Boss released the DS-2 Turbo Distortion in 1987 with a leather-clad rock advertisement and zero star power. For the first few years, it sold modestly — outsold in the UK by the DS-1 it was supposed to replace, the Pro Co RAT, and even the discontinued Boss HM-2 Heavy Metal. Then, somewhere between a Nirvana tour and a Paisley Park studio session, three very different guitarists picked it up and the story changed completely.
Kurt Cobain ran a DS-2 on the Nevermind tour with the Turbo knob set to position one — the non-boosted mode, nearly identical to the DS-1 he’d used for years, just cleaner and more consistent. Prince found the pedal a decade later and went in the opposite direction: Turbo II, Dist pinned to maximum, using it to drive clean amplifiers into walls of singing midrange gain. John Frusciante put two of them on his Stadium Arcadium pedalboard and chained one into an Electro-Harmonix Big Muff for a tone that defined a double album.
Grunge icon. Funk virtuoso. California alternative colossus. Three players whose approaches to the guitar have almost nothing in common — and they all reached for the same $110 yellow box. That’s worth understanding.
From DS-1 to Turbo: The 1987 Upgrade
The Boss DS-1 Distortion debuted in 1978 and became the closest thing distortion pedals have to a universal standard — affordable, consistent, and present on more pedalboards than anyone has ever counted. By 1987, Boss’s engineering team saw room to evolve the concept without abandoning what made the DS-1 work. The DS-2 Turbo Distortion is the result: a refinement of the DS-1 circuit architecture with the addition of a second, more aggressive gain mode and a practical live feature that Boss’s competition hadn’t thought to include.
The structural change was a Turbo mode selector — a knob on the front panel that switches the pedal between two completely different distortion voices, plus a Remote jack on the side that accepts an optional external footswitch (Boss FS-5U or FS-5L) for hands-free mode switching mid-performance. In 1987, the concept of a two-voice distortion pedal with remote switching was genuinely innovative. You could dial in a rhythm tone in Turbo I, plug a footswitch into the Remote jack, and stomp to Turbo II for leads without ever bending down to a pedal.
The DS-2 launched at a slight premium over the DS-1 — about £5 more in the UK — but the added functionality justified the cost for players who understood what it did. Many didn’t, because Boss’s initial marketing communicated none of this. The 1988 UK ad was a full-page image of a rock performer holding the pedal with the words “PLAY DIRTY!” across it. Zero description of the dual-mode concept, zero explanation of the remote switching capability. The DS-2 underperformed its first year largely because nobody knew what it was.
Over the next three decades, that changed. The DS-2 has been in continuous production since its 1987 release — 39 years and counting as of 2026, outlasting not just the DS-1’s original competitors but most of the boutique pedals that emerged in its era.
How the DS-2 Actually Works
The DS-2’s circuit is a discrete analog design — no op-amps in the distortion signal path. The gain architecture uses a combination of JFET and bipolar transistors with both soft and hard diode clipping stages in the circuit. The result is a distortion character that sits between the soft, compressed clipping of germanium-based fuzz circuits and the hard, bright clipping of pure silicon distortion. There’s grit and edge without the full-frequency harshness of some high-gain alternatives.
The Tone control on the DS-2 is active rather than passive — it simultaneously shapes high frequencies and low frequencies, providing what Boss describes as “a diverse sonic palette that goes from bright and percussive to smooth and velvety.” In practice this means the Tone knob has significant range in both directions: fully clockwise gives you a bright, cutting attack suitable for single-note leads and cut-through power chords; fully counter-clockwise produces a darker, woolier character useful for drop-tuned rhythm work where excessive treble becomes noise rather than definition.
Turbo I — The Working Mode
Boss’s current product page describes Turbo I as offering “versatile saturation with enhanced low end and midrange.” In sound, it’s the mode that connects most directly to the DS-1’s character: the same general frequency response with the low end extended and the high-frequency content smoothed slightly. It responds well to picking dynamics, especially at moderate Dist settings where the difference between a hard pick attack and a softer one produces audible variation in saturation level. Higher Dist settings still clean up reasonably well with guitar volume adjustments, though not as dramatically as lower-gain circuits.
Turbo I is the mode Cobain used. It was also the mode most studio players discovered first, because it’s the mode the DS-2 defaults to at rest and the one that sounds most familiar coming from a DS-1 background.
