I remember a post where somebody was talking about using the same pedalboard for guitar and bass, calling it a bisexual pedalboard. How many of you use the same board for bass and guitar, and what pedals do you have on it?
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Bisexual Pedalboard?
- Thread starter Kormak
- Start date
not bisexual but bi-bassual, as I use my upright through it now (when using the bow) as well as my Stingray 5.
In order:
- Xotic X-blender (blender, very important to me)
- POG2
- EBS chorus/flanger
- Iron Ether Oxide
- EBS phaser
- EBS compressor
I may actually count double, as i run my guitar through my board and my bass amp (LH500) as well.
all i can say is that the chorus plus the supercollider is absolutely massive with my my guitar
all i can say is that the chorus plus the supercollider is absolutely massive with my my guitar
I tried having that type of board for an unplugged-then-plugged gig last year. I played acoustic guitar in the first part then switched to bass in the plugged setting. Didn't want to carry 2 boards (shoulda). I can't find the pic and don't remember the exact chains, but I used:
Boss CS-3, EHX LPB-1, PBDDI, TU-2, EHX Neo Clone, BBE SonicMax, Boss NS-2, EHX Memory Toy (probably), all mounted on a home-made board. There were probably pedals as well and I also use a JDI ProDI box.
I remember having to change chains during the break and thinking "there's gotta be a better way to do this". That prompted me to review and downscale the bass PB, sell the unneeded pedals and set-up a different board for guitar. Works for me.
Boss CS-3, EHX LPB-1, PBDDI, TU-2, EHX Neo Clone, BBE SonicMax, Boss NS-2, EHX Memory Toy (probably), all mounted on a home-made board. There were probably pedals as well and I also use a JDI ProDI box.
I remember having to change chains during the break and thinking "there's gotta be a better way to do this". That prompted me to review and downscale the bass PB, sell the unneeded pedals and set-up a different board for guitar. Works for me.
I don't yet, but eventually I will and I will try to post them here. I haven't quite mastered the Oxide as part of the chain with the bowed double bass (I do use it with the bass guitar), but bowed bass ==> POG 2 ==> chorus ==> phaser is quite spectacular. I will figure it out with the Oxide as well - you just have to have it set right or the sound blows up completely.
This came about because a drums/keyboard duo that writes their own original hard rock/jazz fusion stuff asked me to play upright with them. The keyboard guy really plays bass with his left hand, so they asked me to bow instead. Once I started with that, I brought along the pedalboard and they loved it.
Here's a clip of Miles Mosley bowing through his pedalboard that you might enjoy -
I don't exactly have a "bi" board the way you describe it, but I do have one board for both guitar and bass. No matter what the gig, same board. Some pedals are primarily for guitar, some are primarily for bass, and some go both ways. tee-hee.
Here's what's loaded up right now:
Bass Big Muff (B)
Big Muff w/Tone Wicker (G)
Bad Monkey (B / G)
Crunch Box (G)
Tube Screamer (B / G)
Micro POG (B / G)
Tuner (B / G)
Here's what's loaded up right now:
Bass Big Muff (B)
Big Muff w/Tone Wicker (G)
Bad Monkey (B / G)
Crunch Box (G)
Tube Screamer (B / G)
Micro POG (B / G)
Tuner (B / G)
would that be a board with a BDPG and a Big Muff on it? or a Cioks P**** Power?
Swollen Pickle next to a Big Muff, maybe ...
I'll take some more of that 
Ain't no way I'm spending money on a new board solely for guitar until I can actually play more than four chords, lol. So for now, yeah, my board is pulling double duty.
My effects get used for my bass, my guitar, and my 8-string guitar which has the range of a guitar and a bass.
The gear which gets used the most is Electro Harmonix POG2 -> Boss ME-50B -> TC Electronic Nova Modulator -> Muza FD-900 M Ambience reverb/delay pedal.
