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Distorted tone, clean low end?

I play with an overdriven tone, more of a tube growl than out and out distortion - very dynamic and suitable for soul to rock. I have recently been wonding how I might clean up just the bottom couple of octaves, day 40 to 160? I run my pedals with a parallel / mix of something like 50/50 and love my tone, but even on 50/50 the super lows can get pretty gnarly... I think I want a pedal that can separate out the frequency bands and treat them independently... Anyone had the same thoughts and found a workable and successful solution? I'm a super experienced player with a heavy gigging and studio schedule but have never come across anything in pedal form that can do what I'm asking, which is something I do in the studio all the time!
 
Well, my basic "clean" tone is actually lightly overdriven as well, partially from a Joyo Orange Juice, placed towards the very beginning of my signal chain, set to a relatively low gain overdrive and blended with about 40% or so clean signal, via one of my Boss LS-2 pedals, and partially from my tube preamp, placed towards the very end of my signal chain, having the input gain control turned up to the point where the tubes just starts to break up lightly.

But unlike you I very much like the growl that adds to my low end.

As to how to keep the low end clean you got two options:

- Either you place whatever overdrive you use in one of the effects loops of for instance a Boss LS-2, but with a HPF pedal in the same effects loop stacked into your overdrive, that way making sure to only overdrive the upper frequency spectrum of your signal, accordingly to how you got the HPF set, and then blend in the full clean signal from the other empty effects loop of the LS-2, including the low end that you cut out from the overdriven signal.

- Or you get an effects loop pedal/switcher with a build in crossover, allowing you to dial in which part of the frequency spectrum goes to your overdrive and which part to your clean signal.

I know for certain such pedals does in fact exist, but unfortunately any specific name escaped me at the moment, so you'll have to do a Google search yourself, or wait for other to chime in with more specific names on which options you got to chose from for this solution.
 
There are a lot of good options in this thread, and they all involve using a drive effect device that offers a clean blend.

And those haven’t been around forever. If you think about it, guys like Tim Commerford, Billy Sheehan, and Chris Squire all along were running outputs to both clean and distorted amps to get a similar result.

It’s easier and cheaper now.
 
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The Sugar Britches looks like the cleanest, simplest solution and the demo on YouTube is great... This could be the solution I've been looking for, although I will now need to add a volume boost pedal to my board to raise the volunteer of the entire signal for 'solos'.
 
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I love distortion on bass, but don't like farty low end.

Brimstone Audio makes the XD2 and Basilisk which allow you to distort highs and lows separately, and have a variable crossover point. I own the XD2, nice device.

That said, my go to pedals for clean lows are the Tech 21 DP3X and Darkglass X7, which offer distorted highs and clean, compressed lows. The problem with uncompressed clean low end is that it can sound "bouncy" relative to the dirty highs. The dirtier the highs, the more noticeable this is.

The DP3X can do more than just dUg Pinnick tone, but has a strong flavor that doesn't appeal to everyone. The X7 has variable filters for the highs and lows, giving it a lot more versatility at the cost of complexity.
 
The problem with a clean blend is that you are missing full frequency range distorted signal into your clean signal. I am trying to avoid any distortion entering the signal path below about 160hz or so...
The Damnation Audio MBD is unique, and I dial it in differently than most people.

The clean side is low-passed, with a corner frequency of 1K.
The tone control is a tilt style, with a selectable center frequency of either 300hz or 600hz.
I always understood a tilt style tone control in the most basic of ways.
Noon is "flat", counterclockwise raises lows while decreasing highs, and vice versa.
I never thought about the center frequency until I ran across a pic on TB, when it made far more sense.

eq_tilt_curve (1).gif


Now, with this visual aid, I approached my MBD in a new way. Clean lows and distorted highs.

I set the clean side to roughly unity gain.
On the distorted side, I crank the tone so it's distorting the higher frequencies. Set gain to taste, and slowly raise the volume of the dirty side to get my highs back.
 
I just picked up a Dirty Haggard Degrade, where the clean blend is lowpassed and the fuzz has a tilt eq. With the mix tilted heavily to the clean, the gain low and the tilt leaning high, I get a strong bottom end with smooth breakup on the high end.

If that's what you're thinking you want, but with the dirt you already have, an LS2 and a Broughton LPF might be able to get that and be readily available.
 
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I do believe parallel processing is the solution. IMHO one problem with pedals that blend your clean and distorted sound is the compression is a byproduct of distortion. So the distorted signal will be compressed and the clean signal will retain the full dynamic range. When you blend the two together the differences in compression make it sound sort of like distortion riding on clean, rather than giving a sound that is really integrated.

Although it can quickly get unwieldy you can try splitting your signal into two paths that are processed separately and then mixed back together. For the clean path add a compressor and possibly a second low gain drive pedal. Adjust the low gain drive pedal to be at or just below the threshold where it breaks into audible distortion. The intent is to create sort of a tubey feel. Adjust the compressor so the total compression in the clean channel matches the compression in your drive channel. The desired level of compression in the clean channel can vary depending upon how the two channels are blended, and how far into saturation you push the distortion channel.