Turbo II — The Secret Weapon
Turbo II is different in character, not just in gain. Boss describes it as “a unique high-gain distortion voice with a resonant midrange boost that brings power, impact, and precision to your playing.” The midrange boost is real and audible — it changes the pedal’s EQ profile significantly, emphasizing the frequency range (roughly 1-3kHz) where guitar cut through a mix most effectively. At maximum Dist, Turbo II produces a sustained, almost compressed high-gain tone that works exceptionally well into clean amplifier platforms where the pedal is doing all the distortion work. This is exactly what Prince found useful — running the DS-2 in Turbo II with Dist at maximum into clean amps gave him direct control over his distortion character without introducing amp preamp gain into the equation.
At lower-to-moderate Dist settings, Turbo II’s midrange character is also valuable for lead playing in dense band contexts — the frequency emphasis cuts through drum and bass content that can mask a flatter-EQ distortion voice.
Specifications
| Spec | Boss DS-2 | Boss DS-1 | Pro Co RAT 2 |
|---|---|---|---|
| Release year | 1987 | 1978 | 1988 (current version) |
| Circuit type | Discrete analog (JFET/BJT), two modes | Discrete analog, single mode | Op-amp (LM308), single mode |
| Controls | Level, Tone, Dist, Turbo (I/II) | Level, Tone, Dist | Volume, Filter, Distortion |
| Bypass | Buffered bypass | Buffered bypass | True bypass (since ~2013) |
| Current draw | 15 mA | 2 mA | ~38 mA |
| Remote switching | Yes (1/4″ remote jack) | No | No |
| Input impedance | 1 MΩ | 1 MΩ | 1 MΩ |
| Weight | 395g / 14 oz | 395g / 14 oz | 340g / 12 oz |
| Street price new | ~$99–110 USD | ~$59–69 USD | ~$99–109 USD |
| Price used (excellent) | ~$50–75 USD | ~$35–55 USD | ~$55–80 USD |
Famous Players
Kurt Cobain — The Nevermind Tour Weapon
Kurt Cobain used a Boss DS-1 as his primary distortion source from Nirvana’s earliest days through the recording of both Bleach (1989) and Nevermind (1991). Those records — including “Smells Like Teen Spirit,” “Come as You Are,” and every track on Bleach — were made with the DS-1, not the DS-2. This distinction matters because it’s frequently confused. The DS-2 entered the picture as a touring pedal, not a studio tool.
The transition happened in September 1991, immediately after Nevermind‘s release and the start of the album tour. According to documentation by the researchers at kurtsequipment.com, Cobain’s DS-1 was last seen on September 16, 1991 at Beehive Music & Video in Seattle. Shortly after — most likely following an incident where a DS-1 was smashed on stage and thrown into the audience at Club Babyhead in Providence, Rhode Island on September 25, 1991 — the DS-2 appeared on his board. The first confirmed footage of the DS-2 in use is from September 28, 1991 at the Marquee in New York City.
Cobain’s settings on the DS-2 are documented in detail by the researchers at kurtsequipment.com, sourced from interviews with Nirvana guitar tech Earnie Bailey and crew member Jim Vincent: Level all the way up, Tone at approximately 11 o’clock (sometimes adjusted toward 1 o’clock), Dist usually at maximum (occasionally pulled back to 1–2 o’clock for studio work), and the Turbo mode set to position one — Turbo I, the non-boosted mode. The DS-1 had been set similarly. Cobain didn’t use the DS-2 for its Turbo II capability; he wanted a DS-1 that was quieter and more consistent on the road.
He used the DS-2 through the Nevermind tour and in the MTV Unplugged performance in November 1993. However, by the In Utero tour (1993–1994), the Tech 21 SansAmp Classic had become Cobain’s primary distortion source — the DS-2 was no longer the main signal chain driver. His setup during In Utero shows typically included the DS-2, SansAmp, Electro-Harmonix PolyChorus, and EHX Small Clone, with the SansAmp doing most of the heavy lifting. The DOD Grunge pedal that appears on some lists of Cobain’s gear was, according to Earnie Bailey, “just a joke” that occasionally got thrown into the crowd.
The critical corrective: if someone tells you that Kurt Cobain’s sound on Nevermind was the DS-2, they have the timeline wrong. That record is the DS-1. The DS-2 is what you hear in 1992 and 1993 live footage.
