Paul Gilbert's Equipment [Amplifiers, Guitars, Effects]

Paul Brandon Gilbert was born on November 1966, 11 in Carbondale, Illinois. Since receiving a toy guitar from his aunt on his fifth birthday, his interest has been consistently directed towards six-string instruments. When his family moved to Pittsburgh, Pennsylvania, at the age of eight, he was inspired by Kiss and Aerosmith on the local radio, and at the age of ten, he picked up a proper electric guitar. Although his parents were not musicians, they understood their son's passion and would take him to used record stores every weekend to buy him blues and classic rock LPs.

By the age of 13, he was not satisfied with just copying other songs, and joined a local band with his own riffs. At a school talent show, he recreated Eddie Van Halen's tapping and stunned the audience. At the age of 16, he formed the band Tau Zero, which played pre-Metallica thrash metal songs and was described by a local newspaper as "the fastest guitarist in Pennsylvania."

After graduating from high school, he went to Los Angeles alone to enroll in the Musicians Institute (then GIT), which he had always dreamed of. He completed the curriculum in just one year and was selected as the youngest instructor in the school's history. In 1986, he formed Racer X with fellow classmate and drummer Scott Travis and others, and made his debut. The right hand and string skips featured on the album Street Lethal brought a breath of fresh air to LA metal, showing that "super speed exists outside of neo-classical music."

Paul, who had a desire not only for speed but also for songs, formed Mr. Big with bassist Billy Sheehan in 1989. The single "To Be With You" from their second album "Lean Into It" (1991) reached number one in the US, presenting a new image of rock where ballads and virtuoso guitars coexist. Since then, he has demonstrated his ability to blend fast playing into pop music with songs such as "Green-Tinted Sixties Mind" and "Colorado Bulldog."

After leaving Mr. Big in 1997, he released a number of solo works. He established his style of "singing shrewd playing" with "Get Out Of My Yard" (2006), which incorporated blues and power pop, and "Fuzz Universe" (2010), which was full of melodic beauty. Meanwhile, he reformed Racer X in 2001 and 2008, responding to the demand for speed metal, which was a return to its roots.

In 2017, he suffered an accident in which he lost some hearing in his right ear due to sudden deafness, but returned to the stage wearing sound-blocking headphones. He declared that he would not give up on music even while protecting his ears, and in 2023 released "The Dio Album," a homage to Ronnie James Dio. He attracted attention again with his unique approach of "speaking for" the lead vocals with fast-paced phrases.

He also devotes himself to educational activities, which he has continued since his days as an online clinic and MI instructor, and continues to teach young guitarists the importance of "not just speed, but making the melody sing." The unchanging belief that "speed," "singing spirit," and "humor" are the three essential elements is what drives Paul Gilbert, who continues to evolve even at the age of 60.

Since its introduction in 1989, the PGM, which has become synonymous with Paul, is designed with the highest priority on a fixed bridge that does not crush the grain even when playing fast. The body is based on RG, and the painted f-holes are a playful idea that "I want to feel the warmth of a semi-hollow guitar even without a cavity." The early PGM100 and PGM300 were equipped with Floyd Rose, but after Mr. Big's experience of struggling to maintain tuning on his world tour, the hard tail version with the tremolo removed and filled with wood chips became the standard from the late 90s onwards. The standard pickup is the DiMarzio PAF Pro + FS-1 (HSH). The setting adds midrange to the amp's original crunch without deep distortion, making riffs tight and solos without losing their singing quality. On stage, he switches between clean and drive with just the volume knob, bringing out the maximum picking nuances.

Born from the unusual idea of ​​turning the Iceman upside down, the Fireman features a thick korina body and a 24.75-inch scale. The current FRM is equipped with three DiMarzio PG-13 mini humbuckers, which provide both the thickness of the humbucker and the separation of a single guitar. Paul uses the front and center humbuckers in a Strat-like cut for clean guitars, and the rear humbucker alone for solos. The slightly thick U-shaped neck was chosen because "a better grip increases the stability of the rhythm," and the dynamics in which the strength of the pick attack is directly reflected as a difference in volume are also attractive. This model has been the main focus for most of the recent world tours, and it also plays a role in the long sustain of instrumental songs.

