Boss Mz-2 Manual
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Boss Mz-2 Manual
Trademarks and Copyrights are property of their respective owners. Login Registration is disabled. We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it. Ok. The distortion is produced in an analog circuit while the chorus and delay functions are created using a digital chip. The pedal has 2 main circuit boards where one of them is analog and the other one digital. Incorporating 6 modes and stereo outputs, the MZ-2 can produce straight, no-nonsense distortion which can then be doubled or chorused, producing a wide range of popular hard rock and Heavy Metal effects. There are 6 Modes to select from, ranging from straight distortion, distortion plus digital delay doubling effects (3 types depending on delay time differences) to distortion plus digital chorus (2 types depending on the depth of chorus). Each Mode is instantly selectable and Modes can be switched as desired. The setting indicated in Fig. 1 (Level 6, Tone 6, Drive 8, Mode Doub II) is ideal for Heavy Metal solos, combining rich distortion with a short delay. Fig. 2 (Level 6, Tone 8, Drive 10, Mode Cho II)shows how to get a deeper, thicker distortion sound that fills more musical space. These settings combine heavy distortion with a deep chorus effect to give you a “three-dimensional” sound using the stereo outputs. To intensity the sound when playing riffs, set the unit to doubling mode II and output the signal through the stereo outs. Please do not offer the downloaded file for sell only use it for personal usage. Looking for other manual? For this no need registration. May be help you to repair. You could suffer a fatal electrical shock. Instead, contact your nearest service center. Note! To open downloaded files you need acrobat reader or similar pdf reader program. In addition, Also some files are djvu so you need djvu viewer to open them.
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These free programs can be found on this page: needed progs If you use opera you have to disable opera turbo function to download file. If you cannot download this file, try it with CHROME or FIREFOX browser. Egy autoradioban csereltem vegfokot, TA8276H helyett raktam be TDA7560-at. Szol, de csunyan, a hid kimenete el van billenve, az egyiken 1V korul, a masikon 6,5V, mindez 11,8V-os tapfesznel. Van otletetek? Eg Merci radioban van, 3 retegu nyak, de a bemenetek szerintem biztos le vannak valasztva kondival.Udv: Jacint Aiwa NSX-S32,cd lejatszo problema. Sziasztok!Udul nalam egy AIWA 3lemezes mini hifi.Model no:cx-ns32hr.Ami gond van vele,lemeztalca behuzas utan mind a harom lemezhelyet probalja beolvasni,de a lemez forgato motor csak 3-szor pordit,kozben a fej fokuszal,de nem latom jelet annak se,hogy menne a lezer(nincs fenye)Mind a harom pozicioban ezt csinalja,es kesz,utana mar csak kiadatni lehet vele,nem probal ujra olvasni.Szerintetek mit erdemes meg megnezni rajta,mert szerintem fejes!Koszonom mindenkinek a tippeket,otleteket elore is. Asztali CD - nemitasban. Sziasztok! Asztali CD-lejatszohoz kernek segitseget (otletet). Olvassa a lemezt, de nincs hangja sem a kimeneti aljzatrol, sem a fulhallgatoban. Illetve valami megis, de ha mertekegyseget rendelnek hozza, talan csak tized millivoltban lehetne kifejezni a jel nagysagat, mintha allando nemitasban lenne. Elore is koszonom, tovabbi szep estet Mindenkinek. UNITRA PL 730 lemezjatszokar lift hiba Tisztelt Forumtagok. A cimben szereplo igencsak koros lemezjatszo liftjebe nem tudom honnan lehetne megfelelo anyagot szerezni, ami fekezne a kar emeleset es sullyeszteset, mert igy a lemez vegen felemelkedve ugral a kar.A csatolt fenykepen lathato a szerkezet. A tengelyen van egy horony.Mas UNITRA lemezjatszoknal vajon melyen konstrukciot alkalmaztak. A problema megoldasat segito valaszokat elore is koszonom. Similar manuals: You can write in English language into the forum (not only in Hungarian).
