I was bored so I thought up some ideas for a couple of effects, I'd like to hear what you think or any suggestions would be nice. Bass Overdrive It uses transistor type drive circuit used to emulate tube overdrive, along with a clean boost signal that runs parallel to the overdrive signal. The overdrive-channel features its own footswitch that is used to turn it on or off and a led that shows if it is on, it features controls for high boost, level, and drive. The high boost is a passive shelving type control centered at 2kHz that runs before the overdrive circuit which can be used either to clip the highs when overdrive is high or just to add some extra flavor when the overdrive is used more judiciously. The clean boost-channel also has its own footswitch to turn it on or off and its own led that shows when it is on, it has a single control for level and a fat switch. The fat switch runs before the master level control, it is actually a pass filter (80-125Hz) that runs in conjunction with the clean signal that just merges straight into it to increase saturation in those frequencies. Everything runs from the adder that prevents signal interference, into a compressor with a three-way switch that goes through two presets. The first (second position) is used to lightly compress and even out the signals and give the illusion of tube compression when you overdrive a tube amp, the second (third position) is used for harsher gain reduction and set to a higher ratio. When the switch is set to the first position the compressor is bypassed. Bass Synthesizer I basically took a bunch of ideas from vintage analog VCO synthesizers for this effect, taking out features that would be both confusing and useless and adding other features that would be useful. I took ideas from a simple bass-synth rack mainly made up of a U Know Oscillator, an AD amp, and a 4-pole multi-filter. There are nine controls for input volume, course (speed), fine, sub, sensitivity, attack, Q, mix and alternate filter Q. There are also three switches for filter (low-pass, band-pass, and high-pass), decay (slow or fast) and wave shape (sine, square, or saw toothed). The signal starts with a buffer (input volume). Then leads into an oscillator (course, fine, sub, and the wave shape switch), the volume control works as an intensity control also since input velocity (or volume) determines the depth of an oscillator, you can also use the volume control on your instrument to control depth even further. I chose to do it that way so other devices could be used usefully with it, such as fuzzes, gates, etc Then it leads into the envelope, a simple attack/decay amp (sensitivity, attack, and the decay switch) chosen for simplicity and that the are used to create many different bass synth patches. The filter section (filter Q, alternate filter Q, and filter selection switch) follows the A/D amp, as a normal envelope filter would be created. I chose the rarely known filter to many stringed instrument players called the multi-filter. It usually is a couple of filters running off the same envelope by themselves and usually is a low-pass filter that runs as the main filter and a high-pass filter running off of a separate output control and preset Q in alternate. But with the one on this pedal its the opposite, the output is preset, so its lower on the alternate filter then the preset of the main filter and the Q control is independent. When the alternate filter Q is set at the lowest setting it is turned off, but when engaged it runs off of the other filters that arent in use by the main filter. So if low or band-pass is selected as the main filter the alternate would run off of the high pass filter that is not in use, but if high-pass is selected for the main filter the low-pass filter would be used as the alternate. The signal finishes off with a mixer (mix) that blends wet and dry signals.