Neck Type FRM 3pc Okoume/Maple set in neck
Body Okoume body
Fretboard Bound Ebony fretboard w/White dot inlay
Fret Narrow & Tall frets
Nut Graph Tech nut
Bridge Gibraltar Performer bridge
Tailpiece Quik
Change III tailpiece
Neck Pickup DiMarzio PG13 (H) neck pickup
-Middle Pickup DiMarzio PG13 (H) middle pickup-
Bridge Pickup DiMarzio PG13 (H) bridge pickup-
Hardware Color Chrome-
String Gauge .010/.013/.017/.026/.036/.046 (D'Addario EXL110)

Neck Dimensions
Scale: 628mm/24.7
Width at Nut:43mm
Width at Last Fret: 57mm
Thickness at 1st: 22mm
d: Thickness at 12th:24mm
Radius: 305mmR

The definitive vintage Plexi pedal. The pole is directly inserted into the High terminal of Input 10, and the basic setting is "full ten" with Volume I at 2 and Volume II at about XNUMX, in bridge mode. The aim is to fully drive the power tubes to create a solid crunch, and the volume is about XNUMX. THD Hot Plate Adjust the volume by about -8dB. Paul's style emphasizes dynamics, with a cleaner sound when you pick softer, and a hard rock sound when you pick harder. Xotic AC Booster The gain is lightly pushed with the 1959SLP, and the midrange is only raised, so the grain is not crushed even when playing fast. In recent years, he has adopted a stereo configuration in which two 120SLPs are placed on the left and right, and a Roland JC-XNUMX is mixed in the center to expand the space. The fact that this model is easy to rent in any country is also a big advantage for him, who continues to tour for long periods of time.

It was introduced during the reunion of Mr. Big in the mid-2000s. Taking advantage of the two-range specification that allows you to switch between LOW = clean and HIGH = drive with the Dynamic Range switch, two units are operated in parallel to achieve "pseudo channel switching". The LOW side has a HomeBrew Detox EQ that reduces the lows to create a brilliant clean sound, and the HIGH side has a gain of around 7 for a classic rock drive sound. Since the entire amp can be switched with a single foot switch, you can dramatically change the color of the song while reducing the number of pedals. The thick low end and smooth compression of the output tube KT66 maintain the sound image even in the bridge mute and drill-like phrases of "Colorado Bulldog". Although it is rarely placed in the backline these days, it is still a secret weapon when aiming for a "thick yet clear mid-range" in recordings.

A British-made 2000W head that Mr. Big used from his debut period until the mid-100s. Paul was fascinated by the EL34's unique tenacity and strong low-mid range. The drive channel is not distorted completely, and it is set to crunch. TC Electronic MojoMojo PG Edition It is standard to add thickness by adding a . The clean channel has a crisp and clear sound with the Bright switch ON, which was useful for the arpeggios of "Alive and Kickin'" and the intro of "Just Take My Heart". Paul turned up the middle knob a little and reduced the presence to adjust it to a range that doesn't hurt the ears. Even after Laney left, he kept two in his studio and seems to pull them out when he wants to recreate the 90s sound in recordings.

A digital staple that provides mobility for overseas festivals and TV recordings. He profiles his own 1959SLP full ten setting and Laney GH100L crunch, and combines it with a cabinet with IR for line output. He uses a small FRFR for the stage monitor, and is designed to make you feel the "vibration of the air." He says, "The consistency of being able to reproduce any vacuum tube amp I've used in the past is a great weapon," and is an indispensable presence in recent tours where stage volume needs to be kept down to prevent hearing loss. By organizing the rig for each set list and instantly calling up presets with a MIDI foot controller, he has reduced the stress of changing settings between songs to almost zero.

A full-range booster with an ultra-wide frequency range that can also be used as an overdrive.