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You just max it out and go to town!)). No amp sim either, which brings this pedal closer to the fuzz family, especially when played on the neck pick-up. Verisign. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with Boss Manuals. To get started finding Boss Manuals, you are right to find our website which has a comprehensive collection of manuals listed. Our library is the biggest of these that have literally hundreds of thousands of different products represented. I get my most wanted eBook Many thanks If there is a survey it only takes 5 minutes, try any survey which works for you. Depression, ADHD, memory loss, agitation: These may seem like inevitable byproducts of modern lives spent multitasking, not getting enough sleep, and operating on digital overload. But while much of the brain’s work still remains a mystery, a growing body of scientific evidence suggests that the food you eat directly affects how well your brain functions. Brain health also pl.The guests range from super celebs (Jamie Foxx, Arnold Schwarzenegger, etc.) and athletes (icons of powerlifting, gymnastics, surfing, etc.) to legendary Special Operations commanders and black-market biochemists. For most of my guests, it’s the first time they. Original box and manual are included too!!!The MZ-2 is a digital distortion pedal with 3 doubling modes, 2 chorus modes as well as a normal distortion mode. The pedal has 2 main circuit boards where one of them is analog and the other one digital. The MZ-2 remained unchanged throughout its 4 year life time. We are clearing out years of parts, manuals and tools. All sales are final and are non returnable. This listing is for an Boss MZ-2 Metalizer Pedal Service Manual Super high amount of views. 0 sold, 1 available. More Super high amount of views. 0 sold, 1 available. You are the light of the world.
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Follow this Product Overview Featuring a straightforward distortion, two chorus modes, and three delay modes, the MZ-2 Digital Metalizer is a expansive effect combining an analog distortion circuit with digital chorus and delay circuits. The end result is an effect with a wide expanse of experimental capabilities perfect for experimental, industrial, or grime. Gallery Product Specs Brand Boss Model MZ-2 Digital Metalizer (Blue Label) Finish Black Year 1987 - 1992 Made In Japan Show More Similar Products From the Price Guide Sell Yours Please check the fields highlighted in red.Currency. Please feel free to email me at I did have to turn the treble on my amp down a tad, but this also lessens hiss. The EH-2 itself doesn't add hiss. Hell no. That thing made my already awesome sound even awesome-er.I did have to turn the treble on my amp down a tad, but this also lessens hiss. The EH-2 itself doesn't add hiss. Please consider selling it to me. Email me if interested! Put it after ANY distortion, and you can easily go overboard. Like you got this great tube-driven rig, suddenly Line-6ing it back to '88, with 12 bit digital quantisation. So you are not looking to sell the MZ-2? It sold so high because of the condition and it was a bidding war. Please consider selling it to me. Email me if interested! Given my love for cheesy 80's metal, there's a big chance I'm gonna like it. Paste as plain text instead Display as a link instead Clear editor Upload or insert images from URL. Our Experts Become A Sam Ash Spotlight Contributor Events and Concert Gallery Sam Ash Sponsored Artists Things become really exciting (and perhaps a bit geeky) when you start researching some of the more obscure and forgotten pieces of gear. The first thing that might attract you are the overall weird looks, and if you do manage to stumble upon some video and audio demos online, the tone is usually unlike anything you’ve ever heard.
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Knowing that Boss is one of the most significant pedal manufacturers in the world, and that’s been conquering the market for decades, it’s only evident that there are going to be some long-forgotten yet rather interesting products to find in their arsenal. With every mention of the company, we get reminded of their classic pedal design and products like DS-1, MT-2 Metal Zone, DD-3 and DD-7 delays, CS-2 and CS-3 compressors, and countless others. In recent years, we’ve even seen the resurrection of some of their older pedals in the now-famous Waza Craft line, including DM-2 analog delay and the CE-2 chorus. However, if you dig deep enough, you’ll be able to find some pretty unusual pedals they made over the years. The first “unofficial” product was an acoustic guitar preamp, called “The Boss” and labeled as B-100. Done as a collaboration between Japanese and the US divisions of Roland, it soon led to the creation of the well-known pedal company. Over the coming years, they made an abundance of great pedals. And knowing that there’s a lot of stuff to be found there, we figured we could do some proper research and bring you some of the old, forgotten, and somewhat obscure Boss pedals. GE-10 Graphic Equalizer For this one, we would have to go all the way back to the formative years of the company. GE-10 was a simple graphic EQ produced in 1976 and 1977. You might already be familiar with the first official Boss product, the CE-1 chorus, which featured pretty much the same circuit as the one found in JC-120 Roland Jazz Chorus amp. This EQ was similar in size but featured a completely different design. Maybe not so pleasing to the eye with its all square edges, the GE-10 was a pretty useful pedal. There were ten frequency ranges to tweak, going from 31 up to 16 000 Hz. Not exactly useful for live situations, but it’s still an interesting piece and an important part of electric guitar history.
