Anyone else use a wide array of always on pedals/effects for their basic "clean" tone?

[NoiseNinja]

I suspect, looking at your signal chain, that the reason you have so many 'always-on' pedals is because you're not using a dedicated bass preamp/di box, almost all of which consolidate your always-on effects into one unit.
Your signal flow goes Bass>Comp>Octave up>low-gain OD>Reverb>Comp>Amp-in-a-box>Comp>Preamp>amp.

Let's look at some other units on the market:
Ampeg Scrambler DI: EQ, OD, Amp-in-a-box.
Eden WTDI: EQ, mid scoop, Comp, OD (integrated into the gain control), Amp-in-a-box.
Aguilar Tone Hammer: EQ, OD, Amp-in-a-box.
Gallien-Krueger Plex: EQ, OD, Comp, Amp-in-a-box.
EBS Microbass 3: EQ, Comp, OD, Amp-in-a-box.
MXR M80: EQ and Distortion.

In other words, the only always-on effects you need to have separately are the TC Sub'n'Up and the Zoom Reverb. All the others could easily be replaced with a single unit, from a variety of different manufacturers.
I would suggest consolidating your board somewhat.
It will drastically reduce noise, improve signal, and give you more room on your board for other effects to experiment with.
For comparison, here's my board:
View attachment 4422397
The top row is always-on, and consists of a tuner, a switcher between my two basses, a tube preamp, and an Eden WTDI which gives me EQ, OD, and compression if I want it.
The bottom row is then free for effects. (The JHS compressor is used as a slap preset, ergo not always on). I haven't gone through your board, but it looks like I have about half the effects you do on a board a quarter the size.

Something to think about. I'm not necessarily saying that my way is better than yours (if what you're doing works for you, then more power to you), but that number of pedals of (trying not to be sniffy) variable build quality is going to degrade the quality of your sound and introduce electrical noise.

Hope I've been helpful.


Peace, SoundSupport

At the risk of sounding snappy, but please don't take it as such, I am aware that you are only trying to be helpful :

And which amp-in-a box will you suggest that sounds exactly as all the very specific EQ'ing done and coloration by various devices, including my EQ based cab sim (which admittedly though essentially pretty much translate to a LPF @ 3.5kHz -12dB/Oct + the HPF @ 40Hz build into my ART tube preamp)?

Also you have one comp too many in the equation, as I have set my Black Finger, as explained in my OP, it basically functions exclusively as tube preamp stage, as the compression never actually kicks in.

I'm more curious about why you play a bass tuned up. Does it just work better with the band your in?

Yes.

It's a bass and drums duo, with parts written to accommodate that, and the bass played more like a crossover between traditional bass, baritone guitar and guitar.

Can you post a recording of your clean sound? Curious as to what this sounds like. I do use an always on comp. pretty boring for this thread!

I'll try to pull myself together to record an audio sample at some point.

 

[pepj]

Nope.

 

[soundsupport1]

At the risk of sounding snappy, but please don't take it as such, I am aware that you are only trying to be helpful :

And which amp-in-a box will you suggest that sounds exactly as all the very specific EQ'ing done and coloration by various devices, including my EQ based cab sim (which admittedly though essentially pretty much translate to a LPF @ 3.5kHz -12dB/Oct + the HPF @ 40Hz build into my ART tube preamp)?

Also you have one comp too many in the equation, as I have set my Black Finger, as explained in my OP, it basically functions exclusively as tube preamp stage, as the compression never actually kicks in.




Yes.

It's a bass and drums duo, with parts written to accommodate that, and the bass played more like a crossover between traditional bass, baritone guitar and guitar.



I'll try to pull myself together to record an audio sample at some point.

There is no amp-in-a-box that sounds exactly like the one you want. You asked for opinions, I suggested a sensible enough consolidation of multiple boxes in your chain into one unit.
You didn't mention that you played in a bass and drums duo, which is going to have a wildly different set of requirements and necessary additional sounds to the traditional role a bass plays in a band context.

If you're going to get antsy about differing opinions, what, exactly, is the point of this thread?

Peace,
SoundSupport

 

[Bunk McNulty]

As posted elsewhere: For years I had an EBS Multi-Comp, a BBE Sonic Stomp, and a cute little clean boost from Southampton. Last summer I did a gig with no pedals at all. End of the first set, our sound guy came up to me and said “You sound great! What did you do?”

 

[Zbass82]

Sans amp BDDI V2 into Darkglass X7 into Bergantino Forté HP with High/Low Pass filters and compressor engaged.

 

[NoiseNinja]

My OP :

So it got me curious and thinking, do anyone else use a wide range of different always on pedals/effects to obtain their basic "clean" tone?