Simple controls for volume, gain, bass, and treble create a warm, high-quality sound. Diverse drive control is possible without compromising the feel of the chords.

This is the main booster that Paul always steps on before a solo. It adds about +1959 dB of volume and midrange to the full crunch of the 6SLP, and the gain is set to 12 o'clock to add a slight distortion. The BASS and TREBLE are set almost flat, but if you feel that there is a lot of reverberation in the venue, turn the BASS down to 10 o'clock to prevent fuzziness. Because it is true bypass, there is no buffer smell at all, and I highly appreciate the "straightforwardness" that shows up as a difference in volume depending on the strength of the picking. When switching from rhythm to lead, Paul's style is to turn it on/off instantly in a "step and run" style. After the solo, you just need to turn down the volume with the pickup selector and guitar VOL, so I placed it in the front row on the board so that I could carry it at my feet in the shortest distance.

Based on the popular Scott Henderson model, the RC Booster has been renewed into the "RC Booster V2."

A "hi-fi" booster that has a lower gain than the AC Booster and can boost the sound up to +20 dB without coloring the original nuances. Paul keeps it on all the time during rhythm parts, and uses it to give a core to clean sounds with the guitar volume turned down. The V2 can switch between two gain stages, so at live venues you can instantly switch to a solo setting with a foot switch. It also supports 18 V operation, which is another reason for its adoption, as it provides ample headroom even during overseas tours where the stage power is unstable.

+20dB clean boost that is faithful to the original sound
±15dB 2-band active EQ
●Two types of gain settings can be switched with a foot switch
●Can also be used as a buffer with a flatter response and rich overtones.
●Designed to support up to 18V for even more headroom
●With more features, the price is the same as the previous RC Booster (Ver.1)

Dimensions (w/d/h) : 4.39″ x 2.38″ x 1.98″ (110mm x 60mm x 50mm)
Weight: 0.6 lbs. (270g)
Power Consumption: 9vdc/6ma
Battery Type: 9vdc (006p) x 1
AC Adapter (optional): 9vdc, negative tips (regulated recommended)
Input Impedence: 500k ohm (min)
Output Impedance: 10k ohms
True Bypass Switching

A "90-in-12" pedal confirmed by Mr. Big's Japan tour in the 2s. The COLOR knob blends OD and DS, with the pole set slightly closer to OD than XNUMX o'clock, producing a lustrous mid downstream of the AC Booster. The key to this pedal is the uniform distortion regardless of whether it is a humbucker or a single, and the reliability that allows it to be replaced anywhere in the world with BOSS. In live performances, a combination of a tube amp and OS-XNUMX covers everything from the sweet lead of "Just Take My Heart" to the sharp cutting of "Addicted To That Rush" with just one pedal.

●SPEC●

Power supply 006P (1 piece), AC adapter (PSA-100S)
Current consumption: 12mA (DC9V)
Terminals Input, Output, AC Adapter
Input conversion noise: -100dBm or less (IHF-A)
Output load impedance: 10kΩ or more
外形寸法 / 質量
Width (W) 73 mm
Depth (D) 129 mm
Height (H) 59 mm
Mass 420g

A modified version of the classic TS-9 by Robert Keeley. It uses a TI RC4558P op-amp and metal film resistors to achieve low noise and gain expansion. Paul uses it with a Strat-like Fireman, and appreciates the fact that it maintains the mid-range focus without compromising picking nuances even when the guitar's volume is set to 6-7 for crunch. The gain can be adjusted with the More/Less switch, and it is standard to select Less for bluesy solos and More for fast shreds like Racer X songs.

A reissue of the original 808. It features a sticky midrange and moderate compression. Paul also owns a vintage unit, which he uses only to lightly push the Laney GH100L. He also turns down the volume knob before the delicate break in "Green-Tinted Sixties Mind" to use it as a clean boost. He says the simplicity of the circuit and the lack of malfunctions are the reasons it has been his long-time companion.

