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Boss Me 5 Manuale Italiano |Free Full Text
Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.Please try again.In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading. Register a free business account This DVD explains everything you need to know to get up and running quickly. It contains hands-on demonstrations to help visually guide you through your new product so you can start making great music. Host David Wills has been teaching musicians and studio owners for over 20 years and now you can receive that same advice in the comfort of your own home.If you are a seller for this product, would you like to suggest updates through seller support ? Amazon calculates a product’s star ratings based on a machine learned model instead of a raw data average. The model takes into account factors including the age of a rating, whether the ratings are from verified purchasers, and factors that establish reviewer trustworthiness. Please try again later.I learned nothing that I didn't already know from reading the manual. The website says the ME-70 was DESIGNED to plug into the front of an amp.I use the ME-70 for all my gigs and this tutorial helped me get the most out of the device. Since its 2015 release, the BOSS ES-8 Effects Switcher has enjoyed worldwide acclaim. With its ground breaking design, functionality and control options, the BOSS ES-8 offers features far surpassing any similar device. Pedal Loop switchers are not new of course. BOSS themselves were pioneers of the concept back in 1982, first with the SCC-700 Sound Control Center, and later the innovative ME-X; a multi-effects unit that enabled players to integrate and control 3 external BOSS pedals of their choice.
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Though the BOSS ES-5 is a slightly scaled down version of the larger ES-8, it still packs more functionality straight out of the box than practically any other effects switcher currently available. The ES-5 is immensely powerful and once setup to your liking, becomes the “brain” of your entire guitar rig. The flexibility and control of the ES-5 gives you one central control point for pedals, amplifiers and external MIDI devices.We’ll also dig deeper and unravel some of the more advanced capabilities of the ES-5, showing you how to gain maximum utility from this outstanding device. To get the most value out of this article, we would highly recommend using it in conjunction with the ES-5 product manual, available for download here:By reading this article alongside the manual, you’ll soon become very familiar with the ES-5 and all of the control possibilities that it offers you.An effects switcher is a control device that allows a guitar’s signal flow to experience different pedal and effect combinations. Effects switchers simplify a pedalboard, allowing a guitar player more control over their rig. It helps reduce clutter, stress and frees the player up to focus more on their playing. Pedals connect to their own individual “loops”, located on the switching system. The ES-5 contains FIVE loops numbered 1-5. Multiple loops (or pedals) create combinations, which store as a preset. Using footswitches, the guitarist selects the switcher’s combinations and ultimately, what devices process the guitar signal. For more information on Switching Systems for your rig, please check out this article: WHY SHOULD I BUY A SWITCHING SYSTEM? Essentially, it is designed to make numerous individual effects pedals act like a single, customised multi-effects unit. The ES series also has the added advantage of removing specific pedals that are not in use from the signal chain. Doing this keeps the signal path as short and as simple as possible for the guitar tone to remain intact.
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The ES-5 augments the concept of effects switching systems by providing a plethora of additional features and benefits, far beyond the capabilities of similar devices. These additional features greatly expand the scope of a guitar rig and gives players complete control of their signal chain. This includes single-touch control of amplifiers. MIDI devices and external effects devices. Here is a list of some of the functions that the Boss ES-5 can perform that allows total control of any guitar rig:At their core, the ES-5 and ES-8 Effects Switching Systems both provide similar levels of functionality. However, in order for the reduction in physical size of the ES-5, there are a number of differences to its larger sibling, the ES-8.The ES-5 can use up to TWO External Control Pedals to perform control functions whereas the ES-8 can facilitate up to four. Perhaps a little less obvious, but equally important, is the ES-5’s omission of the VOL. LOOP that is present in the ES-8. This loop commonly interacts with a guitar amplifier’s effects loop. The ES-5 lacks this dedicated VOL. LOOP. It is still connectable with a guitar amp using the 4CM, only doing so will use up of one of the ES-5’s effects loops. This means that only FOUR effects loops will remain available for use. The ES-5 suits the guitarist with a more compact setup who doesn’t require the complete flexibility of 4CM setup. Check out below for a more detailed comparison of ES-5 with ES-8:In order to take command of all that the Boss ES-5 has to offer, it helps to understand its key components, as well as how they work in conjunction with each other. Below is a picture of the ES-5 rear panel, along with a block diagram showing the internal structure of the signal path routing:Each loop is accessible via a SEND and RETURN jack on the ES-5 rear panel. (Refer Section 2-1 ). On most Loop Switchers, the loops adhere to a serial setup, one after the other. (i.e.