SG-1 Slow Gear But speaking of rare, the so-called “Slow Gear” or the SG-1 is pretty hard to find these days. Made only in the late 1970s and the early 1980s, it’s considered to be one of the rarest products by Boss. Sporting the classic Boss pedal casing the company is known for, SG-1 was a volume swell effect. MZ-2 Digital Metalizer We’re all familiar with the now-legendary MT-2 Metal Zone and its predecessor HM-2 Heavy Metal. But during the whole metal experimentation craze and over-the-top effects of the 1980s, Boss came out with a pedal called MZ-2 Digital Metalizer. Produced in the late 1980s and the early 1990s, you can still find it today today, but it’s still an overlooked compared to some other Boss products of the era. There were a few things that made this pedal so unique. First off, it was more than just a high-gain sizzling distortion pedal as it also included delay and chorus effects, which could be added through a separate mode switch. The delay was achieved through a digital circuit, thus the “Digital” in the pedal’s name. The second thing that made it stand out, and that’s really unconventional for a distortion pedal, is its stereo output. It may not be that practical to have a delay and distortion in one piece since you’ll probably want to separate them in the signal chain. However, the pedal did produce some fascinating and previously unheard tones. If you’re into stereo setups and some rare vintage tones, then the Metalizer might be the right thing for you. TW-1 T Wah Getting the right wah pedal is one of the biggest priorities for a lot of guitar players. However, people do tend to overlook and even underrate the power of automatic wahs. Especially if we’re talking about funky rhythm tones. The TW-1, or “T Wah” as it was called, is an excellent example of how a dynamic wah can be useful. Succeeded by AW-2 and eventually AW-3 models, T Wah was a pretty simple pedal with two knobs and one switch.
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The knobs controlled the depth of the effect and sensitivity. The switch toggled between “down” and “up” modes of operation. It was manufactured from the late 1970s and all the way to the late 1980s. There were a few variants in this period, which sported different chips and had some slight design changes. XT-2 Xtortion First of all, this is one of all-time best names for a distortion pedal. Second, it’s a real shame that such an amazing piece, like the XT-2 Xtortion, remains as one of the lesser-known products by Boss. With the DS-1 being one of the company’s most popular products, Boss tried to do a different twist to it a few times. One of those attempts was the DS-2 Turbo Distortion, which caught on pretty well and is produced even to this day. Xtortion was one of their not so commercially successful efforts. Made in Taiwan in the mid-’90s, there’s a total of about 20,000 units. Countour and “punch” were a different twist to the classic tone control you can find on DS-1. Like on other pedals and amps, the contour either cuts high-end tones or boosts the lows and highs, ultimately scooping the mids. The “punch” control here was to boost the mid-range. We could say that it was like the DS-1 with more mids in the tone or more “punch.” SP-1 Spectrum To put it simply, SP-1 Spectrum is like a simplified EQ. It’s no wonder that the pedal got discontinued, since an abundance of very useful EQ pedals with detailed controls have been released throughout the 1980s and onwards. But still, there’s something special about the Spectrum. There are only two knobs on it, labeled as “spectrum” and “balance.” The first one sets the frequency range, anything between 500 and 5,000 Hz. The second control does some fine-tuning by setting the peak frequency. Made from 1977 to 1981, it is a highly valued pedal among the collectors. Who would have thought that such a simple pedal would be so expensive.