The ME-50B is tremendously flexible, and I often will use only it and the FD-900 for all kinds of electric guitar and acoustic guitar stuff. The Enhancer and Hollow modes, combined with the great EQ and the Natural compressor, are great for acoustic, and if I can avoid taking an additional Boss AD-8 or AD-5 with me, it's a bonus.
I also use the ME-50B as an easy-to-tweak synthesis box, not just using the built-in synths, but also combinations of other effects like the Resonance pedal, the Slow Attack, and so on.
----
I also have a board which is for dedicated synthesis with my 8-string, and it has things like my Groove Regulator with all kinds of switchable things in the loop (Blowtorch, MI Audio GI Fuzz, Mastotron, Brown Dog). It also has a cable run for the Korg PX5D (great synths inside), and my Korg G5 and X911, my M13, and the Zoom B3 (which might supplant the G5, as it contains the model for it). It also has a POG2 on it.
The gear which gets used the most is Electro Harmonix POG2 -> Boss ME-50B -> TC Electronic Nova Modulator -> Muza FD-900 M Ambience reverb/delay pedal.
The ME-50B is tremendously flexible, and I often will use only it and the FD-900 for all kinds of electric guitar and acoustic guitar stuff. The Enhancer and Hollow modes, combined with the great EQ and the Natural compressor, are great for acoustic, and if I can avoid taking an additional Boss AD-8 or AD-5 with me, it's a bonus.
I also use the ME-50B as an easy-to-tweak synthesis box, not just using the built-in synths, but also combinations of other effects like the Resonance pedal, the Slow Attack, and so on.
----
I also have a board which is for dedicated synthesis with my 8-string, and it has things like my Groove Regulator with all kinds of switchable things in the loop (Blowtorch, MI Audio GI Fuzz, Mastotron, Brown Dog). It also has a cable run for the Korg PX5D (great synths inside), and my Korg G5 and X911, my M13, and the Zoom B3 (which might supplant the G5, as it contains the model for it). It also has a POG2 on it.
bongomania
Commercial User
I use this board for my Lindert "Bass VI" (six-string guitar, 30" scale, tuned like a bass but with two higher strings):
The one thing missing is the Exar Chorus, I'm just waiting on the arrival of their newer model. I may be able to squeeze it in with just some rearrangement, or I may have to use a smaller compressor. I have a few options there.
The Venue is a reverb with a low-cut filter, the Valve Job is an overdrive (heavily modded), and the pedal on the bottom left is a Robot Factory custom-made two-channel tremolo.
The one thing missing is the Exar Chorus, I'm just waiting on the arrival of their newer model. I may be able to squeeze it in with just some rearrangement, or I may have to use a smaller compressor.
I have a few options there.The Venue is a reverb with a low-cut filter, the Valve Job is an overdrive (heavily modded), and the pedal on the bottom left is a Robot Factory custom-made two-channel tremolo.
My pedalboard is used for
* playing bass and lead on my 7-string Ergo cello
* electric guitar
* mandolin
Sometimes all of these in the same show.
It looks like this:
At the lower right is a Saturnworks AA/BB switch. My E-cello has two pickups therefore two outputs. The pickups best for plucked notes go into the top input, the pickups best for bow go into the bottom input. The AA/BB switch makes only one input active at once.
So, either the top row of the pedalboard, or the bottom row, is active at any one time.
The top row is a Behringer ADI21 into a Digitech XBS dual band compressor, into a Digitech BP355.
The bottom row is a Behringer ADI21 into a Tech21 Double Drive 3X into a Saturnworks passive cut pedal into a Digitech RP355.
If I have a multi-instrument show, I can use A/B switches to multiplex multiple instruments into the bottom (lead) input. I turn off the ADI21 for instruments that don't need it. There are separate patches on the RP355 for various instruments.
The board gets a separate XLR output from each of the 355 units. That way they can EQ my bass and lead roles separately when I'm doing both at the same show.