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Loop 1 RETURN would feed directly into Loop 2 SEND and so on.). The ES-5 Analog Switch Array uses a clever matrix of relay switches in order to provide total flexibility of signal path options. Consider the following example (figure 1) where we have pedals connected to three of the ES-5’s loops.In contrast to most other effects switching devices, the ES-5 gives you the option to reconfigure this signal flow, as in the next example (figure 2):This unique and powerful feature applies differently to each patch, allowing you to re-order your pedals at will in order to achieve different sounds and effects. (For further detail, see section 3-1 ). The MIXER is the section that mixes this split signal back into a mono signal sent to the output. Because the mixer circuit contains a small opamp, it also provides two important additional functionsThe mixer can be completely defeated, if parallel routing or carryover functions are not required. (See section 3-4 ):Now that you understand how signal flows through the ES-5 and are starting to get an idea of the possibilities, let’s get underway with looking at the basics of connection and usage.It has no built-in effects at all. To hear any sounds other than a clean guitar signal, at least one effect pedal requires connection to one of the ES5’s loops.Let’s look at how to get started:As outlined earlier, the primary concept of the ES-5 is to give players the power to turn on and off various combinations of connected pedals with the single tap of one of the numbered footswitches. To achieve this, along with various other functions, desired pedal combination must be stored into the ES-5 as a patch (sometimes called a preset). The ES-5 has the capability to store and recall up to 200 different patches. These patches are organised by Group (1-8), Bank (1-5) and Number (1-5).Before doing so though, let’s first familiarise ourselves with the ES-5’s LCD display. When not in EDIT mode, we refer to the LCD display as the Play Screen.
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The Play Screen has five different display modes that cycle by repeatedly pressing the EXIT button. (We’ll refer to these five variations of the Play Screen throughout this document.)This describes the ES-5’s patch structure, as well as how to access patches. Let’s start with the ES-5 at patch number 111 and move on to create our first patch.On unboxing the ES-5, every patch arrives preset to a completely neutral state with all loops disabled, (i.e. the ES-5’s input signal routes directly to the output). Assuming your guitar amp is set for a clean tone with the ES-5 connected, this neutral state will result in a clean tone with no effects.Let’s now look at how to create and store a patch that gives a distortion tone, by activating Loop 1, which contains, in this case, a BOSS DS-1X Distortion pedal.Flick between the two patches and you’ll see that you have created your first patch. Next, let’s look at another way to switch between your connected effects in real time.The ES-5 has two distinct modes of operation: MEMORY MODE and MANUAL MODE. Up until now, we have been discussing Memory Mode, where you create, store and recall various preset combinations of effects loops into your own patches. At any time though, by holding the BANK footswitch for 2 seconds or more, you’ll see the footswitch indicator LEDs change colour from blue to red, which indicates that the ES-5 has now entered MANUAL MODE. Manual Mode changes the function of the five numbered footswitches of the ES-5. Now, rather than selecting preset patches, the footswitches become direct access switches to turn each loop on or off. Essentially, the ES-5 is now acting like a row of 5 traditional stompboxes.Let’s say that your preset patch has a Distortion pedal active (Loop 1), but you want to add some Delay (Loop 2) just for a certain short phrase. Rather than take up an entire memory slot for this new sound, switching to manual mode will enable you to turn Loop 2 on or off as required throughout the tune.
