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boss digital metalizer manualPlease 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. 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. Translate this page: Relevant AUDIO forum topics: Samsung MAX N54 torz hanggal Sziasztok! Javitok egy fent leirt tipusu minihifi-t! A keszulek torzan es halkan szol minden forrasrol. A vegfok egy STK 402-090, amire mar torz jel jut. Tudna valaki segiteni esetleg valami dokuval, otlettel? Az STK 100 jo, kiprobaltam kulso jelforrassal. Elore is koszi a segitseget! Gabi METZ AME 4990-nek elszallt a vegfoka. Sziasztok! Adott a cimben szereplo erosito.Sajna mindket vegfok elszallt benne.A vegfokok STK 4038 II hallgatnak.Kerdesem az volna van-e valakinek bontott,hasznalhato esetleg,mert ujonnan 6-7000 ft-ba fajna es nem er annyit meg muhely erositonek sem!(nemetbol jott).Vagy esetleg valami gazdasagosabb helyettesito letezik-e? Megtisztelo segitsegeteket elore is koszonom.mika Toshiba SB-M36 erosito, egyenfeszultseg a kimeneten. Udv minden forumozonak! A fenti erosito hibasan kerult hozzam, a hangszoro kimeneteken -45V volt merheto. Mindket csatornan csereltem a vegtranzisztorokat es a meghajtokat, mindegyik hibas volt. (2SA1104-2SC2579 vegpar es 2SA1110-2SC2590 meghajto) Most a jelenseg a kovetkezo, a kimeneteken egyontetuen -15V merheto. Atvizsgalva a tapfeszultsegek rendben vannak, a felvezetok jok. Egyenlore nem jutottam vele tovabb, kerem, hogy aki talalkozott mar hasonlo problemaval, ossza meg a tapasztalatait velem. Koszonom.http://www.sensas.com/UserFiles/bose-wave-system-2-manual.xml
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Andras NORSK AUDIO Baltic 30 hangfal info. Udv Kollegak. Vettem egy par a cimben szereplo hangfalat a hetvegen. Nincs semmi infom rola,azert vettem meg meg nagyon tetszett a hangja a kis merete ellenere, es kicsit olyan erzesem tamadt, mintha orosz hangfal lenne: a hatlapjan a betutipusok, a betu festeke, a beleutott gyariszam. A neten egy norveg oldalt talaltam a gyartmanyt beutve, de elegge hianyos a a norveg nyelv ismeretem,:-). Csinti Similar manuals: You can write in English language into the forum (not only in Hungarian). 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 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. The MZ-2 remained unchanged throughout its 4 year life time. Used. Made in Japan.Reason for Selling: Change of hobby. 2 years ago In Music Accessories Ask your seller for delivery. Stay safe at home. Listed by randytadeo Verified Check seller profile Reviews for randytadeo melecee 2019 Feb very nice seller. 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. As a 15 year old playing an MT-2 into a broken stereo, cranking the gain all the way instantly gave me that feeling of playing into a raging, fire-breathing wall of stacks.http://gurolmumcu.com/userfiles/bose-wave-soundtouch-music-system-manual.xml Which, undeniably, is awesome. But also, when you do that (not just with the MT-2 but with any high gain amp or pedal) you just lose all sense of definition and clarity in your tone. Don’t even go past 12 o’clock if you ask me. There’s SO much gain on tap that you really don’t need all of it on at once. Try the MT-2 with the Distortion sitting around 10 o’clock. Get closer to the 12 o’clock mark and you should be rewarded with thick, high-gain goodness, while still retaining a good amount of note definition. Don’t worry, there’s still plenty of juice to help those pinch harmonics fly off the strings. Here’s a really great video which uses the MT-2 to transform a clean AC-30 into a riff monster. You’ll notice that neither the rhythm nor lead tone settings use Distortion over 12 o’clock. Makes sense to try and do the same with your new metal pedal. So why isn’t it a good idea to scoop the mids with your MT-2? There are a couple of reasons, and here’s the short version: Guitar is a mid-focused instrument. That’s where it lives, so if you completely dial the mids out of your tone, it’s no surprise that it disappears. On the record, you can get away with more scooped tones because the engineers can EQ it such that all instruments have their own place in the mix (so the guitars don’t get drowned out). You’ll have a tough time doing that live so it’s best not to cut yourself out of the mix before you’ve even started playing. What exactly does this mean. We don’t want to hack out a huge hole out of the mid frequencies (see previous section) or boost the living daylights out of the highs or lows. Try setting all the EQ controls at 12 o’clock for starters. Adjust the High and Low controls to taste to get a baseline for how you want your tone to sound. Since the EQ controls are so powerful, small changes make a big difference. Then, turn the tables