Prince — Purple Turbine
Prince came to the DS-2 about four years after Cobain. According to the Guitar Cloud Prince Equipment Archive — the most comprehensive documentation of Prince’s gear — the DS-2 first appeared on his pedalboard during The Gold Experience era (1995) and remained part of his setup through the 2000s and beyond. By the time Prince had fully developed his live approach of running clean amplifiers and using pedals for all his distortion and drive, the DS-2 occupied a central position alongside the Boss BD-2 Blues Driver as his primary high-gain source.
His approach was the opposite of Cobain’s in almost every way. Where Cobain used Turbo I at similar settings to his old DS-1, Prince ran Turbo II with the Dist knob at maximum — at 5 o’clock on a 12-hour dial, as far clockwise as the control travels. His documented settings are Level at 1 o’clock, Tone at noon, Dist at maximum, Mode II. The Turbo II mode’s resonant midrange boost, combined with maximum Dist and clean amplifier headroom as a platform, produced the kind of controlled high-gain lead tone that could sustain indefinitely without the flabby bottom end that plagues lower-quality high-gain pedals at full saturation.
Prince also ran the DS-2 in an unusual application: processing the Linn LM-1 drum machine through it to create distorted percussion sounds. The idea of putting a drum machine through a guitar distortion pedal to thicken and saturate the drum sound was not unique to Prince — Nine Inch Nails built an entire aesthetic around similar processing — but Prince’s specific use of the DS-2’s Turbo II at maximum for this application reflects the clarity and midrange focus of the circuit even when handling non-guitar signals. One of his DS-2 units is currently on display at Paisley Park.
John Frusciante — Stadium Arcadium’s Double Stack
John Frusciante’s use of the DS-2 is centered on the Stadium Arcadium era (2005–2007), where documentation from Ground Guitar’s analysis of his pedalboard and Dave Lee’s guitar tech interviews confirms he ran two Boss DS-2 Turbo Distortion units simultaneously. The dual-DS-2 configuration allowed for different gain staging and tone shaping on each unit, and both fed into the rest of his signal chain which typically included the Electro-Harmonix Big Muff Pi.
The sequencing of the DS-2 and Big Muff changed over the course of the Stadium Arcadium cycle. Early in the album’s recording and the beginning of the tour, the standard chain was guitar → DS-2 → Big Muff → amp. The DS-2 in this position acts as a gain and frequency-shaping stage before the Big Muff’s four-stage cascaded clipping circuit, essentially driving the Muff harder and adjusting its input impedance. Later in the tour, the chain flipped to Big Muff → DS-2, which produces a noticeably different character — the Big Muff’s softer, more compressed clipping entering the DS-2’s gain structure rather than the other way around.
Dave Lee, Frusciante’s guitar tech during the Stadium Arcadium period, confirmed to jfeffects.com.br in a 2017 interview that the order was changed through experimentation: “John experimented all the time. Moving pedals around, and trying old pedals he would find at music stores. No real reason for the changes. Just experimentation.” Lee does not recall the specific Dist settings Frusciante used, and whether he preferred Japanese-manufactured or Taiwanese-manufactured DS-2 units is undocumented.
Tone Recipes and Settings
Kurt’s Nevermind Tour — Turbo I Maximum
Turbo I, Level all the way up, Tone at 11 o’clock, Dist all the way up. Into a Fender Mustang with a high-output pickup (Cobain often used Seymour Duncan Hot Rails) into a Mesa/Boogie Studio preamp and Marshall cab setup, or a direct Mesa stack. The 11 o’clock Tone setting keeps significant midrange warmth while allowing enough high end for string definition on Cobain’s predominantly barre-chord approach. The maximum Dist setting on Turbo I produces a dense, compressed wall without the mid-boost of Turbo II, letting the amp’s natural character dominate the EQ shape.
Prince’s Gold Experience Lead Tone — Turbo II Maxed
Turbo II, Level at 1 o’clock, Tone at noon, Dist at maximum (5 o’clock). Into a completely clean amplifier — no amp preamp saturation. The DS-2 is doing all the work. The Turbo II mid boost combined with maximum Dist produces a sustained, harmonically compressed lead tone with natural feedback character at stage volumes. The Tone at noon lets the active EQ circuit sit in a neutral position, neither adding brightness nor pulling it back, which preserves the Turbo II midrange emphasis without additional treble shaping. Start here, then adjust Tone by small increments toward your amp’s specific character.