When you toggle back to MEMORY MODE by depressing the BANK footswitch for 2 seconds, the ES-5 will immediately revert to the settings of the preset patch. By understanding the patch structure, learning how to create and store patches and toggling between MEMORY and MANUAL modes, you will now have a good handle on the basic operation of the ES-5. This is certainly enough information for you to get along with creating your own patches and setting them up for performance. The beauty of the ES-5 though is that it doesn’t stop at this point. The ES-5 has a whole host of advanced functions, many of them unique to the BOSS ES-series Switching Systems. Let’s start digging into some of the ES-5’s exclusive features and discover how to harness its full power in order to fully control your entire rig.As described earlier, most loop switching products have a rudimentary architecture that simply switches effects loops on and off in a serial placement. The ES-5’s Analog Switch Array though (refer section 1-3), gives you the power to completely rearrange the connected order of your effects pedals at will. You can even change the pedal order for every single patch. As many guitar players know, the order in which you connect your effects pedals has a significant impact on the final sound. A wah-wah pedal placed AFTER a distortion pedal will not replicate the classic wah sound we have come to love. Placing the wah-wah BEFORE the distortion pedal creates classic wah tone. A delay pedal will react quite differently too, depending whether it is placed pre or post-distortion. In this next section, we’ll examine how to exploit the effects of changing effects placement by altering the flow of the signal chain within the ES-5. This occurs via the ES-5’s Loop Structure Screen.Therefore, signal flow is from right to left. To demonstrate, let’s connect a DS-1X Distortion Pedal to Loop 1 of the ES-5 and a DD-7 Digital Delay pedal to Loop 2.
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It is a powerful feature of the ES-5 and yet it marks only the beginning of its advanced signal routing capabilities. Next, let’s look at how the ES-5 creates parallel effects chains.Usually when we connect effects pedals to each other, they connect in SERIES, one after the other:Some examples of uses of parallel chains are:Series connection can result in a very complex sound as the second delay pedal is acting upon an already-delayed signal from pedal 1. By connecting it in parallel, a dry signal blends in with the fuzz to provide more clarity. The ES-5 allows quick and easily exploration of the different tones and textures that are available by using parallel connections.Let’s look at how the ES-5 creates a parallel connection. In this example, we are going to connect a DS-1X Distortion pedal (Loop 1) in parallel with a PH-3 Phase Shifter (Loop 2). The same circuitry that sends the signal to a parallel chain and recombined enables the ES-5 to perform another extremely useful function, known as CARRYOVER.The CARRYOVER function (sometimes called spillover or trails) is a function that is very useful for time-based effects, such as Delay and Reverb. Let’s say you have a patch dialled up with a healthy amount of delay effect that “trails” on after you finish playing. The problem with most effects switchers (and many multi-effects devices too) is that when you switch to the next patch, these delay “trails” will abruptly be cut off.Let’s look at how we can use the carryover function. In this example, we have the following 2 patches preset into the ES-5:Loop 1: DS-1X Distortion. Loop 2: DD-7 Digital Delay set for moderate LEVEL and FEEDBACKClean tone. All loops bypassed.Because the ES-5 has only one internal mixer it means that, depending on the settings, in certain situations, you might not be able to use a parallel connection or the Carryover function may not work.
As well as enabling the ES-5 to perform the parallel loop and Carryover functions, the internal MIXER has some secondary functions that are extremely useful and can come in handy in many situations.If you are not using Parallel Chain or CARRYOVER within your patch, then the MIXER will default to the OFF setting. Activating it takes advantage of its other useful functions:The mixer contains a small opamp (Operational Amplifier) that can attenuate or boost the output level of each patch via a user-adjustable gain control. Available level settings are:When the mixer in the ES-5 activates, it automatically buffers the output signal to preserve your guitar tone. ( For more information on buffers, see Section 3-5 )To access the internal MIXER: You’ll see this screen:It is a fact of physics that when you start running your passive guitar signal through cables longer than around 18’, you will experience some audible tone degradation. This is due to the capacitance of the cable itself acting on the relatively weak, high impedance signal that is output from a guitar with passive pickups. The capacitance of the cable creates a filter effect, similar to rolling off the tone knob on your guitar. The longer the cable, the more the treble (and even high mids) will be rolled off. For some guitar players, this effect is an important part of their sound. Many players in the 1960’s and 1970’s used “curly cables” which had a lot of capacitance to intentionally dull down the sound of their bright amps. For many players though, the sparkling clarity of a pure guitar signal is preferred. A buffer is an electronic device that provides an ideal impedance input to “receive” the signal from your guitar pickups and converts it to a stronger low-impedance signal that allows it to better “flow” through the rest of your signal chain.
