain for maximum effect.
• Chorus/delay/reverberation connections should be carefully monitored for changes in sound.
• The volume pedal should be connected before the delay effect so that the vibration frequency of the sound is not reduced when the volume is low. The intensity of the distortion can be controlled if the volume pedal is connected before the distortion.
• Connecting a noise reduction effect can reduce the noise caused by distortion and some modulation effects, but it also cuts some signals and makes appropriate modulation according to different situations.
Reverb modulation!
The reverb time sets the length of the reverb and attenuation, and the reverb level controls the intensity of the reverb. If you want a clean, bright reverb, reduce the level of reverberation and set a longer reverberation time. The large level and short reverberation time will produce a thick tone. The TONE knob is used to add brightness and depth to the sound. To make the tone you want, you can set it in the middle position, then turn and set the appropriate tone position according to different needs.
Delay modulation!
You can use the delay to get a wider range of sounds. If you want to have a two-tone, similar to the effect of the duo, you need to set a short delay (50ms or less) and no feedback. To get a long effect delay with reverb, you can set the delay time to 100-200ms. Set to 300ms may match your drum time to create an interesting sequencer effect. If a delay of 800ms or longer is used, a delay effect of the harmony chain can be produced. Finally, remember that separating the direct sound and the delay effect sound creates a full, three-dimensional effect.
Use the chorus type effect!
The change in chorus effect is usually mono or stereo. When using mono, the chorus provides a rich effect sound. When using stereo, you can get a wide sound effect.
Use the flamer effect to create a short delay!
The basic circuits for chorus, chrome and delay effects are the same. So sometimes the same effect can be produced. Setting the reproductive's resonance to 0 produces a chorus effect. Setting all of the fananger controls to zero position produces a single short delay effect.
Combine short delay and long delay!
If you connect a chrome and a delay, you can add a short delay and a long delay effect to the sound. Two delays produce a distinctive reverb effect and the sound is broad and full.
When using chorus with other instruments at the same time!
When a guitarist uses a chorus effect with a keyboard player, the sound will become unclear. In this case, if the keyboard or synthesizer or electric piano is chorused, the guitar uses a clean "no effect" tone.
Use an octave before distortion!
This can produce very heavy distortion effects. Keep a certain pitch and connect the octave to the effect chain closest to the guitar.
Transpose according to the feeling settings!
Using an expression pedal, you can control the pitch and time values ​​in real time on the PS effects.
Use a single block to stimulate speaker distortion!
Some overload or distortion effects can be used to motivate the speaker's gain distortion for greater distortion and tone, or a single block can be used to drive the sound of another single block.
Use an overload monoblock!
As the input speaker's signal increases, the distortion becomes larger. An overload effect can be used to increase the signal strength of the input. There are two setting methods as shown in the figure. Setting the speaker to crunch can get a strong distortion effect.
Use two distortion monoblocks (MT-2+DS-2)
Using the SD-1 as a thruster, set the SD-1 DRIVE knob to low and the LEVEL setting to high. Set BD-2 to normal distortion. The rhythm of the bomb only needs to adjust the BD-2. When playing SOLO, set the SD-1 tone to a sharper setting. Remember that noise or feedback may occur during use in this situation, paying attention to adjustments.
Use a balance or compression!
An equalizer or compressor can also be used as a good thruster. Using equalization will increase gain and pointer distortion at different frequencies. Using compression, you can also get distinctive distortion sounds through changes in TONE and ATTACK.
Equalization adds a new range of sounds to guitar SOLO!
When you connect an equalization before the distortion, connecting an equalization after the distortion emphasizes the defined tone frequency and makes the SOLO tone even better.
Challenge yourself, create new sound effects, how to connect, sequence, and tone modulation is the focus of debate for years! In order to make better use of BOSS's many products for friends who love to create sounds, and to use their imagination to create sounds, here are some commonly used techniques and tone modulation requirements and new connection methods to help friends. Develop new ideas for new sound production.
• For effects that require sound wave seal detection, such as automatic wah and octave effects, connect to the guitar as much as possible. Wah pedals generally need to be connected before the distortion, so that it can better control the distortion, of course, the distortion of the sound after the distortion is also good. The sound changes brought by the wah sound also have a great relationship with the connection position. Before and after the distortion, it is very different. You can try different sounds.