Frusciante-Style DS-2 Into Big Muff Stack
DS-2 Turbo I, Dist at 10–11 o’clock, Tone at noon, Level at unity. Then into an EHX Big Muff Pi with Sustain at maximum and Volume matching your clean output. The DS-2 at moderate gain with Turbo I drives the Big Muff input with a slightly compressed, frequency-shaped signal that produces a different clipping character from the Big Muff alone — tighter low end, better attack definition. This is the guitar-into-DS-2-into-Muff sequence Frusciante used earlier in the Stadium Arcadium cycle. A Gibson Les Paul Standard or high-output humbucker guitar into this chain at moderate amp volume produces a tone that approaches the dense, sustaining character of “Tell Me Baby” or “Dani California.”
Classic Rock Rhythm — Turbo I Medium Gain
Turbo I, Dist at 10 o’clock, Tone at 1 o’clock, Level at unity or slightly above. Into a slightly driven amp — a Marshall JCM800 with the preamp volume at four or five, or a Fender-style amp running slightly hot. The DS-2 at moderate Dist in Turbo I adds density and body to an already-breaking-up amp signal without overwhelming the amp’s natural character. An Ibanez RG550 or similar HSS superstrat sends a higher-output signal that pushes the pedal’s soft clipping stage harder, producing a tighter, more focused distortion than a Strat at the same settings. Suitable for hard rock rhythm work where you want the amp and pedal working together rather than the pedal doing everything alone.
Lead in Turbo II — Live Boost Application
Rhythm tone in Turbo I (any of the above). Lead tone in Turbo II with the same Dist setting but Tone pulled back one or two positions to compensate for Turbo II’s inherent midrange emphasis. The Turbo II mode’s resonant boost is the DS-2’s most unique voice — nothing in the DS-1 produces it, and few competitors at this price point replicate it. Use the Remote jack with a Boss FS-5U footswitch to switch modes without touching the pedal, making this a genuine rhythm-to-lead system in a single box.
How the DS-2 Fits in Your Signal Chain
The DS-2’s buffered bypass means it stabilizes your signal when engaged and passes a buffered signal when bypassed. Unlike true bypass pedals that go completely transparent when off, the DS-2’s buffer helps maintain consistent signal level and high-frequency response across long cable runs and multiple-pedal chains. If you’re running Boss compacts throughout your chain, a DS-2 in the distortion slot fits naturally. If you’re mixing true bypass boutique pedals with Boss compacts, the DS-2’s buffer in the chain can actually help — particularly after long cable runs from guitar to board.
Standard placement: after any compressor or wah, before modulation (chorus, phaser, flanger), before delay and reverb. If you’re running the Frusciante DS-2 → Big Muff sequence, the order matters for tone — DS-2 into Muff produces tighter, more defined saturation; Muff into DS-2 produces a more compressed, smoothed distortion character with the DS-2 acting as a post-Muff gain and EQ shaper rather than a pre-Muff driver.
The Remote jack is one of the DS-2’s most overlooked practical features. Plugging a Boss FS-5U or FS-5L (or FS-6 dual footswitch) into the Remote jack lets you switch between Turbo I and Turbo II without moving to the pedal — the Turbo selector knob on the pedal retains its last-set position but the footswitch overrides it for live switching. For players who use Turbo I for rhythm and Turbo II for lead, this essentially turns the DS-2 into a two-channel distortion system without requiring a second pedal or a channel-switching loop.
How the DS-2 Compares
vs Boss DS-1
The DS-1 is simpler, cheaper (~$60–70 new), and lighter at 2mA current draw versus the DS-2’s 15mA. For players who need one well-defined distortion voice, the DS-1 delivers it at a lower price point. The DS-2 offers the Turbo II mode and the remote switching capability as genuine added value — not just additional controls. If you’ve tried a DS-1 and found it satisfying but wish you had a second, more mid-forward voice for lead playing without changing pedal settings, the DS-2 is the natural upgrade path.
