Looking for new ideas. Hardly use the pedals I have...

[AlexanderB]

I have a basic selection of pedals intended for bass, but I find myself almost never using them. Rarely at gigs, and not even at home. I really like variation in my bass sound, and I have a handful of different basses in rotation; P, J, fretless, an active five string and so on. But after fiddling around with the pedals at home, the various sounds leave me cold, and I disconnect them.

My pedals: EBS OctaBass, EBS MultiDrive, Ibanez chorus, Sansamp VT Bass, Digitech BSW.
For gigging, I have used octaver in a few songs, no problem there, overdrive in the occssional hard blues/rock song, and (after lots of mind numbing tweaks) BSW envelope filter on 70s funk-ish music. By the way, finding the sweet spot for OD can also be tricky...

Still, I love the sound of tasteful synth bass, as well as OD in some songs. Any advice on what I could do to get some new inspiration? The C4 is tempting, but it I am worried it could be another dead end.
I also do sound and have no technical issues with my gear, so the pedals function as expected. I am more concerned that my fairly soft touch (and finger style only) leaves a lot of untapped potential in both OD and filter pedals?

And no, a keyboard will not happen...

 

[AlexanderB]

Any ideas on how to find new inspiration and new sounds to boost creatvity and joy of playing?
Are the new pedals like Darkglass, C4, Future Impact etc so much better that my current stuff pales in comparison?

 

[Feral Feline]

Sit down with your gear, a pad and pen to take/make notes and ...

USING ONE BASS, spend some time with each effect dialling in a sound until you find a tone you DO like or at least the best you can get;
Now repeat the process with each of your other basses.
Now repeat the process with each bass, but combining 2 of the pedals, say the Octabass and Multidrive, don't forget to put one before the other;
REPEAT the process with each bass, but two different pedals, this time with the Octabass and the Chorus, in both possible orders;
REPEAT AGAIN WITH 3 OF YOUR PEDALS, EACH BASS, IN EVERY POSSIBLE ORDER;
REPEAT ADDING ANOTHER PEDAL EACH TIME, ALL POSSIBLE ORDERS, use the sounds you found to like in step 1&2 as your base/launch-point;
repeat the process until you have managed to dial in sounds you like with every combination/permutation of WHAT YOU HAVE.

Connecting them in ways that are considered "WRONG", such as chorus first in the chain, including the number of knob settings and tone control settings on your basses... that should keep you busy with all the permutations of what you have, and you should be able to find a few core tones you really like, not just find acceptable. You don't have to like every tone out of the best ones you can dial in, but you're bound to like at least some of them. If you're not inspired by any of that... well, good luck finding stuff that does inspire you.

Happy Tone Hunting.

 

[AlexanderB]

Sit down with your gear, a pad and pen to take/make notes and ...

USING ONE BASS, spend some time with each effect dialling in a sound until you find a tone you DO like or at least the best you can get;
Now repeat the process with each of your other basses.
Now repeat the process with each bass, but combining 2 of the pedals, say the Octabass and Multidrive, don't forget to put one before the other;
REPEAT the process with each bass, but two different pedals, this time with the Octabass and the Chorus, in both possible orders;
REPEAT AGAIN WITH 3 OF YOUR PEDALS, EACH BASS, IN EVERY POSSIBLE ORDER;
REPEAT ADDING ANOTHER PEDAL EACH TIME, ALL POSSIBLE ORDERS, use the sounds you found to like in step 1&2 as your base/launch-point;
repeat the process until you have managed to dial in sounds you like with every combination/permutation of WHAT YOU HAVE.

Connecting them in ways that are considered "WRONG", such as chorus first in the chain, including the number of knob settings and tone control settings on your basses... that should keep you busy with all the permutations of what you have, and you should be able to find a few core tones you really like, not just find acceptable. You don't have to like every tone out of the best ones you can dial in, but you're bound to like at least some of them. If you're not inspired by any of that... well, good luck finding stuff that does inspire you.

Happy Tone Hunting.

