Goddamn, SO weary of this GET EXCITIED WE'RE GOING TO ANNOUNCE SOMETHING nonsense that pervades every form of advertising now, exhaaaaaausting. _________________ andrew floss musics
Last edited by Doog on Wed Oct 03, 2018 8:54 am; edited 1 time in total
The genuine BOSS and Roland Dimension effect is back, and it’s now more versatile than ever! Designed in the premium Waza Craft analog tradition, the DC-2W offers not just a perfect sonic recreation of the original DC-2 Dimension C pedal, but also the legendary SDD-320 Dimension D studio rack effect it was based on. The DC-2W features the same intuitive four-button preset interface as the original ‘80s-era effects, now evolved with electronic switching that unlocks a multitude of sonic variations not available on the vintage units.
Highly sought-after by musicians and audio engineers, the Dimension’s unique spatial processing magically enhances the width and depth of any sound, from electric and acoustic guitars to keyboards, vocals, and other sources. Built from the original circuit designs and updated with modern refinements, the DC-2W is the only pedal available that delivers the classic Dimension experience with complete sonic authenticity.
For over 25 years, the MT-2 Metal Zone has been one of the most popular and influential compact pedals in the BOSS lineup, with overall sales that are second only to the venerable DS-1 Distortion. Made in Japan and infused with Waza Craft mojo, the MT-2W takes the iconic stomp to new levels of tonal range and versatility. Standard mode delivers an evolved version of the original mid-focused Metal Zone tone, while Custom mode introduces a fresh, wide-ranging voice that’s perfectly suited for today’s diverse high-gain styles.
Premium Waza Craft pedal with all-analog audio circuitry
Innovative dual-stage gain circuit built with discrete analog components
Standard mode updates the famous MT-2 Metal Zone sound with improved clarity and lower noise
Custom mode delivers full-throttle gain tones with wider range, increased dynamics, and tighter low end
Powerful three-band EQ provides intense sound customization with High, Low, and sweepable Midrange and up to 15 dB boost/cut on each band
Premium buffer for clean and clear tone when bypassed
Made in Japan
BOSS five-year warranty
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Fran wrote:
I love how this place is basic as fuck.
ekwatts wrote:
I'm just going to smash it in with a hammer and hope it works. Tone is all in the fingers anyway.
I had the old Digital Dimension DC-3 years ago and that was also very subtle and pro sounding. The type of effect you could leave on constantly just to get a more expansive sound.
The Ibanez FL9 on low settings is also good for that, it adds warmth and makes the guitar sound big. Never tried the CS9 but I imagine it's similar. It never did John Squires sound any harm.
I think a common error a lot of less experienced guitar players make is setting their effects too high. These kind of pedals are good for controlling that.
The guy that sold me the DC-3 said it didn't do anything
Joined: 30 Aug 2011 Posts: 6141 Location: Strung up to the lemons
Posted: Fri Oct 05, 2018 7:18 pm Post subject:
Fran wrote:
The guy that sold me the DC-3 said it didn't do anything
Haha. It is subtle, unless you crank all the knobs up to full, but it does add a lovely gentle sparkle to everything, especially in stereo. It's one of those pedals that you almost notice more when you turn it off than when you turn it on.
I think less is more when it comes to modulation in general though. To my ears at least. _________________
Fran wrote:
I love how this place is basic as fuck.
ekwatts wrote:
I'm just going to smash it in with a hammer and hope it works. Tone is all in the fingers anyway.
The guy that sold me the DC-3 said it didn't do anything
Haha. It is subtle, unless you crank all the knobs up to full, but it does add a lovely gentle sparkle to everything, especially in stereo. It's one of those pedals that you almost notice more when you turn it off than when you turn it on.
I think less is more when it comes to modulation in general though. To my ears at least.
I agree.
The more extreme settings work well for some players, most notably John McGeogh and Robert Smith with the Flanger, but in general it sounds too much.
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