and apply a slight CUT to the Mid setting, eliminating the worst of those pesky frequencies.https://skazkina.com/ru/4-3-manual-corvette Don’t forget to note down the settings that work well with your rig. It’s more versatile than you think Despite what it says on the tin, the Metal Zone can do more than just metal. And because of the extremely powerful EQ range, you can totally use it on bass to get a downright nasty (in a great way!) chunking, grinding metal bass tone. Experiment with small changes to the EQ to find your sound, and don’t be afraid of dialling the gain down. HOW TO USE THE BOSS NS-2 NOISE SUPPRESSOR IN YOUR RIG Related Products While significant advances in bass pedal effects over the years have These were the OD-1 OverDrive, the SP-1 Spectrum (a parametric He explains how he was. Made in japan, july 1988. DOD had it’s own as “Hard Rock Distortion” and Ibanez shuffled the deck with its Session Man pedals. I’m quite sure there were others trying to take the markets too. There sure was i time and demand for this kind of combination back then. While the competition had the delay and chorus lines done mostly by analog methods, Boss aimed for the moon and made it digital, while leaving the distortion part analog. Those thin, round traces at the right hand side of the DSP look very pleasing. In addition to having two separate, stacked boards to accommodate everything. While these combo effects do not interest me all that much, i must say i find this unit very appealing. Lack of more controls to the digital part feels kind of boring, but the presets are actually quite good. Sadly, i couldn’t find a schematic of the analog board to confirm how the distortion part is made up. I think there may be similarities with other Boss distortions, but there must be something different in there too. Kind of like DS-2, but with certain amount of personality thrown in. For the distortion side, this may very well be one rare boss effects with a real personality. For the delay and chorus modes. Well.https://www.ecopol.com/images/boss-digital-metalizer-manual.pdf If you want the sound of a late 80’s hair metal lead solo for your tapping pleasures, this is the pedal that you really need. It is fun to play around with this. Sure enough, it kicks the living daylights out of the competition. Some may have wondered why there isn’t a schematic or any hint of a DIY project for a pedal with this reputation. The answer is simple. The code inside the pedal is the thing that makes up the effect. There is a Boss branded signal processor that takes care of creating “that vintage up octave sounds”. Sure. The idea of having a Fuzz Face, Maestro FZ-1 Fuzz Tone and an Octavia in a single box is not that bad. Actually i’d call it very tempting. The label on the cover says “COSM”, so at least the digital design isn’t being covered or pushed aside like it wasn’t there. I’m not sure when digital stopped being a selling point in pedals. In the 80’s and early 90’s it was respected to have everything digital. To be honest, i’m not sure if i’m ever going to get interested in DSP. The DSP is very useful and can do great things. For example, think of all the reverb units around. And what about those multi effects that are nothing short of great for bedroom practice sessions. Here’s the “but”. We are talking about digitally modeling three circuits that would have been doable with cheaper set of components as an analog unit. To me, this seems like one of the in-house competitions Boss engineers might have had. Say, who can turn three simple, a few transistor circuits into a current hogging digital design? The different transistors in Fuzz Face (and same goes for the rest of the trio.) make a noticeable difference and there have been several main versions over the years, since late 1960’s. Nevertheless, these classic effects have their status due to driving the semiconductors to the point where they shouldn’t be driven. What boss did, was to model these digitally and put it on the market.Hell, it isn’t even their worst sounding fuzz.www.jimenez-casquet.com/wp-content/plugins/formcraft/file-upload/server/content/files/1626e5d21efe5a---40-cfr-75-policy-manual.pdf But it is like playing chess with a friend on Nintendo. The three modes are surprisingly close to their idols, but still not close enough. The main difference with vintage analog circuits is the “unreliability”. The one factor that makes a Fuzz Face what it is. Even the best digital modeling can’t calculate the semiconductor behavior close enough to reality. Maybe in decade or two, but not yet. These modelers are not that bad sounding things and someone who’s not married to the analog electronics won’t be able to tell a difference. To sum it up, the pedal offers “close enough” models