A multi-function TS pedal that allows you to switch between nine types of "Tubescreamer-type" circuits with a rotary switch. In recording, you can use it in 808 mode for bold rhythms and in OD-1 mode for leads with suppressed harmonics. As Paul describes it as "like a teaching material that can reproduce the sounds of past TS pedals in one unit," it will also be used as a demo machine to demonstrate the differences between past TS pedals in clinics.

[MODE]
・OD1: A sound based on the BOSS OD-1977 released in 1
・808: A sound based on the TS-1979 released in 808
- TS9: A sound based on the TS-1982 released in 9
-MSL: A mode based on a TS circuit, with a more metal sound.
- TS10: A sound based on the TS-80 released in the late 10s
・XR: Exar A sound based on OD-1.
-TS7: Sound based on TS-7 Hot mode
・K: A sound based on the Keeley modified Ibanez TS-9 Mod
・JHS: Ibanez TS-9 Strong Mod mode released by JHS

[Specifications]
Input/Output terminals: Input, Output
Controls: VOLUME, DRIVE, TONE, mode switch
Power supply: DC9V center negative

Based on the MojoMojo, Paul prefers to bring the mids forward by 1 dB and change the case color to purple. Standard settings are BASS 11 o'clock / TREBLE 1 o'clock, Voice on. By stacking it with AC Booster to create a two-stage drive, you can get a thick rhythm tone with tight lows. It supports 18 V, has a wide headroom, and provides good separation when working with chords. Paul himself says that it is "always on and part of the amp," and it is a pedal that is rarely taken off even on stage.

■ Controls: DRIVE, LEVEL, BASS, TREBLE, VOICE Switch
■Power supply: Battery (006P), power adapter (sold separately)
■特徴：
- Unique overdrive circuit with the characteristics of classic tube amps, such as high headroom, low compression and heavy bottom.
Touch sensitive – control tone and overdrive levels with your picking strength or guitar volume knob
- Can be used alone or in combination with other pedals or amp overdrives
- 2-band active EQ with independent control of bass and treble
- Voice switch for switching bass response
- True bypass design that doesn't color your tone
- Battery can be replaced with just one screw
- Custom "Hammerhead" designed die-cast aluminum case is rugged enough to withstand the rigors of live performance

Mojo The Mojo pedal is an overdrive pedal that breathes life and magic into your guitar sound, enhancing your playing. With a solid bottom and crisp, clear taste, this pedal covers a wide range of overdrive sounds, from sweet bluesy leads to chunky rhythm tones and heavenly leads. The combination of simple yet deep controls and voice toggles delivers rich tone and musical brilliance that is unique to the Mojo.

The 1992th anniversary model of the legendary overdrive that appeared in 30. It features a tension and brilliance reminiscent of a tweed amp, and is a perfect match for the Fireman mini humbucker. Paul uses it in the middle sections of lo-fi blues numbers and instrumental songs, and goes back and forth between clean and crunch just by adjusting the volume. He also introduces it in clinics as "ideal for practicing how to make the guitar sing."

A "modern TS type" that can precisely boost/cut the midrange by ±12 dB. The internal switch can be switched between 100 Hz and 500 Hz, and Paul emphasizes the "singing mids" at 500 Hz setting + freq knob 2 o'clock, bringing out single-note leads. The compact MKIV helps save space on the pedal board and is also useful for flyback sets at overseas festivals. I like the fact that the low end is kept tighter than the TS-808.

A simple 70-knob distortion pedal that appeared in the late 2s. It features light compression from the germanium diode and rough distortion leaning towards the mids. Paul paired it with a PGM humbucker at the Racer X reunion live show, and loved the "low gain, high output" setting of Drive 9 and Output 2 without turning up the volume all the way. He kept the amp at crunch and added thick mids and a slight roughness with Dist+ to accentuate the grain of fast playing. Even now, when there are many similar pedals, he says, "The roughness of Dist+ is irreplaceable," and when recording, he always lists it as a candidate for overdub textures. On stage, he regularly uses a true bypass modified unit, which has less noise due to its low gain.

The Prestige replaces the Mr. Magic pedal, which was previously discontinued.