I mix the 1/4" outputs of both into various rigs. If I'm doing lead only I run into the power amp input of a Peavey Renown (175 watt sold-state 2x12 combo). If I'm playing bass and lead, I run into a Carvin B2000 head into one or two Acme Low B2 cabs. Both configurations sound great for lead, the Acmes additionally sound great for bass.
I feel I get the best of digital amp modeling and analog drives with this rig. 99% of the time I use the Fender Twin model on the bottom (lead) row. If I put it into stompbox mode, the 355 provides me with a fourth clean boost, a rotary sim or chorus depending on which patch I'm on, and a delay. The only serious lack is tap tempo for delay; I miss that somewhat. If it bothers me I set aside another patch for songs where I need controllable delay tempo, and program the pedal to control it.
The top row, I found that preset 1 (an SVT sim) is actually close to what I would have spent hours trying to program myself. I have yet to fully explore the options. I'm not a big user of effects for bass playing, so I might leave the BP355 in preset mode and use the AMP A/B switch for a clean boost or cut. I'm not sure what use I'd make of the expression pedal on that side of the rig; I'm not a big bass wah person either. I mainly got the 355 instead of a smaller Digitech bass modeler because it has XLR outputs, and has enough guitar amp models to serve if the other 355 unit fails during a gig.
Oh, and the lead side runs through an EH Hum Debugger; my cello needs it whenever there is bad ground in a building. There's room for a second one, for the bass half of the rig, but I rarely have hum problems with that output of my cello.
* playing bass and lead on my 7-string Ergo cello
* electric guitar
* mandolin
Sometimes all of these in the same show.
It looks like this:
At the lower right is a Saturnworks AA/BB switch. My E-cello has two pickups therefore two outputs. The pickups best for plucked notes go into the top input, the pickups best for bow go into the bottom input. The AA/BB switch makes only one input active at once.
So, either the top row of the pedalboard, or the bottom row, is active at any one time.
The top row is a Behringer ADI21 into a Digitech XBS dual band compressor, into a Digitech BP355.
The bottom row is a Behringer ADI21 into a Tech21 Double Drive 3X into a Saturnworks passive cut pedal into a Digitech RP355.
If I have a multi-instrument show, I can use A/B switches to multiplex multiple instruments into the bottom (lead) input. I turn off the ADI21 for instruments that don't need it. There are separate patches on the RP355 for various instruments.
The board gets a separate XLR output from each of the 355 units. That way they can EQ my bass and lead roles separately when I'm doing both at the same show.
I mix the 1/4" outputs of both into various rigs. If I'm doing lead only I run into the power amp input of a Peavey Renown (175 watt sold-state 2x12 combo). If I'm playing bass and lead, I run into a Carvin B2000 head into one or two Acme Low B2 cabs. Both configurations sound great for lead, the Acmes additionally sound great for bass.
I feel I get the best of digital amp modeling and analog drives with this rig. 99% of the time I use the Fender Twin model on the bottom (lead) row. If I put it into stompbox mode, the 355 provides me with a fourth clean boost, a rotary sim or chorus depending on which patch I'm on, and a delay. The only serious lack is tap tempo for delay; I miss that somewhat. If it bothers me I set aside another patch for songs where I need controllable delay tempo, and program the pedal to control it.
The top row, I found that preset 1 (an SVT sim) is actually close to what I would have spent hours trying to program myself. I have yet to fully explore the options. I'm not a big user of effects for bass playing, so I might leave the BP355 in preset mode and use the AMP A/B switch for a clean boost or cut. I'm not sure what use I'd make of the expression pedal on that side of the rig; I'm not a big bass wah person either. I mainly got the 355 instead of a smaller Digitech bass modeler because it has XLR outputs, and has enough guitar amp models to serve if the other 355 unit fails during a gig.
Oh, and the lead side runs through an EH Hum Debugger; my cello needs it whenever there is bad ground in a building. There's room for a second one, for the bass half of the rig, but I rarely have hum problems with that output of my cello.