As we have already discussed, the ES-5 has the capability to buffer the output signal via the internal mixer, however the MOST critical area to place a buffer (if you wish to use one) is at the START of your signal chain, right after the guitar pickups. For this reason, the ES-5 has a buffer located at its INPUT stage. This buffer is selectable for each patch. The ES-5 Input Buffer defaults to ON for every patch, however you may wish to bypass the input buffer if:To defeat the Input Buffer on any given patch: Intended as a sort of “master control” for your rig, the ES-5 also incorporates powerful capabilities to have one-touch control over many aspects of your rig. As well as the simple functions of turning effects on or off in your control chain, the ES-5 can also send:The ES-5 can control external equipment by two main mechanisms:These jacks connect to any external device that use ?” jacks for control functions, (e.g. amplifier footswitch jack, delay pedal tap tempo input, modulation pedal expression input etc.). Each jack can control up to two different devices with the use of a Y-Cable.These control signals generate from within the ES-5 (see sections 4-2, 4-3, 4-7 ) or by connecting an external control pedal to the CTL IN jack (see section 4-5 ).The ES-5 is a fully fledged MIDI controller and can be used to control any external device with a MIDI IN port, including digital effects pedals, rackmount processors, MIDI-Capable guitar amps, sequencers and even lighting controllers. The ES-5 can output MIDI Program Change (PC), Continuous Control (CC) or MIDI Clock Sync messages. Each ES-5 patch can transmit up to 8 different MIDI messages simultaneously. The ES-5 also has a MIDI IN port, allowing control from other MIDI devices such as sequencers or master clock devices.
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For the rest of this document, we’re going to take a look at how to implement some of the more commonly used control options, to get you started down the road of discovering the ES-5’s full capability.One of the most basic (yet useful) control functions of the ES-5 is the ability to switch channels on your guitar amplifier and save that channel setting as part of your ES-5 patch. The ES-5 can do this for any amplifier that uses a standard ?” jack for footswitch control. Please consult the amplifier manufacturer to determine suitability of the amplifier controlled by an external switcher such as the ES-5. Let’s look at how we can connect the ES-5 to a guitar amplifier’s footswitch jack and use the ES-5 to change channels.The ES-5 can send a momentary pulse signal, rather than a latching signal, within the PLAY OPTION menu as follows. Example:If this is the case, then set C1 status to “INV”. The Play Options save automatically Another of the most useful features is the ability for the ES-5 to set the TAP TEMPO of any external delay pedal with a tap tempo input jack.It is a very common feature of modern delay pedals to be able to set their delay time by way of an external TAP TEMPO footswitch. The ES-5 has the power to alleviate you of manually tapping the tempo into a pedal, by sending a precise, tempo-controlled series of taps through the EXT CTL jack when you select a patch. Let’s see how to set up the ES-5 to automatically generate Tap Tempo signals from an EXT CTL jack.This setting depends on your delay pedal. i.e. if your delay pedal requires three taps to set the tempo, then you should set the C1 parameter to “ TP3 ” Note that the bottom right hand side of the display shows the current tempo setting in BPM.Selecting d (Eighth note) will send tap pulses at twice the speed of the tempo selected. In this case, we have selected a dotted eight note. Built with portability in mind, the ES-5 has a limited number of footswitches on its chassis.