VB-2 Vibrato The VB-2 Vibrato is another one of those old pedals reissued within the Waza Craft line. However, true vintage tone lovers would rather get their hands on one of the old ones than any possible revamped versions. It’s a classic vibrato pedal with some exciting features added to it. Aside from the depth, rate, and release controls, there’s an additional mode switch with bypass, latch, and unlatch options. The so-called “unlatch” feature is interesting as it turns on the vibrato effect only when the pedal’s footswitch is pressed down. Being a Boss product, the pedal’s circuitry is made after the vibrato on Roland’s Jazz Chorus amp. The originals made in the mid-1980s are somewhat hard to find and can reach some high prices on the used market. BF-1 Flanger Photo Credit: Josh Scott (JHS Pedals) The BF-1 had a pretty great run and was officially sold between 1980 and 2001. There were a few versions over the years, slightly differing in design and other features. The only significant change came with the replacement of the opamp, but the circuit never saw any other modifications. And it’s a classic type of a flanger that set the standards for some of Boss’ following products. They’re not that rare, but after almost two decades since its discontinuation, it became one of those lesser-known products by Boss. PD-1 Rocker Distortion Now, this was a rather unusual product. Packed in the same type of casing as the FV-300L volume pedal, PD-1 was a distortion pedal with a “rocking” part, which served as the gain control. The third one determined the amount of distortion in the pedal’s open position. The effect was turned on and off with a heel control press. And by using toe-clicking action, just like on an average wah pedal, you’d get an additional high-gain boost to the tone. Not much is known about these pedals as they’re pretty rare to stumble upon.
The Rocker Distortion was made sometimes in the 1980s, and there were a few other pedals with the same design, like the PW-1 Rocker Wah. It was a pretty unconventional but rather innovative solution for distortion pedals. PW-2 Power Driver Power Driver pedals are not as old as some other pedals that we talked about here but is still one of the largely overlooked products by Boss. Manufactured for less than a year in the 1990s, there were about 19,000 PW-2s made. It didn’t much commercial success, so the sales of original units lasted for almost one decade. Packed in the classic Boss casing, the PW-2 was designed as a classic overdrive with a “beefier” twist. Aside from level and drive controls, it included two knobs, labeled as “fat” and “muscles.” The first one was a bass control, and the other tweaked the mid-range. — Check out all the other excellent Boss Pedals we carry at SamAsh.com. Facebook At your request, if we publish the article, we will include your name and email address as a “by-line.”Visit our submissions page for more information. RELATED ARTICLES MORE FROM AUTHOR Sam Ash Music Enhanced Cleaning Procedures The History of the Electro-Harmonix Big Muff Pi Home Recording: How to Mic Up Your Guitar Amp The Sam Ash Spotlight delivers fresh musical instrument and gear news, buyer's guides, product videos, artist interviews, incredible giveaways, expert advice, and more. Accessibility Information. It’s also quite a divisive beast, with some loving it, and others hating it. This article is a technical analysis of the different stages in the pedal, finding out what each part does to the tone. This process should suggest various ways you can tweak it to get your own high-gain version of heaven. We’ll break it down into functional blocks, and to keep things reasonably simple, we’ll ignore the power circuitry and the typical Boss noiseless FET-bypass. That’s another thing for another day. All this is finished off with an output buffer.
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See, I told you it was complicated. Let’s have a look at those parts one by one. It’s a FET buffer. The input impedance is largely down to R058, so we’ve got 1MOhm.These two components form a highpass filter with a cutoff at 106Hz, just enough to reduce any mains hum a little without heavily affecting the input signal. Op-amp 3b is a non-inverting amplifier, but instead of a simple potential divider to set the amount of feedback to the negative input (and hence the gain) there’s a lot of extra stuff and a transistor.As usual, Rod Elliot has the best page about gyrator filters. Here it acts as a bandpass filter, centred around 1KHz. Either side of this, the gain starts to drop off. This rolls off the highs even more, and helps smooth things out a little bit. If you try putting a wah pedal in front of a distortion pedal, you’ll find you can alter the tone of the distortion by moving the wah.The gain is provided by another non-inverting op-amp, 3a. R051 and VR1 give a minimum and maximum gain of x2 and x252. Its role here is to limit gain for noise outside the audio band. Note that with a typical guitar input of around 1Vpp, there’s no way an op-amp running on 9V can provide an output of 252V when the gain is turned up to full. Instead the signal will get heavily clipped by the op-amp as it hits the power rails, usually at around 8Vpp for typical op-amps. Since different op-amps handle this differently, the choice of op-amp here might have some bearing on the tone, although given everything else that happens to our poor abused input signal, I doubt it’s a major factor. Following the gain stage is another AC-coupling cap and then a pair of clipping diodes.Even at minimum gain (x2) there’ll be just enough signal to make the diodes conduct, so we can expect a light crunch. As the gain gets up to x8 or more, the op-amp will start to clip too, and its boosted output will be clipped hard by the diodes. And that gain control doesn’t just go to 11, it goes way up to 252.