vs Pro Co RAT 2
The RAT 2 uses a different circuit topology (LM308 op-amp with asymmetrical clipping and a Filter control that sweeps from treble-cut darkness to open brightness). The RAT’s Filter control offers a different kind of tonal range than the DS-2’s active Tone — the RAT can get darker and more compressed at maximum Filter rotation than the DS-2 at its darkest Tone position. At moderate to high gain settings with Filter at noon, the RAT has a smoother, more harmonically even character than the DS-2’s discrete transistor circuit. The DS-2 wins on the Turbo II midrange focus and the remote switching capability. At similar street prices (~$99–109 new), these are legitimate alternatives rather than one clearly superior to the other.
vs Boss MT-2 Metal Zone
The MT-2 is a higher-gain, more comprehensively EQ’d distortion — a full three-band active EQ with a parametric midrange control rather than the DS-2’s single Tone knob. For players who need to precisely shape their distortion’s frequency response to cut through specific live room situations, the MT-2’s EQ depth is genuinely useful. The DS-2 is more musical at moderate gain settings and responds better to picking dynamics — the MT-2 at high gain and mid-scooped settings is optimized for a specific heavy metal sound that the DS-2 doesn’t chase. If you want maximum gain and surgical EQ control, MT-2. If you want dynamic response and two usable modes across a wider gain range, DS-2.
vs Marshall JCM800 Preamp Gain
The JCM800 into a clean amp isn’t a direct comparison but it’s the question that gets asked: why use a DS-2 instead of just using your amp’s gain? For players running clean amp platforms (like Prince), the DS-2 puts gain control directly at your feet rather than requiring you to adjust amp settings. For players running a driven amp, the DS-2 in Turbo I at moderate Dist stacks with the amp’s gain rather than replacing it — the pedal and amp distortion character compound in ways that are often more harmonically complex than either alone.
Buying Guide
The DS-2 is in active production as of 2026, widely available new at street prices ranging from approximately $84 to $110 depending on retailer, with $99–$110 typical at major US music retailers. Used examples in excellent condition typically sell for $50–$75 on Reverb and similar platforms.
There are no significant variants or limited editions to navigate. The one collector consideration is manufacturing origin: early DS-2 units produced in Japan (roughly 1987–1989) are sought after by some players who believe the Japanese manufacturing represents a sonic difference, as happened with Japanese-made DS-1 units. Boss production moved to Taiwan sometime in late 1989. If the manufacturing origin matters to you, check the label on the back panel — Japanese units are labeled “Made in Japan.” The circuit topology is identical; any sonic difference between Japanese and Taiwanese units is small enough that Dave Lee, who ran Frusciante’s DS-2 units on tour, doesn’t recall the manufacturing origin being a concern.
The DS-2 draws 15mA at 9V DC — significantly more than the DS-1’s 2mA but still low enough to work with most standard isolated power supply outputs. Check your power supply’s per-output current rating; any standard quality isolated power supply (Strymon Zuma, Cioks DC8, Truetone CS6, etc.) handles 15mA without difficulty. The Remote jack requires a latching footswitch — Boss recommends the FS-5U (single) or FS-5L (single, non-latching) or FS-6 (dual). The FS-5U is the standard choice for Turbo I/II switching, available for approximately $25–35 separately.
Ownership Notes
The single most important practice for getting the most from a DS-2 is running through both Turbo modes extensively at your actual playing settings before settling on a workflow. Many players try Turbo I, find it familiar and usable, and never engage Turbo II long enough to hear what it’s actually doing for their specific guitar and amp combination. Turbo II’s midrange boost sounds very different into a dark-voiced amp (Vox AC30, Fender Deluxe Reverb) versus a mid-forward amp (Marshall JCM800) — the former might make Turbo II exactly what you need for cut-through; the latter might make it congested. Try both before deciding which mode is your primary voice.
The active Tone knob’s behavior rewards exploration at both extremes. Most players who use DS-2s set the Tone at or above noon by habit, getting the brighter character that dominates YouTube demos. The darker range — noon and below — produces a thick, saturated character that works particularly well for rhythm playing in dense mixes where excessive treble content becomes noise. Prince’s noon Tone setting reflects this: he wanted the Turbo II midrange character without additional treble brightness on top of it.
Buffered bypass means the DS-2 passes a buffered signal even when off. If you’re running germanium fuzz pedals (Fuzz Face-style circuits) anywhere in your chain, place them before the DS-2, not after. Germanium fuzzes are sensitive to the buffered output impedance of Boss compacts and can lose their characteristic bloom if fed from a buffer rather than directly from the guitar’s passive signal. Everything else — active pickups, true bypass drives, other Boss pedals — is unaffected by the DS-2’s buffer behavior.
