Valeton Dapper Bass Effects Strip

The chorus is okay, I usually have it set around "Noon". Gives me just enough chorus sound.

The octave is cool, but like some other octave pedals, it can sound out-of-tune with the lowest notes. A-string and higher, it is golden.

The bass amp is awesome, I really like that feature. I play in a cover band and like this option if I need to emulate a completely different sound from my main amp tone settings (i.e. I usually have it ON during funkier songs and such).

The Dirty Q is a decent envelope filter. I like the sound better with the fuzz ON. I use it specifically for some pop songs that have that sound (i.e. Pony, by Genuwine)

The Compression/Boost: I use it only for the boost for certain pop song refrains that need that extra "kick". Works great, no issues.
I don't think the compression is all that great, but it can come in handy if/when needed. I personally would use a separate compression pedal.

The tuner is not the best. It seems too sensitive. I like my clip-on tuners better. Maybe others have had a better experience with the tuner?

I also like this pedal because I can use it as a DI box for my church band gigs. Plus, with the "Bass Amp" feature, my tone is not at the mercy of the house PA and/or the individual running it. LOVE THIS.

This was the first pedal I bought, and it opened the door for me to purchase many more. The tracking is great. No latency. No loss of sound. I would buy again.

It's lightweight, slim, but made well.

For the price, it's a GREAT value for what you get out of it.

The Valeton Dapper Bass Effects Strip is a fantastic all-in-one recording and performing solution. It’s perfect for bassists looking to augment or replace their amplifier or pedalboard during occasions where traveling lightly and quick set up/tear down time are essential. Its arsenal of tone shaping options, effects, and connectivity will serve players of any style. Starting from the right and moving left, let’s cover each sound module and the main features.

The Boost/Comp section is a well done compromise. I keep the gain knob nearly all the way down, as I use this primarily as a compressor. There isn’t a lot of headroom for instruments with hotter pickups, like my DiMarzio Model P equipped precision, but after some careful balancing of the amp and comp levels, I was able to simulate the response I get from my Boss CS-2 running into my Tech 21 VT Bass preamp. I always run compression, so I’m glad I was able to find a workable balance between the gain and compression level. The tuner is activated via the boost/comp button. It is clearly visible, accurate, and mutes your signal while engaged. Having a built in tuner eliminates the need for another pedal, patch cables, and power. Now you can ditch that unsightly clip on!

Next is the Dirty Q section, a Bassballs style envelope filter with an additional fuzz switch. The sensitivity is best kept very low; anything past 9 o’clock opens the effect up far too much for my taste. With the volume all the way up, there isn’t any noticeable low end loss. The fuzz switch adds some interesting overtones at the cost of low end punch. It’s fun, but this is probably the least important feature of this unit. In later iterations, I’d prefer to see this portion nixed in favor of expanding the controls of the compressor section.

The Bass Amp section is the heart of the pedal, replicating vacuum tube responsiveness in lieu of an amp. It can also be used as a second overdriven channel for heavier sounds. It does an admirable job of subbing for my trusty Tech 21 VT Bass preamp, another one of my ‘always on’ pedals. Low and higher gain settings are both warm and articulate, and the EQ is voiced beautifully for my passive four string precision.

The Octave effects’ DNA is sequenced from a Boss OC-2, with controls for dry volume, one octave down, and two octaves down. While it doesn’t track perfectly (another nod to its roots), it has plenty of power to add beef to single note lines farther up the neck.

At first, the simplicity of the Chorus had me doubtful. But you’ll get all the Peter Hook on tap that you need. No matter where you set the knob, it sounds great.

Clear rubber rings around the controls make it easy to see the illuminated knobs in the module that is active. A few of them feel more wobbly than others; forgivable considering the price. The footswitches feel firm, with a slightly audible click heard when changing effects (this may become less noticeable as they are broken in). The button height is also a bit taller than the comparable Tech 21 unit, giving it a larger profile, which may make it harder to fit into some gig bags and cases. Overall the build quality is solid, and I expect it to last for quite a long time. Two ¼” and one XLR output give you plenty of connectivity options, to route the pedal to a soundboard or recording interface, or for integrating into a multiple amp setup (the thru output leaves the pedal before the signal is processed). An effects loop is placed between the Amp and the Octave modules. It does not have a separate footswitch to activate it, which is understandable given the space constraints. A 9V DC power supply is included, and a ground lift switch for the XLR output rounds out the unit.

Overall impression: This is a fantastic value for a solidly built swiss army knife pedal. If you have any reservations about spending $300 USD on the Tech 21 unit, this will get you most of its features at nearly half the price. In a pinch, it will cover 80% of your needs in an original or cover setting. Impressive, considering you could leave the other 80% of your rig at home.

Full play through demo here (no talking):