Connecting an expression pedal allows you to do two things: This allows you to use the Expression Pedal to deliver a full range of control to any supported parameter of your MIDI capable device and is a very powerful expansion tool.See the chart below for four examples of external CTL pedal configurations. If latching style operation is required, you can configure it within the ES-5. Once you have connected an external control pedal, it can perform a myriad of functions, which we will look at a little later (see section 4-6). For now though, let’s look at how to configure an external footswitch as a manual TAP TEMPO to change the delay time on a DD-7 delay pedal.This means that only CTL 1 is active and ready for use. CTL 2 will not be accessible.You’ll see this screen:In this case, it assigned to send a signal out of Ctl1. (i.e. EXT CTL 1). Leave these settings as they are.The two available options are MOM or TGL: Momentary or Toggle (Latching). For a Tap Tempo, Momentary is correct, so we do not need to change anything.Note the delay tempo.Play guitar and note that the delay tempo has now changed. Hopefully, you can see from the example above, that using external controls is a very useful tool with dozens of different applications achievable (depending on your connected gear.). In actual fact, the ES-5 has the capability to not only use external pedals to perform advanced tasks, but its own footswitches can be reconfigured and repurposed to perform almost any task you can think of.For those who find the ES-5 footswitch layout not to their liking, or have some buttons that are surplus to requirement, the ES-5 offers the ability to reassign the footswitches to a variety of different tasks.To reassign the function of any footswitch on the ES-5: Let’s take a closer look:The advanced user should become very familiar with how to use these assigns to perform a variety of tasks.Target: What parameter(s) do we wish to control using the source signal.
Let’s look at an advanced control function and how to program it: You’ll see this screen:This very useful assign source allows you to assign functionality to the illuminated footswitch of whichever patch number currently selected.We wish the Phaser to operate only while the footswitch is depressed.Congratulations! You now understand how to perform advanced assign functions by being able to select a Source and assign it to a Target. Every patch on the ES-5 allows up to eight independent CTL Assigns which, as you can imagine, opens up a huge amount of control power particularly once you add MIDI into the mix. Whilst MIDI commands can be assigned using the above CTL Assigns, you can also assign a further 8 static MIDI controls within the Patch settings for even more control options. Let’s take a closer look into the ES-5’s MIDI control capability.Although some guitarists approach the concept of MIDI control with extreme trepidation, there is, in reality, little reason to be afraid of it. The ES-5 is capable of performing both Program Changes and Control Change (Continuous Control) output functions via MIDI.This is the most common type of MIDI control used by guitar players. By using the ES-5 to broadcast a MIDI program change message to another MIDI-compatible device, (for example a Boss DD-500 Digital Delay), it means that when you press a footswitch button to select a patch on the ES-5, it can simultaneously change the patch of the DD-500. You can apply a different DD-500 patch to every ES-5 patch, without ever needing to touch the DD-500 during performance. Let’s look at how to setup the ES-5 to perform program changes via MIDI. We’ll use a DD-500 pedal connected into Loop 1.Note: This configuration means that the ES-5 will be the controller for the DD-500. Not vice versa. Turn Loop1 ON. You’ll then see this screen. These relate to more advanced MIDI usage, unnecessary for this document. In this example, leave them set to OFF. PC: Program Change.
A Program Change Map will show which MIDI Program Change number corresponds to each patch preset number on the target device. Set PC (Program Change) to 1. This says to the ES-5: “ I want to use MIDI channel 1 to tell the DD-500 to change to preset 1 ” Set PC (Program Change) to 2. This says to the ES-5: “ I want to use MIDI channel 1 to tell the DD-500 to change to preset 2 ” Note that the DD-500 is on preset number 01A. Program changes are not the only type of MIDI message though. We can also use MIDI to change parameters of MIDI compatible devices in real time, using MIDI Control Change (sometimes called Continuous Controller ) messages.As a fully-fledged MIDI controller, the ES-5 can broadcast MIDI CC signals allowing you to perform realtime changes of various parameters of MIDI Compatible devices (For a list of what parameters are controllable, you should refer to the owner’s manual of the target device.). These signals can either be generated from with the ES-5 itself, or by using Expression or Control pedals connected to the ES-5’s CTL IN jack. Let’s look at an example where we wish to connect an Expression pedal to the ES-5 and then use that to alter the FEEDBACK rate of the DD-500 in real time via MIDI.Set Source ( Src ) to EXP (Expression Pedal)Change the Category ( Cate ) to MIDI. You’ll see this screen:This usually defaults to channel 1 on both devices.The ES-5 contains another control function, unique to the BOSS ES-series effects, that offers an alternative way to provide MIDI Continuous Control, without having to have a physical Expression pedal connected. It’s called the internal Virtual Expression Pedal.The Virtual Expression Pedal contained within the ES-5 offers the opportunity for the user to perform a variety of functions that are traditionally handled by a manual Expression pedal, but without the need to have one taking up space on your pedalboard or the hassle of having to operate it.