• Connecting the EQ after distortion can completely shape the tone.
• The reverb effect needs to be connected at the end of the effect chain for maximum effect.
• Chorus/delay/reverberation connections should be carefully monitored for changes in sound.
• The volume pedal should be connected before the delay effect so that the vibration frequency of the sound is not reduced when the volume is low. The intensity of the distortion can be controlled if the volume pedal is connected before the distortion.
• Connecting a noise reduction effect can reduce the noise caused by distortion and some modulation effects, but it also cuts some signals and makes appropriate modulation according to different situations.
Reverb modulation!
The reverb time sets the length of the reverb and attenuation, and the reverb level controls the intensity of the reverb. If you want a clean, bright reverb, reduce the level of reverberation and set a longer reverberation time. The large level and short reverberation time will produce a thick tone. The TONE knob is used to add brightness and depth to the sound. To make the tone you want, you can set it in the middle position, then turn and set the appropriate tone position according to different needs.
Delay modulation!
You can use the delay to get a wider range of sounds. If you want to have a two-tone, similar to the effect of the duo, you need to set a short delay (50ms or less) and no feedback. To get a long effect delay with reverb, you can set the delay time to 100-200ms. Set to 300ms may match your drum time to create an interesting sequencer effect. If a delay of 800ms or longer is used, a delay effect of the harmony chain can be produced. Finally, remember that separating the direct sound and the delay effect sound creates a full, three-dimensional effect.
Use the chorus type effect!
The change in chorus effect is usually mono or stereo. When using mono, the chorus provides a rich effect sound. When using stereo, you can get a wide sound effect.
Use the flamer effect to create a short delay!
The basic circuits for chorus, chrome and delay effects are the same. So sometimes the same effect can be produced. Setting the reproductive's resonance to 0 produces a chorus effect. Setting all of the fananger controls to zero position produces a single short delay effect.
Combine short delay and long delay!
If you connect a chrome and a delay, you can add a short delay and a long delay effect to the sound. Two delays produce a distinctive reverb effect and the sound is broad and full.
When using chorus with other instruments at the same time!
When a guitarist uses a chorus effect with a keyboard player, the sound will become unclear. In this case, if the keyboard or synthesizer or electric piano is chorused, the guitar uses a clean "no effect" tone.
Use an octave before distortion!
This can produce very heavy distortion effects. Keep a certain pitch and connect the octave to the effect chain closest to the guitar.
Transpose according to the feeling settings!
Using an expression pedal, you can control the pitch and time values ​​in real time on the PS effects.
Use a single block to stimulate speaker distortion!
Some overload or distortion effects can be used to motivate the speaker's gain distortion for greater distortion and tone, or a single block can be used to drive the sound of another single block.
Use an overload monoblock!
As the input speaker's signal increases, the distortion becomes larger. An overload effect can be used to increase the signal strength of the input. There are two setting methods as shown in the figure. Setting the speaker to crunch can get a strong distortion effect.
Use two distortion monoblocks (MT-2+DS-2)
Using the SD-1 as a thruster, set the SD-1 DRIVE knob to low and the LEVEL setting to high. Set BD-2 to normal distortion. The rhythm of the bomb only needs to adjust the BD-2. When playing SOLO, set the SD-1 tone to a sharper setting. Remember that noise or feedback may occur during use in this situation, paying attention to adjustments.
Use a balance or compression!
An equalizer or compressor can also be used as a good thruster. Using equalization will increase gain and pointer distortion at different frequencies. Using compression, you can also get distinctive distortion sounds through changes in TONE and ATTACK.
Equalization adds a new range of sounds to guitar SOLO!
When you connect an equalization before the distortion, connecting an equalization after the distortion emphasizes the defined tone frequency and makes the SOLO tone even better.
Challenge yourself, create new sound effects, how to connect, sequence, and tone modulation is the focus of debate for years! In order to make better use of BOSS's many products for friends who love to create sounds, and to use their imagination to create sounds, here are some commonly used techniques and tone modulation requirements and new connection methods to help friends. Develop new ideas for new sound production.
