Dubbed the Swedish Chainsaw by some of its biggest fans, the Boss HM-2 Heavy Metal is an all out metal distortion onslaught. Used for classic cutting metal guitar tone on more records than you can count, the Boss HM-2 is built like a tank and deli...
Used on his solo album *About Face* and Pink Floyd's *A Momentary Lapse of Reason*. In a 1984 issue of *Guitar Player Magazine*, Gilmour said the following of his sound: "At the moment, the sound that I'm using a lot of the time is going through a Boss HM-2 Heavy Metal to a Boogie amplifier to a [MXR] DDL and then on into a regular Fender amplifier....I use a DDL on it...because I find it stops the fuzz box from from sounding like a fuzz box. It smoothes off the unpleasant, raw frequencies that you get from the fuzz box. Then you get a nice sort of sound.”more
According to the lot notes from Bonhams auction house website, Eric Clapton used the Ibanez HD1000 Harmonics/Delay, a DBX 160 compressor, a model SDE-3000 Roland delay, a Dyno-My-Piano Tri Stereo Chorus, a Boss CE-1 chorus, and a Boss HM-2 Heavy Metal pedal for his Bob Bradshaw rack system in the mid to late 1980s.more
Daron got the "black-orange heavy metal effect" (Boss HM-2) with 14 (1989), the editor mentioned Boss MT-2 wasn't even out at that time (release date was 1991). The "well known" fact, that Daron used a MT-2 at one point in his career is not true. Daron still uses the HM-2 at home for tracking new song ideas.more
This trio are some of the most important elements of the live show. Bottom is an Elektron Monomachine; middle is a Behringer keyboard used to trigger sound effects, vocal samples, hits, sweeps and other 'ear candy' the band like to fire off on the fly, and top is the Roland Juno 106, routed through a guitar pedal. "They love that Boss Heavy Metal Distortion. It's kind of the signature sound in 'Chemical Beats'. You bosh that over the 106 and it just sounds filthy — a horrible, dirty, angry thing.”more
On the floor that's what appears to be a BOSS HM-2 (the only pedal around with that design at the time). Bolt Thrower seemingly never used one on guitar (surely not in the early days, at least), so it should be what Jo Bench used. It could have been a rehearsal or such, but still, that's proof she used it at least once.more
Steve used the BOSS HM-2 Heavy Metal Pedal on Broken Wings and some other songs on 1985's "Welcome to the Real World" album. Postby markmod » Mon Feb 20, 2006 7:58 pm Hey Guys, Steve is a pal of mine and I thought I could give you some information. Yes, he recently moved to Nashville, and he goes back and forth to Nebraska, where he owns a hunting preserve. Steve is an avid hunter and sportsman. His early Mr. Mister rig consisted of Jim Kelley and Dumble combos, split into stereo via a modified BOSS CE-1, with a Korg rack delay into the FX loop of the Dumble. A BOSS HM-2 (Heavy Metal) pedal was used on "Broken Wings," among other Mr. songs. This was all before his first Bradshaw rack. Steve mentioned that his big influence during the Mr. Mister years was guitarist, Jamie Oram-West of the FIXX. All those splashy, effected, and compressed chords came from that influence. Some years ago, I did a couple of tech jobs for Steve when he played out around Los Angeles. He had a small rack with pedals (fulltone stuff, a red snapper, among other things) through a modified Bogner Shiva head and 4X12 cab. His guitars were usually a white reissue Strat and a reissue goldtop Les Paul. Switching was done via Bradshaw 2X4 and RS-10 MK II. His studio rig is another story, he uses a larger rack and multiple heads and cabinets. Steve is pretty secretive of his set-up and doesn't give up much information. However, I have seen it many times and have played through it. Out of respect for Steve's wishes, I will not give up any of that info, just the older rigs I can discuss. Thanks for understanding. Last edited by markmod on Sat Jun 28, 2014 7:21 am, edited 1 time in total.more
I'm using a Mesa Boogie Triple Rectifier, and I add a heavy metal pedal to that and blend the two distortions together. I'm running that through two Marshalls, like an old '60s cab and a more modern one, which is my live setup. We wanted to keep the sound basically like what we sound like live -- no real studio tricks or anything added.more
BOSS HM-2 guitar pedal to the max to bring some Sunlight! I’ve been playing now two years in Insomnium and we’ve had one (1) rehearsals and we had three (3) rehearsals with OG before going to studio to record ”Beyond”. It’s mostly that in OG i wrote and demo record the music ready at my home studio and send it to the other guys to polish, arrange and rehearse ready at home. Old men livin’ too far away from each other without too much spare time, that’s the reason for this.more
John Carruthers, with two years tenure, is the newest member of the group, and plays guitar. He reaches in his pocket and pulls out a neatly handwritten piece of paper: it reads GUITARS: Green Yamaha SG2000/brown sunburst SG1500/Hofner 'Verithin' semi T65/Ovation 'Glen Cambell' 12 string acoustic/Yamaha FG450 six string acoustic/Ovation Breadwinner solid body. EFFECTS: Drawmer Compressor/Boss Heavy Metal/MXR Flanger/Eventide Harmonizer & Delay/Ashley Twin Parametric/Yamaha 1010 analogue delay/Cry Baby Wah Wah/Boss Tuner; built into Quark Custom Rack with individual noise gates. AMPS: Marshall MV50 x2/Roland JC120 with ATC speakers x2.more
In this article Mieszko said: "This was the first time we really wanted to have 4 rhythm guitar tracks per song. I've never used more than 2 before. And for that we needed a sound that would fit in with the "Mesa + Mesa" sound. This came to be a BOSS HM-2 through the clean channel of the Rectifier (again). Same microphone setup as for the first 2 guitar tracks with a slight balance change between the mics."more
Dime everything. Get legendary tone.
But seriously, I use this for Doom/Stoner Metal, and believe it or not, don't actually crank everything to 11. You CAN do that, but if you tweak the colours, you get a really wild distortion that, when mixed with an Akai Phaser set to 270 degrees and a fast repeat, is ball-trippingly freaky.
Everyone should have one of these. Or the Berhinger clone, but it don't sound the exact same--you have been warned.
If you ever wanted to emulate that grinding. buzzsaw like tone of early Entombed or Dismember (or more recently a band like Hail of Bullets) this is absolutely the distortion pedal for you. Unfortunately most of these pedals are pushing 30 years old now so you have to exercise caution when buying them as they still go for 80-90 dollars on ebay.
If you know, then you know. Get a crunchy amp, plug this in, and dime the high knob to understand if you don't. Or just throw caution to the wind and put every knob on ten and be shocked when you somehow still punch through a mix.
I have a vintage Japanese one. The sound is very dark and sometimes flat. If I crank the low end, it completely blankets the mid and high end. So there's a lot of fussing to find even ground to get a usable sound - unless you're looking for that kind of really thick and murky heavy gain. I find this pedal useful for mostly doing solos.
This pedal does a lot more than Swedish grindcore tone. It was used by Gilmor and Clapton too. Cranc all knobs for metal grind, set everything halfway for a great fuzzy overdrive.
I use this pedal to get that old swedish death metal raw crushing sound in some recordings, it works very well and powerfull also is a very nice pedal for metal bass sound try it! you can hear it in Among Disaster (Death Shall Rise Again) ep available on soundcloud