My reply to you :

At the risk of sounding snappy, but please don't take it as such, I am aware that you are only trying to be helpful :

If you're going to get antsy about differing opinions, what, exactly, is the point of this thread?

 

[pglaser01]

I use quite a wide array of always on pedals/effects to achieve my basic "clean" tone.

I guess partially because it is an "amp-less" setup, so I have to mimic what an amp and cab does as well.

So it got me curious and thinking, do anyone else use a wide range of different always on pedals/effects to obtain their basic "clean" tone?


I personally use no less than 10 always on pedals/effects (counting the ART tube preamp last in my signal chain among them).

So excluding all other effects/pedals that will only be engaged once in a while that makes my always on basic "clean" tone signal chain look like this :

My "amp-less" setup in written form (only including always on effects) :

4 string 28,6" scale Ibanez GSRM20 neck + GSRM20B body Mikro Bass (equipped with an EMG Geezer Butler P pickup, wired directly to the output jack socket, and strung with gauge .090 - .072 - .054 - .040 D'Addario XL nickle plated roundwound hex steel core strings, tuned in F# standard tuning, 2 half steps above regular 4 string bass E standard tuning) ->>

TC Electronic SpectraComp (always on 3 band parallel compression, adding extra punch, snap and bite, but without really affecting my playing dynamics) ->> TC Electronic Sub'N'Up Mini (always on digital polyphonic octaver, used as an 1 octave up effect mixed with clean bass signal, giving an effect similar to that of an 8 string "octave" bass, with pairs of respectively bass and octave strings) ->> Boss LS-2 [A+B Mix <-> Bypass] (always on parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Orange Juice (always on low gain overdrive, really primarily used to enhance harmonic content, [Tone] set at about 11 o'clock, [Voice] set to boost a wide curve around a 800Hz center frequency about +3dB pre gain stage, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> (empty effects loop for clean {bass+octave up} signal blend with Orange Juice in effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=>> Artec SE-EQ8 (always on 8 band graphic equalizer, settings as follows: [Freq=100Hz LoShlv Boost=+1dB ; Freq=170Hz Q=wide Boost=+1dB ; Freq=280Hz Q=narrow Boost=+3dB ; Freq=500Hz Q=narrow Boost=+2dB ; Freq=800Hz Q=narrow Boost=+1dB ; Freq=1.4kHzHz Q=narrow Boost=+2dB ; Freq=2.3kHz Q=wide Boost=+3dB ; Freq=5kHz HiShlv +/- 0dB]) ->> Zoom G1Xon (Always on subtle plate reverb, and additionally used for 4 other reverb patches) ->> Zoom MS-70CDR (Always on "160 Comp" (emulating a DBX 160A compressor), set to a quite subtle compression -> always on 2 x 2 band parametric EQ : [Freq=63Hz Q=4 Boost=+1dB ; Freq=250Hz Q=4 Boost=+1dB ; Freq=400Hz Q=4 Boost=+1dB ; Freq=1kHz Q=4 Boost=+1dB[/I]] -> always on faux, EQ based, cab sim, consisting of a 2 band parametric EQ set as follows: [Freq=12kHz Q=1 Cut=-18dB ; [I]Freq=20kHz Q=0.5 Cut=-20dB], and additionally used for a lush Church reverb that can be switched on/off) ->> Joyo American Sound (always on clean preamp (gain set to ever so slightly break up when digging in the hardest), a Tech 21 Blonde clone, analog emulation of a Fender type amp, with a wide curve around the center frequency of 400Hz boosted about +3dB, and an about +3dB pre gain stage boost to a wide curve around the center frequency of 800Hz)

->> EHX Black Finger (always on tube driven optical compressor, used primarily as a tube preamp stage, set so that the compression basically never kicks in) ->> ART Tube MP Project Series (tube preamp, with HPF fixed @ 40Hz)

->> [Effects Return] (poweramp input) of Peavey Solo Special 112 (160W, solid state guitar combo, with the build in 4 Ohm 12" speaker unit disconnected and instead hooked up to a The Box PA 502 PA speaker) ->> The Box PA 502 (full range PA speaker with 1x 15" woofer/mids driver + 1.7" high frequency tweeter horn)


View attachment 4421485
(The Valeton Aquaflow Vintage Chorus has since been swapped out for a TC Electronic Shaker Mini, loaded with a customized chorus patch. The white goo is hot glue, use to fix the settings on some of the pedals)

 

[Echovox]

I have one pedal that is on all the time. The Night Owl Industries Edison Tube Preamp.

 

[Turtle71]

I guess I technically have 2 "clean" tones depending on the band.

Option 1...Seymour Duncan Studio Bass comp into my trusty BDDI V2 (once in a while my spark mini for boost)

Option 2...Same as above but with a light OD from my Aftershock.