The ES-5 does not support analog output of the full range of Expression Pedal values via the EXT CTL jacks. Virtual Expression Pedals will deliver their full range of values when used as a source for MIDI Continuous Control. The Virtual Expression Pedal is available to use in two standard modes of operation, both highly customisable: INT and WAV.The difference though, is that it is not an instantaneous control. Just like using an actual expression pedal, the virtual pedal outputs a dynamic set of parameters over a period of time. The INT mode will cause the ES-5 to send a control signal that is equivalent to operating one movement of an expression pedal, from heel down (min) to toe down (max). One possible use for this function might be to perform a gradual volume increase when you select a particular patch. By assigning the INT Virtual Expression pedal as a source to control the output level of a MIDI controllable target device, you could program it to start at a low volume and then bring the volume up over a few seconds.The selectable range is from an arbitrary 0-100 scale.The available curves are Linear, Slow and FastThis could be useful if, for example, you used it to control (via MIDI) the resonant frequency of a filter effect. The ES-5’s WAV mode could cycle that frequency up and down, effectively becoming an auto-wah effect. Unlike the INT mode, there is no Trigger parameter. When the WAV mode assigns to a particular patch, it will begin cycling as soon as that patch is selected. There are however two adjustable parameters for setting the cycle Rate as well as the shape of the cyclic waveform.As you have seen throughout this guide, the ES-5 is a phenomenally powerful tool for controlling your guitar rig. From its most basic functionality as a pedal loop switcher, all the way through to its advanced MIDI and Expression capabilities, the ES-5 packs more power into its compact chassis than is almost imaginable.
We’ve shown how the ES-5 can perform a plethora of control functions and how, with the single tap of a footswitch, you can use its 16 control assigns (8x MIDI, 8 x General) to operate every feasible aspect of your pedals, amplifier and other external devices in complete synchronicity.It describes a way to connect your guitar to your effects pedals and He explains how he was If you don’t think that’s true, take a look in any bus, train. Site functionality is therefore limited. Please enable Javascript for full functionality. Boss ME6 Guitar Multi Effect. Boss ME6 Guitar Multi Effect. Comparisons may be made with the ME10, but it would be more fair to think of the ME6 as an enhanced ME5, Boss' debut all in one, floor-mounted package of a few years back. Physically, the ME6 is dominated by six big friendly pedals (labelled 1-5 and B for Bank), just like the stomp boxes we're all familiar with. However, the unit is considerably lighter and, save in one respect, more convenient than having the equivalent effects in individual packages. The drawback of having al your foot pedals in one unit is that the effects chain is preset, albeit in the most logical way, while discrete footpedals can be repatched into any configuration you like. The noise suppressor is always on, although it does have a variable threshold; this is very effective and keeps down the noise generated when a lot of compression and distortion are used. While the majority of the effects are digital (with 16-bit DACs), analogue circuitry is utilised where it is most important in the overdrive and distortion effects. Effects settings are stored as 25 presets, arranged as five banks of five effects; the Bank pedal selects the bank, and pedals 1-5 select the number within that bank. Additionally, the ME6 has a manual mode where the individual effects can be switched in and out, using the pedals. Remember that any settings made with manual mode will be lost when the unit is switched off.
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