Frequently Asked Questions
Did Kurt Cobain actually use the DS-2 on Nevermind?
No. Bleach and Nevermind were recorded with the Boss DS-1 Distortion. Cobain switched to the DS-2 in September 1991, after Nevermind had already been completed and released. The DS-2 was his touring pedal, first confirmed on September 28, 1991 at the Marquee in New York City. The DS-2 appears on the Nevermind tour, the In Utero tour (though the SansAmp was his main distortion by then), and on his 1993 MTV Unplugged performance.
Which Turbo mode did Kurt Cobain use?
Turbo I — the non-boosted mode. His settings were Level at maximum, Tone at approximately 11 o’clock, Dist at maximum, Turbo mode at position one (Turbo I). These are essentially the same settings he used on his DS-1. He was not using the DS-2 for its Turbo II capability; he wanted a more reliable and quieter version of the same general sound.
Which Turbo mode did Prince use?
Turbo II, with Dist at maximum (all the way to 5 o’clock). Prince’s documented settings from the Guitar Cloud Prince Equipment Archive are Level at 1 o’clock, Tone at noon, Dist at maximum, Mode II. He used clean amplifiers and let the DS-2 handle all the distortion in his signal chain, running Turbo II at maximum gain into the clean amp’s headroom.
What’s the practical difference between Turbo I and Turbo II?
Turbo I produces a versatile distortion with enhanced low end and midrange that responds well to picking dynamics — closer to the DS-1’s character with more fullness. Turbo II adds a significant resonant midrange boost and higher gain, producing a more focused, compressed sound that cuts through dense mixes more aggressively. Turbo I is better for situations where you want to preserve the amp’s natural character and respond dynamically to picking intensity. Turbo II is better for situations where you need a consistent, mid-forward lead voice regardless of playing style, or when you’re running into clean amplifiers and need the pedal to provide all the distortion character.
What does the Remote jack do and what footswitch do I need?
The Remote jack lets you switch between Turbo I and Turbo II using an external footswitch without touching the DS-2’s Turbo selector knob. This is one of the DS-2’s most practical live features. The compatible footswitch types are the Boss FS-5U (single latching) or FS-5L (single non-latching) — available separately for approximately $25–35. The FS-6 dual footswitch also works. The Remote jack effectively turns the DS-2 into a two-channel distortion system: rhythm tone in Turbo I, lead tone in Turbo II, switchable with your foot from any position on stage.
Is the Boss DS-2 the same as the DS-1?
Related but not identical. The DS-2 evolved from the DS-1 architecture — the same general discrete analog circuit approach with buffered bypass — but added the Turbo selector and all the circuit engineering that creates Turbo II’s distinct midrange boost. The Tone control on the DS-2 is active rather than the DS-1’s passive design. The DS-2 also draws 15mA versus the DS-1’s 2mA, which reflects the additional circuitry. In Turbo I at similar gain settings the characters are related, but they’re not identical pedals.
Are Made in Japan Boss DS-2 units worth seeking out?
Early Boss DS-2 units (approximately 1987–1989) were manufactured in Japan. Production moved to Taiwan after that, and has continued in Taiwan since. Some players and collectors pay a premium for Japanese-manufactured Boss compacts based on a belief in sonic differences between manufacturing origins. John Frusciante’s guitar tech Dave Lee, who ran DS-2 units on the Stadium Arcadium world tour, does not recall this being a concern for Frusciante. The circuit is identical between Japanese and Taiwanese versions. If the manufacturing origin matters to you, check the back panel label before purchasing used; new production DS-2 units are Taiwanese.
How does the DS-2 perform as a clean boost?
In Turbo I with Dist at minimum and Level above unity, the DS-2 functions as a clean boost with mild soft clipping character — useful for pushing a tube amp into overdrive harder or increasing signal level for leads. It won’t provide the completely transparent boost of a dedicated boost pedal (like a Klon-style overdrive at low gain), but it’s a functional application at the low end of the Dist range, particularly if you’re already using the DS-2 for distortion and want to repurpose it as a boost in a secondary mode via the Remote jack setup.