of three widely used and recognized fuzz circuits. For garage punk guitarists, this is not an option. But for those who want to use a little of fuzz in their home recordings, why not. The fuzzes from this box are a lot better than the ones on most multi effect units of the era. At the same time, it is good and it is bad. I find the idea of OD and Dist made blendable in a single unit intriguing. This, among with other basic or classic hits as DS-1 and SD-1 are probably the cheapest and most common boss pedals around (sure the number of Metal Zones sold may top everything, but still.), so the money spent versus the fun had was nicely in balance. Before digging any deeper, let’s take a look at the board. All the japanese hand craft pointers are already gone and CAD software with auto-routing feature has been in use. Nothing even resembling a visual beauty has not been a part of the board designing process (yes, you can argue that it doesn’t have to be as much as you want). So no matter what way we look at this, it is just dull looking, but well functioning board. There would have been room on the board to place things differently, but why bother. But let’s look forward. There’s a traced schematic up at FIS. This is where things get a lot more interesting. After the input buffer the incoming signal is split in two ways.www.cocuknorologu.com/image/files/canon-mini-260-manual.pdf The upper part in the FIS schematic resembles a ProCo Rat with its dual high pass filters and hard clipping. The WTF points go to post clipping filtering. After this filter network, that sort of mimics the filter control on Rats, there’s an buffer stage, followed by a mixer amp that takes care of the mode mixing with a pot called “color”. But we’ll need to back up a bit. The second path from the input buffering was sent to an overdrive stage. This stage isn’t a lot different from SD-1 clipping amp with its asymmetrical clipping diodes in the feedback loop. There is more gain coming out of it and the high pass filter is set lower than in Tubescreamers or Super OverDrives. The output of this clipping amp is then fed to the other side the color pot. The gain setting is the most peculiar thing in this design. Rest is just the tone control not completely unlike the one in SD-1 and the output buffering. I’d even go to lengths to call some parts of it interesting. Simple, but convincing. Nice design in a cheap package. But then comes the issue. Maybe even shoulders. It mid honks its way to the drive-in and leaves you with warm cup of soda and cold fries. But the distortion side of the color pot is the burger. Double cheesed and not bad at all. It sure does remind me of a Rat, but not to the degree where it would be “something alike”. Nope. It’s sleeker in its tone and does not go as mushy. Not a Rat, but not a DS-1 either. Good sounding distortion that goes closer to DS-2 Turbo Distortion range. So overall sound of the pedal isn’t too impressive. But it isn’t bad. These do come cheap, so you might as well get one. Hope you like your soda warm, fries cold and burger delicious. Made in taiwan, june 2008. Can’t help but to compare this to RV-2, which was ground breaking pedal in many ways. First off, the RV-2 was the first compact digital reverb ever produced. Second, the design had some real ingenuity in it.https://www.edutechusa.com/wp-content/plugins/formcraft/file-upload/server/content/files/1626e5d358eed2---46-savage-manual.pdf RV-2 has gained its status with its impressive, hard work from the design department, while making things that previously were impossible, possible. Sure it was costly effect to produce. So it was replaced with RV-3, which offered more options by having delay settings. Delays are just simplified reverbs without the vast number of stacked repeats, so adding delay modes wasn’t too big of a deal. It did add to versatility a lot, but while it gained high number of supporters, it still couldn’t touch the original RV-2’s status. Apparently RV-3 got too expensive to manufacture as well and it got replaced by RV-5 in 2002. RV-5 was apparent attempt to recreate the feel of original RV-2, instead of clinging on to multi effect-like feel that was the thing with RV-3. Also note the two crystal clocks. Even though this looks like an elaborate and neat design, the same DSP is circulating for other Boss effects too. Which means that the pedal is pretty much the same as twenty or more other pedals in the series. Only the code for the DSP is different. The thing that gives me the only real feeling about the board is the “Cheer Time” text on the silk screen layer of the PCB. Sixth mode is “modulate” which adds a sort of chorusey feel to the reverb. Other controls are E. Level, which mixes the clean signal with processed