A simple overdrive. It will compress the extreme peaks to make a sound similar to an overdriven amplifier.
Drive level
Controls the point at which the signal starts to distort, and the degree of distortion.

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In the « Fast » section (used by most pedals), the circuit simply adds a whole lot of gain by splitting the signal and adding it into multiple paths (2, 3, 4) with different levels of gain, running them in parallel with a single output.
The advantage of this arrangement is that it increases the overall output. The average-level gain paths will become gain compressed, but the gain-ripple paths will be further gain-compressed. The paths operate by running their own gain-compensation block with a different amount of gain.
The challenge is to find the right amount of gain to use for each path. The challenge is that the amount of gain also determines how much noise gets through and the effect it has on the overall sound.
Multistage Overdrive
Instead of building a circuit that has 2 or 3 variable paths of gain-compensation, it’s possible to create a multistage overdrive by using multiple constant-gain paths.
The circuit then uses a mix of level-and-multistage controls, depending on how you wish to use the overdrive.
The classic overdriven tone has a 3-stage level and multistage (which is like using the Drive control) section. The first stage is a regular multi-path overdrive, then a second stage to increase the distortion, and finally a third stage to flatten the tone using a level control.
In the « Classic » section (used by many amp builders), the circuit uses the level-and-multistage controls in a unique way.
The circuit design has 3 gain stages. The first stage is a multistage using the level and multistage controls, the second stage uses Level to raise the overall sound, and the third stage is a « hard-gate » using the « Hard » control to cut the overall sound.
The « Classic » section of the pedal works by adding the Gain compensation for each stage together. This then creates the overall effect of the pedal, which is like setting the Drive to 6.
​Hard section:
This is similar to the « Classic » overdrive, but instead of a hard-gate after the second gain stage, there is a separate « Hard » control.
The Hard section of the pedal controls the High Pass filter for the Drive stage. The idea is that when the Drive is fully up, the High Pass filter will remove the « high frequencies » from the signal, like a hard-

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When the drive knobs are turned all the way up and to the right, or all the way down and to the left, the signal will start to compress (or “comp and dec”). This means that most of the band of frequencies in the signal will be compressed to the lowest frequency (i.e., lowest frequency before threshold). This means that the signal will be “smoothed” and will start to sound similar to a compressor.
Fast Overdrive Full Crack Example:
In the sound clip below you will hear a simple overdrive that has a fast and slow attack. The fast attack compressor is clearly audible. The sound clip takes you over the threshold, so as you continue to turn up the drive, the compression will eventually be on 100% of the signal.
Fast Overdrive Settings:
1) Click the “Fast Overdrive” tab to display the fast overdrive settings.
2) Set the “Slow Attack” volume to 30% to get the fastest possible attack.
3) Increase the “Fast Attack” volume to 100% (all the way to the right) for slower attack.
You will hear the sound clip below where this fast overdrive is applied to a saw. The attack slowly increases as the knobs are turned, compressing the guitar and reducing the frequencies to around the threshold of hearing in our human ear. This makes the saw sound muffled and heavier.

A:

The attack time has absolutely nothing to do with it. You may get a slower attack that will sound better, but the key to getting this sound effect is to have your amp’s power amplifier gain turned all the way down and have the input signal turned up. Then your guitar will act as a compression driver and the compression will be heard, giving that muffling effect.
If you don’t have your amp’s power amp turned down, you will just hear the compression effect from your guitar.

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Fast Overdrive For PC

A new level of control with a buffered chip version of a BOSS OD1, with a temperature compensated and completely ultra-low noise op-amp circuit. The TrueBypass version of the MicroDrive is available as a white metal enclosure.

• True-Bypass Version – Now with a modern, low-noise Op-Amp circuit.

• Temperature compensated
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• 30V output
• Control Input
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• Rackmountable & comes with a handle

Microdrive SX20 Hi-Z Preamp / Amplifier
BOSS builds a high-quality floor pedal for live and stage, the SX20 Hi-Z Preamp/Amplifier.

Note: If you have a SX20 Pro and you would like to add the analog Overdrive section, buy the SX Pro.

DSP effects

The BOSS DS-5 is a digital effects processor for Apple’s Mac and Windows operating systems that enables users to add different kinds of effects to a recorded or live audio signal. The DS-5 runs on Mac OS X Tiger/Intel, Windows XP and above (Windows Vista and Windows 7 are supported but with restrictions), and is included with the X5 software.

The DS-5 works with both the X5 and SE software; it can be operated as a stand-alone unit as well. Like all BOSS effects processors, the DS-5 offers integrated effects that are modeled after studio classics and custom effects that are created by professional effects developers. The DS-5 has an internal speaker and headphone out (with master volume control) and provides a remote control signal for use with other BOSS pedals. In addition to its standard effects, the DS-5 offers four BOSS guitar effects algorithms. These effects algorithms are Speed Tremolo, Chorus, Modulator, and MIDI.

The DS-5 has a built-in modeling synthesizer that allows the user to produce an infinite range of sounds and phrases. It has a stereo input, 1-ch output, and a stereo output that allows an external device to record the effects into a computer.

The DS-5 is supported as part of the X5 effects engine package.

Notable Users

The DS-5 is a core component of popular music, and has been used by many famous bands and artists.

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(used with Headroom):
In a fast overdrive the signal is processed on the input before it’s sent to the preamplifier. This means it happens as a single signal going to the preamplifier rather than as a blend of signals going into the preamplifier. This results in a thick bright sound, with an emphasis on the treble.

Underdrive:
Undersweeping:
(used with Headroom):
The undersweeping feature distorts audio at a lower level than the preamp threshold to simulate « thick » sounds. The increased distortion makes a darker sound.
Resonance:
« Resonance » is a feature which alters the sound by increasing the amount of attack and decay that occurs after the transients and causing the speaker cone to vibrate even after the transients have subsided. Generally, a guitar amplifier with « resonance » results in a brighter and thicker sound. With « High » resonance, the amp’s tone is a hybrid of a bright and a thick sound. When using « resonance », the control is to adjust the amount of attack, decay, and overall intensity on the signal to create the desired effect.
Low-Cut Filter
A low-pass filter, bypassed when used, filters out all frequencies above a certain level, thus cutting off the high frequencies before they reach the amp. In general, the higher the cutoff frequency, the more impact the signal will have on the overall sound.
Compression:

Effects pedal that consists of two pedals (pre and parallel), the parallel part is also known as the « De-Esser » or « Digital De-Esser », it creates a more three-dimensional sound. This has been used in analog recording technology for years, but is much more prominent in the digital era. With high-quality equipment, they can be used to create sounds like those from bigger, more classic studios.
A compression effect that removes some high frequencies from the signal, resulting in a more bass-heavy sound.
High Pass Filter:
A high pass filter removes all the low frequencies from the signal. This is an essential component when doing high-pass or band pass filtering, to ensure the desired sound is being reproduced.
Poles:

The poles controls the resonant characteristics of the low pass filter. Below 1kHz, the filter is a high pass filter. Above 1 kHz, it becomes a low pass filter and the transition is at 1

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