A "mic pre-type" pedal with 0 to +27 dB clean boost + high impedance buffer. The pole is placed at the end of the board, and the Vol. is fixed at 25% and always on to compensate for high-frequency loss. The tone is stable even when switching guitars, so the same amp EQ can be shared with Fireman's mini-humbucker and PGM's HSH. When you want a clear sound for your solo, just turn the knob to instantly increase it to +12 dB - it's useful for directly gaining volume difference without changing the distortion quality. It can also be operated at 9 V, but the owner chooses to run it at 18 V to ensure headroom and low noise. The buffer can be switched on/off, so it can be flexibly adapted to the total cable length of each venue, which is typical of a touring person.

The Moonshine V2 is a pedal for players looking for an overdrive with a unique character that is not transparent. It is an overdrive pedal with many modifications to the most famous green body overdrive. It is a versatile tone shaping tool that can be used in genres such as blues, rock, country, jazz, and even hardcore and metal.

A "rich overdrive" based on the TS series, with an expanded range achieved by internally boosting the voltage to 18 V.

The Clean knob allows you to blend the original sound, and the Proof switch allows you to set two gain levels. Paul uses the Fireman rear PU + Proof LOW for a bluesy crunch, and Proof HI + 0% clean blend for a thick lead. In particular, in his solo song "Spirit of the Wind," he shows off a "two-stage rocket" by pushing out the mids with the Moonshine and adding volume with the AC Booster. He likes the low noise even at high gain, and the rounded sound that doesn't pierce the ears even when the tone is turned up. He also says that the small size of the case makes it easy to fit on a board, which is why he chose it.

A heretical octaver that mixes fuzz with a square wave two octaves lower. Blend 50 % to split the original sound and low-frequency synth in half, generating an eerie deep bass sound in the descending riff of "Scarified". The tracking is sweet and the chords are wild, but the stance is to enjoy it as "accidental art". Since it tends to oscillate when the gain exceeds 12 o'clock, Paul's style is to adjust the level on the Vol. side and move the pick position towards the rear to highlight the harmonics.

A 2s-style hi-fi chorus with two BBDs. Send it to the JC-90 at the slowest rate and 30% width, and stereo combine with the Marshall's thick crunch to create depth and transparency. Turn on the Bass Filter and cut the lows to prevent it from blending with the rhythm section, allowing the arpeggios to sparkle like glass. Turn up the Intensity to get a rotary feel, and it has long been a staple in the intro of "Green-Tinted Sixties Mind."

A masterpiece with flange + filter matrix. Paul stops the sweep and creates white noise on the verge of self-oscillation, which he uses as a "stage device" to increase the tension of the audience as a break before his solo. In Flanger mode, a thin 10's-like jet sound is applied at Rate 1 and Color 70, giving the chord strokes a spatial fluctuation. The new XO case has true bypass and improved power supply consistency, eliminating operational concerns due to voltage differences at tour destinations.

A standard compressor with a deep threshold. Paul set the Clean Intros to Sustain 2, Attack 11, and Level 12 to even out the graininess of the picking. When distorting, keep the knob below 9 o'clock to prevent an increase in noise and just add shine. The modification hole next to the LED is a unit with a Keeley 4-Knob Mod, and by adjusting the Release separately, there is no unnatural cut-off even in fast phrases with a focus on short notes.

A peak booster with variable Q. It has a dual role: it brings out single-note solos with Sweep 1 kHz/Volume 2/Hi mode, and for cutting, it cuts the lows and tightens the mids with Sweep 700 Hz/Lo mode. By placing it after the RC Booster, you can sharply adjust only the EQ points while maintaining the transparency of the original sound, and it has been described as "allowing you to make your own place even in band arrangements where the middle is empty."

