For guitar players worldwide, BOSS pedals are more than just effects units—they are a cornerstone of countless guitar rigs, a symbol of reliability, and an entry point into the vast world of stompboxes. The iconic compact pedal, instantly recognizable on stages and in studios, feels like it has always been there. But the story of BOSS, and how these ubiquitous pedals came to be, is richer and more intriguing than many realize. To uncover the hidden chapters of BOSS’s history, we sat down with a key figure in the company’s legacy: Yoshi Ikegami, the CEO of BOSS pedals himself. This journey dives deep into the past, revealing how BOSS emerged from the innovative spirit of Roland, exploring the quirky and groundbreaking pedals that paved the way for the BOSS dynasty we know and love today.
The Roots: Roland’s Foray into Guitar Effects
Before the orange DS-1 Distortion or the blue CE-2 Chorus became household names for guitarists, the story begins with Roland. As Yoshi Ikegami explains, Roland’s initial ventures were rooted in the burgeoning music scene of 1970s Japan. “Originally Roland started to make a rhythm machine,” Ikegami recounts, setting the scene in a Japan experiencing a “band boom” where electric guitars were becoming increasingly popular. Crucially, Roland’s founder, Ikutaro Kakehashi, had already established Ace Tone, a company familiar with catering to guitarists’ needs. “Ace Tone provided gear for the guitar player,” Ikegami notes, making the leap into guitar effects a natural progression. In a market where effects units were primarily imported from the US and UK, the move to create domestic guitar pedals was a logical step for a company like Roland, seeking to meet the growing demands of local musicians.
The BeeBa and Funny Cat Era: Roland’s Unique Pedal Designs
Roland’s early forays into guitar effects were anything but conventional. In the mid-to-late 1970s, while fuzz boxes and brands like DOD and MXR were gaining traction, Roland carved its own path with uniquely designed and often strangely named pedals. The first Roland pedal, the AF-100 BeeBa, emerged around 1972. “In 1972,” Ikegami confirms, placing the pedal firmly in the early era of guitar effects. The name “BeeBa,” as Ikegami clarifies, was onomatopoeic, derived directly from the sound the pedal produced. This fuzz with a treble booster and tone selector was followed by other creatively named units like the AG-5 Funny Cat. These names, as Josh from guitarplayers.net observes in the interview, stand in stark contrast to the later, more systematic naming conventions of BOSS pedals (DS-1, DS-2, etc.). Ikegami reveals the naming inspiration: “At that time [we saw] the famous Crybaby Wah, so everybody says, ‘Use the funny name.’” This era of Roland pedals showcases a playful and experimental approach to effect design, reflecting the spirit of the time and setting them apart from competitors.
Exploring the Roland “A” Series Wah and Phaser Pedals
Continuing their exploration of guitar effects, Roland also ventured into wah and phaser pedals with their “A” series. While specific details about the Roland wah pedals remain somewhat obscure even to the BOSS CEO—”Maybe? I have no idea about this stuff,” Ikegami admits with refreshing honesty—the Roland AP-5 Phase Five stands out as a particularly innovative design. Released from 1975 to 1978, this phaser pedal featured a “sensitivity” setting, allowing for touch-sensitive phasing effects. “You pick through it, and the harder you pick the phase, [it responds],” Josh describes, highlighting the pedal’s dynamic and expressive capabilities. Despite its innovative features, the AP-5 had a relatively short production run, existing alongside the emerging BOSS compact series for a brief period. Another notable Roland pedal from this era was the AP-7 Jet Phaser, produced from 1975 to 1978. This pedal combined phaser and distortion, creating what Josh describes as a “distortion phaser,” a unique effect that further demonstrates Roland’s willingness to experiment and push the boundaries of guitar effects.
The Transition: Roland Pedals Evolving into BOSS
The visual similarities between certain Roland pedals and early BOSS compact pedals are undeniable and hint at the brand’s evolution. As Josh points out, comparing the Roland Phase Two to the BOSS 1 series pedals reveals “pretty [much], it’s the same enclosure. Different labeling.” This visual connection leads to the crucial question: how did Roland pedals morph into BOSS pedals? Ikegami clarifies the branding strategy, explaining that in the early days, the company lacked a distinct brand identity in the US market. “In the very beginning, we don’t have the BOSS brand or Roland brand, but in the US we have a sales company,” he states. This US sales arm began selling acoustic guitar pickups and preamps, eventually using the BOSS name for an acoustic preamp. This marked the genesis of BOSS as a brand. The decision was made to establish BOSS as a separate brand and company, creating a “double branding” approach alongside Roland. This strategic move allowed for differentiated marketing, sales channels, and even contract work, catering to various market segments and solidifying the foundation for BOSS’s future dominance in the guitar effects world.
The Birth of BOSS Compact Pedals and the Legendary Design
With the BOSS brand established, the next pivotal step was the creation of the compact pedal format. While the numbering system for early BOSS pedals wasn’t initially systematic—Ikegami mentions the S-1 Sustainer (1973) as potentially the first “number one,” followed by the F-100 and then the 85 series—the BF-1 Flanger in 1977 seems to mark a turning point towards a more consistent naming convention. Notably, the BOSS Distortion-Free Sustainer, or CS-1 Compressor as it is widely known, arrived as one of the first BOSS compact pedals. Its very name, “distortion-free sustainer,” was a bold statement in an era where sustain was primarily associated with fuzz. BOSS introduced true clean sustain, a significant innovation.
The compact pedal format itself was a deliberate design choice. Ikegami explains the rationale behind this now-iconic shape: “In the very beginning, [the] new US effects [were] using [a] kind of box, [like] a switch for the light on the wall, right? Using that [design] has a purpose, but that’s not cute, right? So probably, our people said, we should have something [with a] special shape.” This focus on both functionality and aesthetics resulted in the compact pedal design, which Josh aptly describes as “absolutely the perfect guitar pedal.” Its enduring appeal and practicality are undeniable. When asked about the possibility of mini pedals, Ikegami’s response underscores the timelessness of the original design: “Why [do] we need to make [a] different shape? We have this legendary, historical, great design, so I don’t want to change [it].” This unwavering confidence in the original compact design speaks volumes about its enduring legacy and continued relevance in the modern guitar world.
Conclusion: The Enduring Legacy of BOSS Innovation
From the quirky, experimental Roland pedals of the early 70s to the globally recognized BOSS compact series, the journey of Boss Guitar Pedals is a testament to innovation, strategic branding, and a deep understanding of musicians’ needs. Yoshi Ikegami’s insights provide a rare glimpse into the formative years of BOSS, revealing the evolution from Roland’s initial forays into effects to the creation of a brand that has become synonymous with quality and reliability for guitarists worldwide. Even today, BOSS continues to innovate, always striving to create the “best” and “newest” products, as Ikegami emphasizes. So, take a moment to appreciate the BOSS pedal on your board. Plug it in, turn it on, and remember the rich history behind that little stompbox. As Josh from guitarplayers.net aptly suggests, “If you’re reading this, there’s a 100% chance you have a BOSS pedal on your board, so do me a favor and play it today. Show it a little extra affection and attention. Trust me, BOSS has earned it.” The story of BOSS pedals is far from over, and their commitment to innovation ensures they will continue to shape the sound of guitar music for years to come.