Thanks for the advice. I did something similar a couple of years ago, but with two basses, which I thought was enough. Maybe time to do it again, more thoroughly!
For new gear, I find the new swarm of synth pedals to be exciting, but I am picky, which means it will cost a bit. The cheaper ones sound too cheesy or have too few tonal options. Both the C4 and Future Impact impress me. To get massive, modern EDM synth bass sounds from a regular bass is extremely cool. However, I have no need for such sounds in any of my bands, so it would mainly be for inspiration at home.

 

[BassBrass]

1. learn how to use the VT bass as an always on preamp. This means taming the highs to make it sound warmer and that's a combination of where you set the midrange character knob as well as the highs. It's too easy to use the VT as a clank machine which can be great for cutting through walls of guitar, but for normal good sound I have the high at almost 10am, never past noon (that's quite bright) and the character abt 10am too, and very little drive, 9am. (I get drives from other pedals). I keep the mid about noon to 2pm, and bass 3, so lots of low and tame the high. 2. try octave into drive into envelope into VT into a bass compressor with attack control (mixed with clean is good too) into chorus. you could have a good synth wah sound already, if it's the old digitech, there is a great envelope, but try it with some drive and octave, Octave into drive is good too. 3. Get an EH Superego (either regular or plus, but plus is not necessary, the regular has a send return for using effects in the sound, I have phasor and EHC9 (organ sounds) and EQD Rainbow Machine in the loop) Superego in 'auto' mode sustains any note you pluck until you pluck the next note. What could you do with infinite sustain like a bowed instrument?

 

[AlexanderB]

1. learn how to use the VT bass as an always on preamp. This means taming the highs to make it sound warmer and that's a combination of where you set the midrange character knob as well as the highs. It's too easy to use the VT as a clank machine which can be great for cutting through walls of guitar, but for normal good sound I have the high at almost 10am, never past noon (that's quite bright) and the character abt 10am too, and very little drive, 9am. (I get drives from other pedals). I keep the mid about noon to 2pm, and bass 3, so lots of low and tame the high. 2. try octave into drive into envelope into VT into a bass compressor with attack control (mixed with clean is good too) into chorus. you could have a good synth wah sound already, if it's the old digitech, there is a great envelope, but try it with some drive and octave, Octave into drive is good too. 3. Get an EH Superego (either regular or plus, but plus is not necessary, the regular has a send return for using effects in the sound, I have phasor and EHC9 (organ sounds) and EQD Rainbow Machine in the loop) Superego in 'auto' mode sustains any note you pluck until you pluck the next note. What could you do with infinite sustain like a bowed instrument?

Thanks - much appreciated!
1. I feel familiar with the VT Bass (and normally run it with the highs at 9 o'clock), and I have tried using it as a pure preamp, and I don't like that. It simply colors the tone too much, and the low end loses impact and articulation, so I come back to use it as an effect only. Also, the knobs are too sensitive for me to rely on it for a consistent "always on" tone.

2. That's a long signal path, and I have no compressor pedal, only the really good (single knob) one in my EBS preamp. I have tried octave and drive into BSW envelope (and VT Bass), but I do not share your view on the envelope filters in BSW. Controls are not well chosen for what I want to do, it tends to be very spikey, and the general tone (both for filters and synths) is super bright. I find myself using the VLE (low pass) filter on my LMII a LOT to smooth out tone.

I have tried octave into drive (MD or VT or both) into chorus (and then sometimes into BSW). I sure get some strange/funny sounds, but nothing I could use for neither recording, nor gigs, and not even for fun at home. MultiDrive has a couple of good, distinctive OD sounds (that can be replicated by the VT Bass), and the OctaBass is good as "extension" of a four string bass, not really a LF synth. I use both MD and OB on the occasional song at gigs, for reliable, repeatable, no nonsense purpose. That I like!

But frankly, the BSW is not "good enough" to gig with, IMHO. It is hard to set once, impossible to get consistent repeated settings between songs, gets WAY bright and nasty in some modes, and it is hard to read the labels on it.
I have had it for years, but only managed to use it on one song, and that is as an auto wah in "I wish" (Stevie Wonder). Even there, I did not get consistent tone from gig to gig.

3. That Super ego sounds cool! At least cool enough for me to check out demos on YT!

With the introduction of Future Impact and Source Audio C4, I think I could not justify getting a number of analog "single purpose" pedals, unless they were gig worthy, "usual suspects", like the OD and octaver I have, plus a straight forward EF like the MXR and maybe, maybe some modulation effect...