one. Tone, which can be used to cut some highs so user can try to mimic more vintage sounding units. And finally Time, which sets the decay time for each mode. This unit is also built for stereo in and out, so it has more uses on the studio desk than many others that are simply meant to be run with a guitar. We could call it full range device. Not sure if that is too official term, but since it’s not cutting your lows or highs to audible degree. Even though it gets the job done with flying colors, the amount of lacking personality and individualism is higher than on most tasteless and scentless sounding pedals.https://humantouchtranslations.com/wp-content/plugins/formcraft/file-upload/server/content/files/1/1626e5d49d80ff---40-hp-evinrude-outboard-service-manual.pdf All the way to the degree where i would go so far and call it boring. While it is one of the most boring guitar reverbs i’ve ever played with, it’s not that bad. Where the digital design was still rocking in its cradle when the RV-2 was released, that also meant that the deficiencies in that unit turned out to be the strong parts. RV-2 is not a supr dull Hi-Fi device, but great reverberator for folks who want to sound like themselves by adding certain rough edge to their sound. RV-5 does not give you any edge. It works as a reverb and it works well. It has no personality and it has no edge. But it works. In reality, this unit will serve a lot better as a vocal reverb used in the inserts of a mixing console than what it can do with a guitar. Similar thing happened with DOD’s “Supra Distortion”, which was originally also called Super. Anyway. Due to this legal battle, there are two cosmetical versions of DF-2 in the wild. The original with infringing name, was only manufactured for a short period of time (approx.As usual for Bosses, the manufacturing moved to taiwan in 1989. The circuit had a revision in 1991 when the ACA power supply requirement was dropped. There is a schematic for DF-2 floating around the webs, so you should be able to find it if you need it. The faulty part was just a feature with the (idiotic) ACA power supply not playing nice with the modern standards. Even more so for the complex board designs, such as this one. Just look at the number of solder joints and the acid trip traces in there. Definitely not the simplest circuit we’ve seen. Then we have our Overtone knob. This knob controls the amount of distortion for the feedback one can activate on choice by holding the bypass switch. More distortion for the feedback gives out more harmonic overtones for the rising squeels. It is an idea that was something new and innovative back in mid 80’s.cnsilos.com/d/files/canon-mini-260-manual.pdf The method how this effect was achieved isnt’ too simple, but it did change something in the mindet of effect designers. Designers weren’t bound by just copying the ten to twenty classic circuits and improve on them anymore. In other words, and in my opinion, these kind of breakthroughs paved the way for all digital effects. Progress isn’t always good or bad. But it is always progress. Maybe it’s just a bit more low end and possibly a bit more gain, but that is enough to sound better, meaner and fatter. When one holds the lid, the rise of the feedback acts very much like standing in front of a Marshall full stack would. So the feedback sounds and feels more organic than one would expect. This unit sounds like a milestone. Mainly, because it is. So it’s nearly impossible to determine the date accurately. My best guess would be 1993, since dual opamp codes point to that direction. The japanese units apparently have all black knobs and the change to white top knobs happened around the time manufacturing moved to taiwan in late 80’s. All the 00’s units i’ve seen have enclosure stamps on the stomp lid insides, but this one doesn’t. I’m going to let myself believe the unit is from ’93 and stop thinking about it. This means that every little part of the design is japanese and the manufacturing only is done in taiwan. There are some of that super cool acidy feel on the traces and no sight of machine routing. It’s a pretty thing, that’s what it is. As a tiny history lesson, the circuit of BF-2 Flanger did take a long time in being a current device. The design was first introduced in 1980 and it discontinued as late as 2001. This and a few other facts are up at Boss Area. Check that out too. The schematic is up at Hobby Hour dot com. I’m not sure (and the Boss Area doesn’t say), but i think the later units were modified to be used with more standard-like PSA supply. This means that there is a zener diode dropping the unregulated supply voltage to what the effect needs. There will be issues if this unit is powered with modern standard power supply all by