Features
- A simple yet effective tool to boost/cut the perfect amount of midrange frequencies.
- Adjustable midrange frequencies so you can find the perfect EQ to slice any mix
- Transform your amps and pedals into terrifying monsters that are completely different from what they were originally
- Also equipped with Volume Boost function

Specifications
Input/Output terminals: Input, Output
Controls: VOLUME, MIDS, SWEEP, HI/LO SWITCH
Power supply: DC9V center negative

Harmonic percolator with NPN/PNP switching and Density. Paul uses NPN + Density 2 to get a long sustain rich in harmonics, and leaves it alone at the end of instrumental songs for feedback playing. If you turn down the Drive, it works as a clean booster, and is also used as a sub-drive to add a "glassy edge" to the low-output mini-humbucker PG-13 PU.

MN3007 BBD's warm flickering chorus/vibrato. At the slowest rate and 20% depth, it turns into a Strat-like shimmer, and at 80% depth, it transforms into a funky vibrato. Paul rocks the Depth with his toes while playing, and performs a performance in which he colors the same phrase with varying modulation intensity. It's true bypass + small size, and is always present on the latest boards.

This is a masterpiece that is said to be synonymous with phasers.
A model that packs the phase sound produced by a rotary speaker into a pedal-sized device.
It has a simple configuration with only speed control, which has remained unchanged since its initial release, and is characterized by its thick sound.
Its harsh, undulating sound still reigns as the king of phasers, even after nearly 50 years.

A perfect reproduction of the Phase90 '74 model, hand-wired.

A classic phaser with a gentle sway at speed 9. The '74 Vintage version has a rounded midrange, and Paul uses it to accentuate the "smoothness" of fast-playing passages. For live performances, the Script version is panned to the left and the '74 version to the right, and the ABY is used to stereophonize the surround effect. In "Drill Song," the speed is increased to match the rotation of the drill, creating a sense of acceleration of sound and light.

Choose from 4 positions to create a wide range of modulation. Use Position 2 (medium-speed jet) for rhythm strokes and Position 3 (fast thin) for single note cutting. Paul's style is to layer with Phase 90 to create shading and add expression to the same chord progression.

Analog BBD delay of up to 600 ms. Paul naturally extends the tail of the HC solo with 450 ms/Mix 20%/Repeats 2 times, and emphasizes modulation with an internal trimmer to add "analog fluctuation". Only the wet signal is sent to the JC-120, and the stereoscopic effect is expanded by the position difference with the Marshall original sound.

■ Fully analog specifications
■トゥルーバイパス
■Power supply 9V: 006P dry cell battery or 9V AC/DC adapter

Spring reverb with a dripping feel based on the Fender 6G15 reverb. A dripping surf taste is added at Dwell 2 and Tone 11, and a long spring reverb is produced in the intro of "Curse of Castle Dragon." By raising the volume to +2 dB and pushing the amp like a preamp, a clean tone with a strong presence is achieved.

Outboard spring reverb units are the quintessential surf guitar sound, and were a major component of many of the great guitar sounds of the 60's.
The difference between the 6G15 and the spring reverbs built into many Fender-style amps is that the 6G15 is used "in front of the amp," meaning the reverb signal distorts in the amp, creating a richer, more tonal character.
The Dwell knob, which most amps don't have built-in reverbs, adjusts how strongly the guitar signal is sent to the springs, and the Tone knob adjusts the tone of the reverb. And because the 6G15 is essentially a tube preamp, that tone also affects the amp.
That's why the 6G15 unit is legendary. It's hard to replicate perfectly, but Catalinbread did it. With the Catalinbread Topanga, we feel we've managed to incorporate all the elements of the 6G15 into a pedal.

In addition to the classic three-knob control of the original 6G15 unit, the Catalinbread Topanga adds a Volume control to the internal discrete preamp, which also allows for a clean boost.

Based on the Hall of Fame, 10 modes have been added, including the large hall "Royal." Decay 40% / Mix 15% is always on to maintain the airiness, while a custom-set Plate in TonePrint is called up during solo to emphasize the luster. Presets can be switched for each song via MIDI control, and the stereo output is distributed equally to both the Marshall and JC-120.