• For effects that require sound wave seal detection, such as automatic wah and octave effects, connect to the guitar as much as possible. Wah pedals generally need to be connected before the distortion, so that it can better control the distortion, of course, the distortion of the sound after the distortion is also good. The sound changes brought by the wah sound also have a great relationship with the connection position. Before and after the distortion, it is very different. You can try different sounds.
• Connecting the EQ after distortion can completely shape the tone.
• The reverb effect needs to be connected at the end of the effect chain for maximum effect.
• Chorus/delay/reverberation connections should be carefully monitored for changes in sound.
• The volume pedal should be connected before the delay effect so that the vibration frequency of the sound is not reduced when the volume is low. The intensity of the distortion can be controlled if the volume pedal is connected before the distortion.
• Connecting a noise reduction effect can reduce the noise caused by distortion and some modulation effects, but it also cuts some signals and makes appropriate modulation according to different situations.
Reverb modulation!
The reverb time sets the length of the reverb and attenuation, and the reverb level controls the intensity of the reverb. If you want a clean, bright reverb, reduce the level of reverberation and set a longer reverberation time. The large level and short reverberation time will produce a thick tone. The TONE knob is used to add brightness and depth to the sound. To make the tone you want, you can set it in the middle position, then turn and set the appropriate tone position according to different needs.
Delay modulation!
You can use the delay to get a wider range of sounds. If you want to have a two-tone, similar to the effect of the duo, you need to set a short delay (50ms or less) and no feedback. To get a long effect delay with reverb, you can set the delay time to 100-200ms. Set to 300ms may match your drum time to create an interesting sequencer effect. If a delay of 800ms or longer is used, a delay effect of the harmony chain can be produced. Finally, remember that separating the direct sound and the delay effect sound creates a full, three-dimensional effect.
Use the chorus type effect!
The change in chorus effect is usually mono or stereo. When using mono, the chorus provides a rich effect sound. When using stereo, you can get a wide sound effect.
Use the flamer effect to create a short delay!
The basic circuits for chorus, chrome and delay effects are the same. So sometimes the same effect can be produced. Setting the reproductive's resonance to 0 produces a chorus effect. Setting all of the fananger controls to zero position produces a single short delay effect.
Combine short delay and long delay!
If you connect a chrome and a delay, you can add a short delay and a long delay effect to the sound. Two delays produce a distinctive reverb effect and the sound is broad and full.
When using chorus with other instruments at the same time!
When a guitarist uses a chorus effect with a keyboard player, the sound will become unclear. In this case, if the keyboard or synthesizer or electric piano is chorused, the guitar uses a clean "no effect" tone.
Use an octave before distortion!
This can produce very heavy distortion effects. Keep a certain pitch and connect the octave to the effect chain closest to the guitar.
Transpose according to the feeling settings!
Using an expression pedal, you can control the pitch and time values ​​in real time on the PS effects.
Use a single block to stimulate speaker distortion!
Some overload or distortion effects can be used to motivate the speaker's gain distortion for greater distortion and tone, or a single block can be used to drive the sound of another single block.
Use an overload monoblock!
As the input speaker's signal increases, the distortion becomes larger. An overload effect can be used to increase the signal strength of the input. There are two setting methods as shown in the figure. Setting the speaker to crunch can get a strong distortion effect.
Use two distortion monoblocks (MT-2+DS-2)
Using the SD-1 as a thruster, set the SD-1 DRIVE knob to low and the LEVEL setting to high. Set BD-2 to normal distortion. The rhythm of the bomb only needs to adjust the BD-2. When playing SOLO, set the SD-1 tone to a sharper setting. Remember that noise or feedback may occur during use in this situation, paying attention to adjustments.
Use a balance or compression!
An equalizer or compressor can also be used as a good thruster. Using equalization will increase gain and pointer distortion at different frequencies. Using compression, you can also get distinctive distortion sounds through changes in TONE and ATTACK.
Equalization adds a new range of sounds to guitar SOLO!
When you connect an equalization before the distortion, connecting an equalization after the distortion emphasizes the defined tone frequency and makes the SOLO tone even better.
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