By that point, all that is left is a very heavily clipped signal. From here on, it’s a question of trying to sculpt that sound into our final tone. The maximum effect of this filter is only -10dB, so it’s not a huge effect. It’s a more sophisticated version of the pre-distortion tone shaping circuit. This one has two gyrators, and therefore two peaks in the frequency response. We can plug the component values into the everso-helpful Bandpass EQ calculator over on Muzique.com and we get the following: In practice, the transistor’s gain isn’t sufficient to achieve such a boosted response. It may have been designed to allow for some slack from the transistor. Plotting the frequency response of the stage in LTSpice is instructive, and gives a reasonable result. To be honest, I’m not sure what this is doing here. Perhaps Boss were concerned that the pedal should be non-inverting overall (is it. I haven’t checked) or perhaps they had one op-amp left over. Suffice to say, it doesn’t add anything, just flips the signal the other way up. The first part of the tone control circuit is the High and Low controls. As the controls are moved away from the centre position, either the positive or the negative signal will dominate, and there’s a resulting cut or boost.The Low control is another gyrator, this time with an op-amp as the active element rather than a transistor. It’s more of a broad brush, and not such a “peaky” sound. It isn’t a fully parametric EQ because although you can change the amount of cut or boost and sweep the frequency, you can’t change the “Q factor”, which determines the bandwidth, or how wide the effect of the stage is. We can call it a “semi-parametric EQ” if you like, but “Sweepable Mid control” is just as good. A Wien bridge network always needs a dual-gang pot to alter its frequency. If you want to know more about Wien bridge circuits, you could read the ESP page about Wien Bridge EQ.
Most of the stuff about them deals with the Wien bridge oscillator, which is a standard sine wave oscillator circuit. This is probably why they chose the Wien-bridge circuit rather than use another gyrator. It’s hard to keep Q within reasonable limits when you make the gyrator’s frequency variable. Note that there is a slight asymmetry between boost and cut. The “Mid Freq” control goes from 240Hz in both cases, but when boosted the top end is 4.7KHz, whereas when cut it is 6.3KHz. The plotted values above are 0, 5K, 10K, 30K and 50K for the Mid Freq dual-gang pot. If you’re building one, a reverse-log taper would perhaps give the best response.The four controls (High, Low, Mid, Mid Freq) give you a huge tonal variety to explore, but also make it difficult to find your perfect setting unless you know from the outset what you want. This is a pedal which maybe doesn’t reward random knob twiddling. It’s a bit too complicated for that. Another simple one to finish off. This is a simple emitter follower buffer.But it’s not the only thing defining the sound of the pedal. The pre- and post-distortion tone shaping circuits have a massive influence, and beyond what you can tweak on the EQ, they are the sound of the pedal. Swapping the gain op-amp or changing the clipping diodes might have a subtle effect, but changing the frequency-determining components in those two tone shaping stages will give much more radical results. Whereas on many other distortion or overdrive pedals, the op-amp used or the clipping diodes have a major influence on the final output, in the MT-2 it’s really all about frequency response. It’s heavily shaped every step of the way, and those frequency responses determine the sound of the pedal, much more than diode choice ever would. Add to that the high degree of tweakability that comes from the powerful EQ and you’ve got a successful pedal.
