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I want one of the PSM-5's for some reason...

I had one of those briefly. The power supply functionality is pointless but it works great for having your input/ output in one place and switching your whole board in or out.

I want one cause they look dumb and have the jacks on top so they'll fill up with dust...

I recently listened to a 4-track metal demo I recorded when I was 15. I used an HM-2 in to a shitty Crate combo. Despite that, the guitar sounded better than I remembered. My TR-2 is a great sounding pedal, and I have a Analogman DS-1 that sounds decent (not sure if that counts). Also, I think the much-maligned Metal Zone is one of the better distortions for solid state. It makes some really discordant shit sound good with the mids cranked up.

PN-2.... Off the cool charts.
Been stereo panning on bass, one amp Overdriven and one fuzz'd.
So wicked.
Didn't even know about the PN-2 until randomly going through the BST a bit ago and seen Edkoppel selling his, glad I got it. Capable of some crazy sounds.
It is the first boss pedal I've ever owned besides a TU-2 tuner.

Looking at TW-1's, AW-2's and FT-2's right now too.

Imo there are only are few really good pedals in Boss's current range. I would include the BD-2.

Such a shame. When I was in my teens I thought Boss was the best one could realistically aspire to having.

I'm using a modded DS-1, TU-2, DD-7 on my board all the time and I typically switch in or out a PH-1r and an HM-2 depending on my mood. Apparently I love Boss.

The FB-2 hasn't left my board since it arrived, and I'm really digging my newly acquired BF-2. I'd like to give the RE-20 a shot.

I've flipped all my other Boss: GE-7, DF-2, SL-20, FZ-2.

At the time, before the explosion of available pedals and boutique options and the ease of finding and acquiring vintage or out of production gear online....Boss *was* the best game in town.

For a lot of stuff, it still is if your qualifications are generally available, durable, and reasonably priced - as well as maintaining a semblance of resale value.

Owned most of the DD's, liked them all.
DS-1 is cool for cheap and modding
TR-2 is a good all round trem
OC-2, badass somewhat glitchy octave
RC-30 is a good looper, but it does alter your tone and sometimes a bit frustrating (if you don't use it for a while and forget how shit functions )
think that's all I've owned, but have played others that are good too.
No shame, I like a lot of Boss stuff.

sl-20 is the best boss pedal ive ever had the pleasure of owning

This is my boss list

dd3- sold, it was just a digital delay
RV3- got, ok but slight delay when switching on dependant on mode, known issue apparently
SL20- got, keeper, does shit nothing else does plus a great tap tempo midi tremolo at its most simple
PS5 - sold, too glitchy
ps2 - got, inherited off a mate, so not technically mine
os2 - got, like
rc3 - got, keeper, 99 samples you can save, its ace
tu2 - lol

think thats about it
their old analog stuff is cool, ive cloned a few of them like the ce-2 which sounds neat
the digital stuff is hit and miss. I wouldnt touch any COSM dirt based on reviews...

Dude, there is something with the DD3 that I just love. Not the corksniffer MIJ model, but just an off the shelf DD3. I think it's the budget digital-analogue converter that just makes stuff sit awesomely in the mix.

With regard to other current Boss stuff:
The DD7 is great - looper is like better than RC-2 which for some reason I despised. I think because the DD7 has a lot of great delay sounds in it I accept it's looper for what it is, but the RC-2 just had a crumby looper.
BD-2 is a classic.
DS-1 is a classic. And as Jiminy so rightly pointed out it is eminently moddable.
MT-2 is my favourite bedroom level distortion. The cartoonish qualities in it that you have to really tone down when jamming at gig levels are great at conversational levels.

Then there's stuff that I just don't understand. Like replacing the BF-2 with the BF-3.

The replacement of some of the venerable models may have to do with supply chain as much as anything else, plus "They're not moving" but a new one would, etc.

It's big business as opposed to 'keep something around to keep around.'

goroth wrote:Dude, there is something with the DD3 that I just love. Not the corksniffer MIJ model, but just an off the shelf DD3. I think it's the budget digital-analogue converter that just makes stuff sit awesomely in the mix.

12 bit sample resolution and lower than CD sample rate means it's not quite as pristine sounding as most digital delays are these days.

GardenoftheDead wrote:

goroth wrote:Dude, there is something with the DD3 that I just love. Not the corksniffer MIJ model, but just an off the shelf DD3. I think it's the budget digital-analogue converter that just makes stuff sit awesomely in the mix.

12 bit sample resolution and lower than CD sample rate means it's not quite as pristine sounding as most digital delays are these days.

Yeah, that's what I mean, there's something about that that's just great in a band context. It's this great zone between good digital delays and analogue. The lower sample rate rolls off the treble per definition, and that roll off is really subtle, more so than analogue, or "analogue voiced" delays. It's clear enough to cut through, but it's just a little bit dampened. And it's great!