itself. TL072 in some units (IR9022 in mine) is the LFO and the delay line is done with MN3207, a 1024 stage BBD and a MN3102 clock. So yes. Nothing special about it. Makes a great, solid, and versatile design though. Or in this case, we get a bit clearer picture of its function if we would just simply call it feedback. It does not do anything special or have a distinct personality in its tone, but it is a very good sounding analog flanger. As a cardinal sin of Boss modulation effects, the rate range could be wider, but even that is better here than it is on Boss chorus effects. A classic. Made in taiwan, november 2001. I had tons of effect pedals, but zero Boss brand choruses. That felt extremely weird, as these effects in Boss catalog are usually praised pedals. So what was i to do, bet to get me some. First i scored a CE-3 stereo chorus through auction site listing (i’ve talked about that unit earlier on.) and second, i grabbed this one as used from around here. As usual, i checked the serial number against the Bossarea decoder and checked some facts about the design as well. What do you know. Just my luck. This unit is one of the very first CH-1s to exit the factory with newly revamped SMD board inside. Just a month older, and it would have been the one with a pink label and a MN3007 as a powering BBD. But then again. We have DD-2 and DD-3 delays which have the exact same circuit inside, but for some reason the model number was changed.We do know that DDBs come in surface mount packaging too. And the long chip could be a CMOS chip to handle the electronic switching. But no. Closer look revels that there aren’t any BBDs present. Just a digital 20K Itri Erso ES56028 echo processor chip. I highly doubt these two sound anything alike. At least the delay line is different enough to warrant this assumption. Mix control is nice addition when we want to dial in smooth and ambient chorus tones. Tone affects the frequencies chorused, rather than the overall tone. Another feature that gives more to the sound than one would think.While all Boss choruses have a great reputation, i tend to see one fault in all of them. The range of LFO speed feels to be always from too slow to slow. Same thing here. If we disregard that, we have good controls and nice chorus sounds. Not perfect, and i’d still choose my CE-3 over this in a heartbeat every time. If you get one for ridiculously cheap, then get one. I may keep my eyes out if i happen to run into the pink labeled version at some point.Made in taiwan, february 2003. I had to get one out of pure interest. I sourced all the Nirvana CDs as used ones last spring. Since there are now expanded reissues out of each and every one of those, one can score the original CDs for pennies. Sure there’s some nostalgia in there, as i (and probably half of planet’s population within certain age range) did listen to those records a lot when i was in school. I think Nirvana’s grunge was the last “boom” of guitar music to reach an audience as huge as it did. And those aren’t exactly known for their powerful overdriven tones, so the sound had to come from somewhere else. Ok, ok. I promise. No more talk about Cobain on this blog. There’s a schematic up at distortionpedals.org. All the distortion is coming for all discreet design. Two JFETs and two BJTs do create sort of a discreet opamp for the distortion control. In addition of those, we see soft and hard diode clipping stages. The circuit does remind me a bit of the design inside BD-2 Blues Driver. Only remind. The similarities aren’t that notable. Plus something called a Turbo mode. The electronic turbo switch seems to add a lot of punch to the first gain stage. One can use a latching remote switch to toggle the mode on and off. Everything else is on par with the whole Boss catalog. Not super interesting, but i see nothing wrong with it either. Nice box. Two modes are for high gain distortion, or even higher gain distortion. With the gain setting one can get rather Marshallesque overdriven tones as well, but the brightest shine is still on when that control is maxed. All the controls have sufficient, usable ranges. The amount of distortion isn’t has high as for MD-2 Mega Distortion, but still high. There is slight overdrive-style mid hump present, which without a doubt a feature. This pedal doesn’t sound bad at all. It sounds pretty much the same as the guitars on those Nirvana albums. Made in taiwan, april 2008. PH-3 introduced couple of quite innovative modes to the world. Basic modes are digital recreations of four, eight, ten and twelve staged phasing. Modes that were next to groundbreaking at the time of release are rise, fall and step modes. Rise and fall modes are also known as barber pole modes. Step mode sort of randomizes the