■Main features
- Equipped with 4 types of TC reverb, including 10 newly developed types of reverb
- TonePrint compatible, internal parameters can be freely edited using the dedicated editor
- Supports TonePrint beam transfer via the TonePrint smartphone app
- True bypass/buffered bypass switch
- Analog dry-through design that doesn't impair the original sound
・ステレオ入出力
・Spillover on/off function
- High-quality components

The MASH pressure sensor allows you to control feedback in real time. Paul uses 2290 mode 550 ms for a Gilmour-style solo, and CRYS mode adds shimmer harmonics to create a Hammond organ-like spread. By pressing the MASH deeply, the feedback is raised to the point of oscillation, creating a "foot wah" effect, creating a highlight for the long solo.

■TonePrint compatible - Directly import tones from top artists
■7 studio-quality delay presets + 3 TonePrint slots
2290/ANA (analog)/Tape (tape)/DYN (dynamic)/MOD (modulation)/CRYS (crystal)/RVS (reverse)
■ Stereo input/output
■ Analog dry-through function that preserves the original sound with zero latency
■ Specification
-Bypass: True/buffer switchable
Inputs: 2x 1/4" TS unbalanced, mono
・入力インピーダンス： 1MΩ
Outputs: 2x 1/4” TS unbalanced, mono
・出力インピーダンス：100Ω
Power supply: 9V battery or 9V DC center negative (both sold separately)
Current consumption: >300 mA

Tap tempo has been added to the standard 12.5–800 ms digital delay. In SHORT LOOP mode, you can instantly record an 800 ms phrase and play it back as a "response" to a fast-playing performance. By utilizing Direct Out, only the wet sound is sent to the JC-120 to ensure a spacious stage.

■DD-3 sound and simple operability with enhanced functionality
■Easy operation for instantly adjusting the sound
Delay time is from 12.5ms to 800ms, and three time ranges allow for speedy and precise setting.
■ Tap tempo input possible using the unit's switches or an external foot switch
■ SHORT LOOP mode for obtaining the DD-3 HOLD effect and creating phrase loops
■ Direct out terminal for separate output of direct sound
Output terminals and direct out terminals are located on the same side
■Long-term 5-year warranty for peace of mind

Timeless delay sound and simple operation
Based on the world's first digital delay pedal, the DD-1983, which was released in 2, the DD-3 has long been highly praised for its warm tone and simple operability, and continues to be a favorite among many players. The sound and controls of the DD-3T are completely inherited from the DD-3, beloved by guitarists around the world.

▼Added tap tempo function
The newly added Tap Tempo function allows you to change the delay time just by operating your foot while playing. You can always get a rhythmic delay that matches the song and playing style. Tap Tempo is turned on by holding down the pedal on the main unit for 2 seconds, and you can input the tempo according to the interval at which you press the pedal. You can also input the tempo using an external foot switch. Tap Tempo can control delay times up to 800 ms. You can also set the note length (quarter note, dotted eighth note, two-beat triplet) with the Mode knob.

▼ Direct/effect sound output using the Direct Out terminal
Like the DD-3, the DD-3T is equipped with a direct out terminal. The layout has been changed to next to the output terminal to make cable connection easier. When a cable is inserted into the direct out terminal, only the effect sound is output from the output, and the effect sound and direct sound signals can be output to different amplifiers to achieve a wide and deep sound. When using with an amplifier or switcher equipped with a parallel effect loop, you can mute the direct sound and blend only the effect sound by connecting a dummy plug to the direct out terminal.

▼Creative SHORT LOOP function
The original DD-3 (and DD-2) had a hold function that allowed you to loop phrases up to 800 ms long and play along with them. BOSS developed this original concept and later commercialized it as the LOOP STATION. Since its debut, the LOOP STATION has quickly spread around the world, and loop performance has become a new style of performance that has spread all over the world. The DD-3T has the same hold function as the DD-3, but the name has been changed to "SHORT LOOP" to reflect its use as a looper, which has become commonplace today.

The Ditto Looper is a looper pedal designed for guitarists. Although it is ultra-compact, it has all the basic features and offers a perfect balance of quality, creativity, and simplicity.

