A few more Boss Micro Rack units popped up for reasonable prices, so allow me to introduce the ROD-10.
This is an overdrive/distortion unit. Overdrive and distortion are basically two versions of the same thing, but when you alter the parameters you get sonically different profiles, so people have gravitated towards a few particular combinations of those parameters over the years.
Most overdrive tones tend to produce a rather shrill and grating tone, which is, for the most part, completely unlistenable. It does have some utility when you're in a noisy band where the drummer won't shut up for even a single beat and the bassist is drunk on his own sonic mud; that screeching tone tends to cut through so that the audience can actually hear the lead guitar.
However, there are also some more gentle forms of distortion which add some spectral complexity. When listened to raw they still tend to sound a bit irritating, but if you scoop out some of the frequencies with, for example, a parametric EQ, then you can produce some chill, nostalgic tones. Like listening to an AM broadcast on an old clock radio, or playing back a tape in a deck that cost less than one week's allowance.
And wouldn't you know it, Boss was kind enough to produce an overdrive/distortion box that has a built-in parametric EQ. How convenient!
As expected, this box can take a thin, boring sound and fill out the spectrum, which can then be sculpted back to produce a warm, ear-filling tone. It's obviously quite useful for guitar, which pretty much any O/D box will be, but the ability to dial back the distortion also makes it work well for synths which are naturally more sonically complex from the start. I primarily intend to use this with the latter.
But there's two boxes here, and the second one isn't an ROD-10, but rather an RDD-10.
Boss made a few delay boxes in this series, and we've seen a few like the RPS-10 and RSD-10. Like those boxes, this one is a delay, but its party trick is that it has a built-in LFO that can modulate the delay time.
Changing the delay time on a delay unit doesn't just change how quickly the echoes come back, it also changes the pitch of anything already in the delay buffer, since it'll be playing back that buffer at a different rate than when it was recorded.
This feature can be very useful for adding a bit of pitch instability to the sound without affecting the initial pitch: by setting the modulation amount low and the rate low, the echos will be subtly detuned. You can also set the modulation rate high to get a tremolo-like effect. Or set them both to silly levels to get a truly absurd sound. You can also get swimming, phasing sounds by dialing back the delay time and cranking the feedback to give the notes a warbling tail.
I'm not usually a huge fan of delay units, despite owning a few, but the sonic flexibility to move beyond just "make an echo noise" really makes this one a keeper.





















