I certainly have & use other FX as needed, but one of the above are basically my "always on" tone.

 

[MotorCityMinion]

"If you absolutely have to be pedantic at least make sure you are also actually absolutely right before going through with it."

Where's the fUn iN tHat?

I'll look up pedantic later tonight when the shades are drawn and no one is looking.

That will be the name of my next clean pedal, The Pedantic.

"So what is your theory then on why exactly I use citation signs around "clean"? "

On this side of the pond we call them...
quo·ta·tion mark
/kwəˈtāSHən ˌmärk/
Learn to pronounce

nounplural noun: quotation marks

1. each of a set of punctuation marks, single (‘ ’) or double (“ ”), used either to mark the beginning and end of a title or quoted passage, or to indicate that a word or phrase is regarded as slang or jargon or is being discussed rather than used within the sentence.
   

Definitions from Oxford Languages

 

[JeezyMcNuggles]

I use quite a wide array of always on pedals/effects to achieve my basic "clean" tone.

I guess partially because it is an "amp-less" setup, so I have to mimic what an amp and cab does as well.

So it got me curious and thinking, do anyone else use a wide range of different always on pedals/effects to obtain their basic "clean" tone?


I personally use no less than 10 always on pedals/effects (counting the ART tube preamp last in my signal chain among them).

So excluding all other effects/pedals that will only be engaged once in a while that makes my always on basic "clean" tone signal chain look like this :

My "amp-less" setup in written form (only including always on effects) :

4 string 28,6" scale Ibanez GSRM20 neck + GSRM20B body Mikro Bass (equipped with an EMG Geezer Butler P pickup, wired directly to the output jack socket, and strung with gauge .090 - .072 - .054 - .040 D'Addario XL nickle plated roundwound hex steel core strings, tuned in F# standard tuning, 2 half steps above regular 4 string bass E standard tuning) ->>

TC Electronic SpectraComp (always on 3 band parallel compression, adding extra punch, snap and bite, but without really affecting my playing dynamics) ->> TC Electronic Sub'N'Up Mini (always on digital polyphonic octaver, used as an 1 octave up effect mixed with clean bass signal, giving an effect similar to that of an 8 string "octave" bass, with pairs of respectively bass and octave strings) ->> Boss LS-2 [A+B Mix <-> Bypass] (always on parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Orange Juice (always on low gain overdrive, really primarily used to enhance harmonic content, [Tone] set at about 11 o'clock, [Voice] set to boost a wide curve around a 800Hz center frequency about +3dB pre gain stage, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> (empty effects loop for clean {bass+octave up} signal blend with Orange Juice in effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=>> Artec SE-EQ8 (always on 8 band graphic equalizer, settings as follows: [Freq=100Hz LoShlv Boost=+1dB ; Freq=170Hz Q=wide Boost=+1dB ; Freq=280Hz Q=narrow Boost=+3dB ; Freq=500Hz Q=narrow Boost=+2dB ; Freq=800Hz Q=narrow Boost=+1dB ; Freq=1.4kHzHz Q=narrow Boost=+2dB ; Freq=2.3kHz Q=wide Boost=+3dB ; Freq=5kHz HiShlv +/- 0dB]) ->> Zoom G1Xon (Always on subtle plate reverb, and additionally used for 4 other reverb patches) ->> Zoom MS-70CDR (Always on "160 Comp" (emulating a DBX 160A compressor), set to a quite subtle compression -> always on 2 x 2 band parametric EQ : [Freq=63Hz Q=4 Boost=+1dB ; Freq=250Hz Q=4 Boost=+1dB ; Freq=400Hz Q=4 Boost=+1dB ; Freq=1kHz Q=4 Boost=+1dB[/I]] -> always on faux, EQ based, cab sim, consisting of a 2 band parametric EQ set as follows: [Freq=12kHz Q=1 Cut=-18dB ; [I]Freq=20kHz Q=0.5 Cut=-20dB], and additionally used for a lush Church reverb that can be switched on/off) ->> Joyo American Sound (always on clean preamp (gain set to ever so slightly break up when digging in the hardest), a Tech 21 Blonde clone, analog emulation of a Fender type amp, with a wide curve around the center frequency of 400Hz boosted about +3dB, and an about +3dB pre gain stage boost to a wide curve around the center frequency of 800Hz)

->> EHX Black Finger (always on tube driven optical compressor, used primarily as a tube preamp stage, set so that the compression basically never kicks in) ->> ART Tube MP Project Series (tube preamp, with HPF fixed @ 40Hz)

->> [Effects Return] (poweramp input) of Peavey Solo Special 112 (160W, solid state guitar combo, with the build in 4 Ohm 12" speaker unit disconnected and instead hooked up to a The Box PA 502 PA speaker) ->> The Box PA 502 (full range PA speaker with 1x 15" woofer/mids driver + 1.7" high frequency tweeter horn)


View attachment 4421485
(The Valeton Aquaflow Vintage Chorus has since been swapped out for a TC Electronic Shaker Mini, loaded with a customized chorus patch. The white goo is hot glue, use to fix the settings on some of the pedals)

Tuner.