Thanks for reading and I hope it inspires you to have a tweak at this remarkable pedal, or maybe design your own with a little inspiration from those clever Boss engineers of the 1980’s. Thanks to Paul R in particular for his help in understanding the post-distortion tone shaping. I’ve always thought that this pedal has way more potential than people give it credit for; nice to see a similar argument and the analysis to justify it. Much appreciated! The fizzy fuzzy treble sound is bit lower than the stock MT2. Very eloquent. I’m an MT2 fan and it completely blows the MT3 away. But it’s a great 303 mangler, listen to some chemical brothers! Thank you for saving me from that horror! The ESP audio pages have moved, so I’ll have to correct all the ESP links, on this page and elsewhere. This was very helpful to show my students in my Audio Electronics class, and it’s motivated me to cut into my own old MT-2. Those stages are basically a non-inverting op-amps, if you ignore the gyrator. So clipping C34 out disconnects the gyrator and leaves you with a unity gain op-amp buffer, more or less. I’d certainly give it a try. The post-clipping gyrators can be disabled the same way, but certainly have a listen (and record a sound file for posterity!) without the first gyrator stage before you attack the other two as well. Another approach would be to experiment with a few values in the Musique.com gyrator calculator and make the gyrators very low Q (wide and shallow, instead of very peaky). That would effectively boost most of the spectrum, but without becoming completely flat. That’s a very wide range. The other Mid control then sets the cut or boost at the frequency selected.Truth be told. Myself MT-2 has always been a favorite. But, even with more modest gain settings and careful eq use I think just about anyone should be ale to get a punishing metal tone out of the ol MT-2.
The curve of that post distortion EQ remins me of james hetfield’s settings on the graphic EQ of his favorite amp.Would that work even with the signal inverting eq input? I don’t know how easy it would be. It’d involve cutting some tracks and wiring some jumper wires in here and there.I put the sweepable mid-range pre-gain but kept the treble and bass controls post-gain. This combination makes the pedal very useable in a live set-up (using a valve amp pushed to break-up); IMO this only works properly if you disengage all the gyrators and start with a good quality flat base tone. I will put the details of the entire mod I did below as I believe it is too good to keep to myself. It was super interesting and informative. Reducing the value of R51. Also if I jumper the the buffer between R28 and R14 can I jumper also one of those resistors? You do not need to buy any more components for this mod; you just need a soldering iron, solder and some good quality wire. Ideally you need to start with a first or second generation MT-2 (M5218AL ICs) as these sound best in my opinion: It refines the top end of the distortion and provides a good base tone. Please note: this will decrease the gain of the pedal. This sounds great with bridge pick-ups but is a little too flabby-sounding with neck pick-ups for my tastes. The third stage tightens this up and recovers the gain nicely. Removing the diodes boosts the output significantly too, which is great for pushing a valve amp to oblivion. It will make single coils sound like humbuckers and vice versa, as well as outrageous sounds I have only ever got by stacking gain pedals together. Keeping control over the presence helps add clarity when playing with a band. Thanks Tom! This pedal is now my drive pedal of choice, it easily trumps all the other Boss distortion pedals and a good number of boutique overdrives and fuzz pedals I own. Thanks for sharing it. DS-1 for example.
So try unsolder the diodes and connect them to pin 2 and 3 of op amp 3a. Yes, this is a tube screamer configuration. But it allows the tone controls to do their job fully. The sound is clipped after the diodes-to-ground. There’s no unclipped sound in the signal. It might be a customised taper too.I’m pretty sure the op-amp on the right is a voltage follower but really not sure how that fits with the Wein bridge network. Any tips? I definitely recommend that article if you want to know more: At low frequencies, the capacitors can be regarded as open circuit, so the resistance of the top of the potential divider is much larger than the bottom (since it contains an open-circuit cap). So no output signal is produced from the mid-point of the bridge. At high frequencies, the capacitors can be regarded as short-circuits, so the resistance of the bottom of the potential divider is now zero (since it is shorted to ground by the cap). So no output signal is produced from the mid-point of the bridge then either. Does that help make it any clearer? After going through it that makes a lot more sense, but I’m still a little confused about the interaction between R050, VR02b, R049 and C037 and how C038 is used to feed the signal back to the first filter. Thanks again! Yet the graph of the low tone control right above those computations show the low tone control affecting 350Hz at maximum boost or cut, with the center frequency maybe moving down to 150Hz for small amounts of boost or cut. There don’t SEEM to be any other components in the tone circuit that could be affecting the resonant frequency of the gyrator. Explain? I’ve now corrected the graphic. Thanks for bringing it to my attention. This inspired me to make a mod to atenuate the pre-distortion mid boost which I find really annoying, with great results. I also made a video tutorial on Youtube here: with before and after sound samples and added the link to this page in the description so more people can find it.
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