●Main features of Ditto Looper
A looper for guitarists. Designed by guitarists, for guitarists.
- Extremely simple looping operation
- True bypass and analog dry-through
- Maximum loop time of 5 minutes
- Undo/redo function
-Unlimited overdubs
- 24-bit uncompressed high quality sound
- Ultra-compact body that doesn't take up much space

The aesthetics of omission
Ditto Looper is designed for guitarists. The designer is also a guitarist, and understands the boundaries that many guitarists cannot compromise on, such as fitting on an effects board, true bypass and analog dry through. By not compromising the original tone of the guitar, you can use looping as part of your own sound, not just as a gadget.

●One-knob configuration
Ditto Looper covers the basic functions of a looper with a single switch, and basic operations such as recording, undo/redo, stop, and erase can be controlled with streamlined foot operations. You can also smoothly build loops, switch parts, and stack layers.

● Emphasis on sound quality
Ditto Looper delivers uncompressed 24-bit audio quality. TC understands that tone is vital to a guitarist, so we're committed to providing the best possible sound quality.

●Attention to sound quality
TC pedals are always developed with a focus on sound quality. They provide true bypass and a vast headroom, and deliver high sound performance while maintaining the integrity of sound quality to the maximum extent possible. In addition, the analog dry-through specification means that the dry sound is not converted to digital and is passed through without coloration.

Main functions and knob/switch configuration
Ditto Looper is a looper made by guitarists, for guitarists. Looping is an extremely addictive expression technique, and a tool with such an impact that it can change a musician's playing style. With high sound quality, simple operation, and a set of functions carefully selected to meet the needs of guitarists, Ditto Looper is sure to stimulate the imagination of guitarists.

● Simple operability that stimulates creativity
Looping with Ditto Looper is simple, intuitive, and flexible, allowing guitarists to focus on building loops while still playing. To record, press the switch once. Press it again to play the recorded loop. Press the switch again to start recording a new layer of sound (you can keep doing this until you run out of ideas). Press and hold the switch to undo the recording of a sound layer. Press and hold the switch again to redo the recording you just undid. To stop, press the switch twice. When stopped, press and hold the switch to delete the loop.

Loop Time
The loop limit is 5 minutes, ensuring a practical memory. You can't record for 10 hours, but playing a 10-hour piece would be tough on both the player and the audience.

●Ultra-compact design
The Ditto Looper is compact enough that you won't have to worry about it not fitting on your board. On the other hand, the fact that your effect board can fit more effects might be a problem when you're trying to incorporate it into your setup.

●Undo/redo function
The Undo/Redo feature isn't just for putting a stop to mistakes -- many artists use it to alternate parts of a loop during a live performance.

Loop Memory
Ditto Looper will retain the last loop you recorded, even when unplugged, so you can keep your loops stored during rehearsals, live performances, or even just improvisations in the studio, unless you delete the loop yourself.

Analogue Dry-Through
Although Ditto Looper itself performs digital processing, the original sound is always output in analog form, eliminating the problems of sound quality changes and sound delays that come with digital conversion.

Infinite possibilities
Ditto Looper allows unlimited overdubs, so you can experiment with ideas only limited by your imagination.

Loop level knob
Use this to adjust the level of your loop - you can have your loop play just loud enough to be heard in the background, or you can set it all the way to create a great effect.

True Bypass
Ditto Looper's true bypass design means that the tone of your instrument is not affected when the effect is turned off, ensuring a clear and transparent sound.

The TU-3 is the successor to the chromatic tuner TU-2, inheriting BOSS tuner know-how.

Convenient functions such as a new "high brightness mode" that further improves visibility outdoors, a smooth meter display with 21 LEDs, and support for flat tuning up to 6 semitones allow for comfortable tuning.

● "High brightness mode" for improved visibility outdoors and 21 LEDs for smooth meter display
● AccuPitch Sign function that notifies you when tuning is complete with an LED
● Supports flat tuning up to 6 semitones.
● Equipped with power supply function for other compacts