 

[packhowitzer]

Broughton HPF/LPF and OvniFX Smoothie. so not a wide array.

 

[Ellery]

Only a Broughton Always-On HPF.
Used for all my setups, styles, clean or not.

 

[cataract]

I never play “clean” because my Rusty Box is always on. And it’s going into a SansAmp RBI that’s slamming the front input of my GK 400RB.
Pedal- wise I usually have at least one other “dirty pedal” going for extra flavor.
I just ordered an Old Blood Noise Endeavors Signal Blender & very much look forward to experimenting with running three channels in parallel.
Two other pedals on the way (so, not pictured) = EAE Halberd v2 & Fuzzrocious The Demon

 

[cataract]

Only a Broughton Always-On HPF.
Used for all my setups, styles, clean or not.

It’s a good one! I still don’t know which way the knob works lol but I’ve got mine set “just so”

 

[40Hz]

the excessive amount of always on effects that I use

In all fairness, I don’t think the term ‘excessive’ would apply if it is getting you exactly the sound you’re looking for.

Maybe what you’re doing isn’t the most efficient way of going about it in terms of the number of devices being used. But I’d have no way of knowing that without actually hearing the sound itself.

FWIW I’ve done work with some small two and three piece semi-experimental ensembles. Most times they were made up of me, a drummer/percussionist, and a multi-instrumentalist who often played one or more fairly exotic instruments. In a group like that everyone had to assume several different roles in the arrangements. And when it ties up both hands to play an instrument, a cleverly constructed signal path through a number of carefully chosen effect pedals opens up possibilities that wouldn’t be there otherwise.

I suppose it’d make more sense to just use a couple of wave table synths and call it a day. But you have to work with the players and instruments you’ve got.

And besides, where’s the challenge and fun in doing sound design exclusively with synths and samplers? Anybody can do it that way.

 

[tedsalt]

Effectrode LA-1A, Arkham Sound Oracle, Rupert Neve DI (RNDI). It's a glorious sound!

Pedalboard-2020-07-30

• tedsalt
• Sep 30, 2021
• arkham oracle cioks dc7 la-1a oracle rndi

tuner, Effectrode LA-1A, Arkham Sound Oracle, Rupert Neve DI (RNDI)

 

[Lowbrow]

Nope. Gotta say that I’ve been performing since 1978 and didn’t dream of using an effect until I joined TB in 2008. Today, if I play in a loud 3-piece rock band I may use an overdrive for girth. But for a clean tone? Nope, never.

 

[vvvmmm]

I have some pedals.

Ok, lots of pedals.

But I don't have a single "always on".

H*ll, I even change 'em in the same song - or turn 'em all off.

 

[gh0st42]

Always 0n these days for me is pretty limited.
Broughton Monocomp-> Broughton Studio One-> Broughton Archetype Preamp (Does a Mains powered preamp even count?)

It's an interesting approach, and I can understand that many pedals being Always On for your "Clean Tone" from a using what you've got to accomplish a goal perspective, and not knowing what your tone sounds like, I'm doubtless missing a lot of context, but personally, I look at your signal path and described use case, and can't help but think I could accomplish similar with 1/2 to 1/4 as many pedals that were built and designed for what you are trying to do with them all.

It's an awful lot of complexity to make your sound work in an "Ampless/Speakerless" situation.
Lots of potential points of failure. Lots of power supplies needed. Lots of cables.

A good Multiband compressor, a solid 2 channel EQ (Thinking a Source Audio EQ2 here... small format, independent stereo ins and outs, and super flexible to accomplish 2 channels of EQ in your signal chain.), and a 2-3 channel Parallel Blender, and a multi band distortion/overdrive, a Reverb, and you should be able to get close enough to be nearly indistinguishable to 99.8% of people listening, with options for similar signal routing.

Could also go to a multi effects unit or modeler. All the recent generation have multi band signal splitting and routing, with whatever effects you want on whatever spectrum you want.

Interesting that you do in fact have an amp and speaker in the mix. Granted, Guitar amps preamp is bypassed, as is the speaker, but it still routes out to a PA Speaker.

Get the right amp and speaker, and you eliminate a TON of the issues you are trying to solve for with the always on pedals. Same if you just go purely and truly Amp-less, and go direct to board with In Ears.