sweep, resulting in unexpected phasing sweeps. Getting back to basics. Board bottom looks like something that i haven’t seen in the compact series before. All components are on the other side and the second side traces and vias look modern, but still quite new to me. There’s a schematic floating around at Photobucket. To sum the design, there are analog buffers at the input and output. Which is then connected to a DSP and a CPU running at 4.233MHz. In retrospect, a slightly faster processing speeds than what we’ll find in Super NES. Sure, i’m psyched about the geekiness of the fact. Way more than by the design itself. Still i’m left cold and somewhat bored by the designs. It may be just current me talking, but analog designs are the ones where the real magic happens. I see little value for a VST plugin in a stompbox. This stance may change someday. But i’m fairly certain that day won’t be any of the 365 days of 2014 or 2015. These things get the job done without degrading the guitar’s sound too much. Actually, little enough to go unnoticed. The modes are new and exciting addition to the pedal sounds people crave. Even though it sounds good and the old school modeling modes also sound good, there is something missing. It just doesn’t feel like a guitar effect.It feels a lot more like a generic studio tool. Exactly like a VST plugin in a stompbox. Nice thing to play around with. But. Pre 2000 Boss effects are more my cup of tea. Made in japan, march 1986. In all its simplicity, the OD-1 was pretty much Boss’ venture to kill DOD OD250 and MXR Distortion. ?hile it may not be as widely recognized as its older competitors, it’s still a cult classic. And for a reason. The original Turbo Overdrive was manufactured from 1985 and it got replaced by OD-2r in 1994. OD-2r is supposedly the same effect as this one, only with added remote switch jack for the mode switch. The board is pretty crowded and it has the feel of the old japan designs. Once again, there is very comprehensive and good page dedicated for this circuit up at Hobby-Hour.com. The page has a schematic and a semiconductor listing available. There are three gain stages, each made up with two JFETs and one PNP BJT. The first one acts more like a boost and the second has asymmetrical clipping diodes on it. While the driver stages are pretty complex, at least when compared to very old school like tone and level controls, the wow factor doesn’t end there. Just take a look at the power supply section in the schematic. These two supply voltages have their own vref voltage networks, one for electronic switching reference voltages and other for discreet opamp reference voltage. So yeah. It is pretty complex design for being an overdrive. If it had flopped real hard, it wouldn’t have stayed on the catalogs for 14 years.Tone and level controls are well balanced and the gain works pretty well too. Nice driver tones, but with massive mid-honkin’ feel. I’d say this sounds a lot closer to SD-1 than OD-1, without being too close to either one. I’m thinking this may have acted as a base when the engineers were drawing up the BD-2. The reason being that i find the OD-1 and the SD-1 to simply sound better. And there are always tons and tons of Tubescreamer derivatives which can take this sound on any time of the day. Something else is just not right. Let me know! Leave a comment to a post, or drop a line to mirosol at kapsi dot fi.For inquiries, use the email address above. Please remeber to take care of your privacy here on the internet. Galileo Metalizer for sale. It is a high quality product manufactured with the finest A small demonstration to show the sound spectrum of the BOSS MZ-2 Digital Metalizer. The recordings have been made without an amplifier, because I didn't Online shopping for over 200 testors hobby and model acrylic paint, saving you up to 50. Items include gray and green acrylic. FEATURES: May be used for all Metalizer colors when thinning is desired. Also Viewed view all. May be used for all Metalizer colors when thinning is desired. See Metalizer Manual for complete instructions. Boss MZ-2 Digital Metalizer.Metalyser Portable HM1000; guides allowing non-experienced personnel the ability to use instrument quickly and easily without reading in-depth manuals; Contract of usufruct, West highland property guide, Fire engineers field guide, Do it yourself plumbing guide, Elena paz guitar instruction with record. Reload to refresh your session. Reload to refresh your session. They must have great tone, stellar reliability and the right vibe. Thus far, We are very impressed by all of the manufacturers we deal with. In addition, the manufacturers we carry all have one big thing in common: They are all Super-creative People that are fun and easy to deal with.