Welcome any suggestions for bass effects for a rock/blues/funk trio to add a different dimension during electric guitar solos. Looking for something subtle-ish and not overly weird or distracting. I've heard good things about Octave pedals and envelope filters. Thanks y'all!
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Effects recommendations
- Thread starter Sledgematic
- Start date
Welcome @Sledgematic to TB. My favorite pedal to add texture is the TRex Quint Machine because it gives octave down, up and a fifth up with level controls for each voice and it plays well with any other effects you might have. I have an extended review here.
Welcome Sledgematic. Maybe look into a phaser for a little mojo during a solo that will also let the guitar shine a little more. A simple Phase 90 or Small Stone is cheap and will do the job. Both can get very funky too for your funk stuff. Enjoy exploring!
I'm trying to get this onto my board (while also considering a C4 at the same time) and using the Mooer e-Lady Flanger on the #3 Channel of my ReVolt Bass Preamp.
It has an EFX wet/dry mix that puts only the drive signal through the effects loop. So putting this Mosaic through the loop with the flanger will add what I expect to be a thick 8 string sound with the flanger on the octave tone and drive only.
Digitech has a good handle on pitch-shifting...
It has an EFX wet/dry mix that puts only the drive signal through the effects loop. So putting this Mosaic through the loop with the flanger will add what I expect to be a thick 8 string sound with the flanger on the octave tone and drive only.
Digitech has a good handle on pitch-shifting...
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I was gonna say the same thing. For the music genres stated, an overdrive would be my first buy as far as effects go.
And get something from boss or MXR to start with. Don’t go buying any boutique stuff until you’ve spent some time playing around with easy to get pedals. Ppl buy boutique pedals because they know exactly what they’re looking for and are willing to pay a premium to get it.
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It also helps if guitar hero doesnt overdo the rhythm parts, so there is less of a contrast when he goes solo. Sometimes a trio is about rearranging stuff.
Consider a used multifx to experiment with. Something you can later sell without a loss.
Consider a used multifx to experiment with. Something you can later sell without a loss.
At some level, I think drive, grind, saturation, breakup goes without saying....
Man, the journey to find the perfect solution for my power trio setup has been a rollercoaster. I've delved into signal splitting, octave up shenanigans, modulation effects, and dabbled in guitar emulation pedals – you name it, I've probably given it a whirl. What often seems like a solid idea in theory or when playing at bedroom volume levels can crumble when faced with the full force of a band on stage.
But after all the twists and turns, my final solution ended up being the simplest one of all: a touch of mild/medium upper-middy overdrive (B7K) fed into a subtle boost (Spark). When I engage them together, my bass occupies the frequencies where the rhythm guitar was meant to be. Doesn't substitute the guitar completely, obviously, but that's not the purpose.
A more colorful and playful playing style is also recommended to add some texture into the mix.
To sprinkle some extra sonic magic, I've thrown in an optional phaser before the overdrive, giving me the power to emulate a wah pedal and add context when the mood strikes.
It's amazing how sometimes, simplicity wins the day.
But after all the twists and turns, my final solution ended up being the simplest one of all: a touch of mild/medium upper-middy overdrive (B7K) fed into a subtle boost (Spark). When I engage them together, my bass occupies the frequencies where the rhythm guitar was meant to be. Doesn't substitute the guitar completely, obviously, but that's not the purpose.
A more colorful and playful playing style is also recommended to add some texture into the mix.
To sprinkle some extra sonic magic, I've thrown in an optional phaser before the overdrive, giving me the power to emulate a wah pedal and add context when the mood strikes.
It's amazing how sometimes, simplicity wins the day.
That's interesting...I have listened to somethings like that in context and found that less is more of most things when it comes to effects. Also, having used many more in sampling experiments has provided a basic knowledge of the sounds generally possible with a given effect. Like knowing peanut butter, chocolate and a Reese's cup.
Now, I think the examples of JPJ (Zep) Greg Lake (ELP) and a Tom Peterson (Cheap Trick) are examples of blues rock and progressive rock trios using 8/12 string Bass to great effect. These are classic examples far away from Darkglass and clanging strings on a fretboard. Use of a phaser in funk can go straight to Anthony Jackson, his 6 string Fodera and the O-Jays.
The thing is, try before ya buy and listen to as much stuff as possible to form your own true understanding of what an effect can do for you.
I'm generally gonna agree with the masses. Overdrive is the way to go here.
Of course envelope and octave are really funky, but they usually only really work when the song was made for it. And since you guys are a trio, distortion will massively help fill out some of the space. That's how a lot of power trios do it. Bass gets some distortion, which allows the guitar to not need to overplay.
In the studio I would generally say that you should just double the guitars, but live that is difficult. So a little grit is definitely a great way to help the overall mix, without being intrusive.
However, I really have to say something else. THERE'S NOTHING BETTER IN THE WORLD THAN A GOOD QUACKY ENVELOPE!!!!!
Of course envelope and octave are really funky, but they usually only really work when the song was made for it. And since you guys are a trio, distortion will massively help fill out some of the space. That's how a lot of power trios do it. Bass gets some distortion, which allows the guitar to not need to overplay.
In the studio I would generally say that you should just double the guitars, but live that is difficult. So a little grit is definitely a great way to help the overall mix, without being intrusive.
However, I really have to say something else. THERE'S NOTHING BETTER IN THE WORLD THAN A GOOD QUACKY ENVELOPE!!!!!
I realized that I skipped over the most crucial piece of the puzzle. Having the right drummer and guitarist in the mix is infinitely more vital than owning the right pedals. Even if you've got the fanciest effects in your arsenal, if they're playing as they would in a full 6-piece band, the music will still sound hollow, no matter how hard you try as a bass player. It's the musicianship and synergy between all the players that truly makes the magic happen.
I've been eyeballing the Mosaic for a while now.
If I'm playing hard rock I add a bit of preamp gain from my tube amp. If it's a trio and the guitar player drops out for a solo I use a octave up with heavy distortion to fill out the sound. Otherwise I always feel like I loose something when I engage a pedal..mostly my dynamics.
There are soooo many cool pedals, especially when you have a wide open space like in a trio....
My advice:
Dirt pedal of your choice/flavor (Carcosa will go from mild to wild, Darkglass Alpha Omicron is another good one)
Phaser of choice/flavor (my #1 is EVH Phase90, TC's Helix Phaser is very versatile, and the phase 95 is great too)
My advice:
Dirt pedal of your choice/flavor (Carcosa will go from mild to wild, Darkglass Alpha Omicron is another good one)
Phaser of choice/flavor (my #1 is EVH Phase90, TC's Helix Phaser is very versatile, and the phase 95 is great too)
I feel personally attacked.
OP, I like an octave fuzz. It allows me to play in the same register while adding high end content. I don't like modulation pedals. I feel like they take more away than they add.