I have listened to the Meris, the Bananana, the H9, the newer EHX models, the Boss SY-1 and so on. To my needs, there is not much middle ground; either keep (or add) good, proven and basic analog pedals or to get the FI or C4 (or maybe the big SY 1000?) They cost more, but they really deliver the goods. Not much else seems to be as flexible, easy to use and still offer sounds relevant for pop/rock/mainstream music in the last 40 years.

 

[BassBrass]

Thanks - much appreciated!
1. I feel familiar with the VT Bass (and normally run it with the highs at 9 o'clock), and I have tried using it as a pure preamp, and I don't like that. It simply colors the tone too much, and the low end loses impact and articulation, so I come back to use it as an effect only. Also, the knobs are too sensitive for me to rely on it for a consistent "always on" tone.

2. That's a long signal path, and I have no compressor pedal, only the really good (single knob) one in my EBS preamp. I have tried octave and drive into BSW envelope (and VT Bass), but I do not share your view on the envelope filters in BSW. Controls are not well chosen for what I want to do, it tends to be very spikey, and the general tone (both for filters and synths) is super bright. I find myself using the VLE (low pass) filter on my LMII a LOT to smooth out tone.

I have tried octave into drive (MD or VT or both) into chorus (and then sometimes into BSW). I sure get some strange/funny sounds, but nothing I could use for neither recording, nor gigs, and not even for fun at home. MultiDrive has a couple of good, distinctive OD sounds (that can be replicated by the VT Bass), and the OctaBass is good as "extension" of a four string bass, not really a LF synth. I use both MD and OB on the occasional song at gigs, for reliable, repeatable, no nonsense purpose. That I like!

But frankly, the BSW is not "good enough" to gig with, IMHO. It is hard to set once, impossible to get consistent repeated settings between songs, gets WAY bright and nasty in some modes, and it is hard to read the labels on it.
I have had it for years, but only managed to use it on one song, and that is as an auto wah in "I wish" (Stevie Wonder). Even there, I did not get consistent tone from gig to gig.

3. That Super ego sounds cool! At least cool enough for me to check out demos on YT!

With the introduction of Future Impact and Source Audio C4, I think I could not justify getting a number of analog "single purpose" pedals, unless they were gig worthy, "usual suspects", like the OD and octaver I have, plus a straight forward EF like the MXR and maybe, maybe some modulation effect...

I have listened to the Meris, the Bananana, the H9, the newer EHX models, the Boss SY-1 and so on. To my needs, there is not much middle ground; either keep (or add) good, proven and basic analog pedals or to get the FI or C4 (or maybe the big SY 1000?) They cost more, but they really deliver the goods. Not much else seems to be as flexible, easy to use and still offer sounds relevant for pop/rock/mainstream music in the last 40 years.

1. I get that. I use one for a few years and loved it in a high volume band, then abandoned it because it colors the mids too much, it got replaced by a Rusty box. Recently tried it again and liked it, but then it got replaced with a Fat Drive and recently the new little MXR preamp with mid control (Punch?). But I know it Can be used if the others get high and wander away like Towelly.
2. 4-5 pedals aint nothin. Look at some of the larger boards posted here...12 to 15 isn't unusual. Using the compressor and preamps helps allot and a few direct-through effects with buffered ones and always good cables. I sold my Digitech basssynth years ago. I though it has one good envelope, I was being hopeful, but it was an early effort at a bass synth, a alternative to the EHbassmicrosynth. I am a big believer in compression when you can slow the attack (so initial attack gets through but then is compressed a little) 3. good for intros or connecting sound. It sustains chords too.

 

[Snaxster]

Any advice on what I could do to get some new inspiration?

Hello Alexander. Inspiration springs from oneself. Things external to oneself that inspire one merely reflect one's innate capacity; like looking in mirror. Since we on the forum cannot know your mind, feelings, and all, we cannot begin to guess what would be inspiring to you. That is for you alone to discover.

Give 20 players of similar profile any given thing to play (a pedal in this case), and if all but one of them finds it to be serviceable, but the one player says it lets them channel the divine, what was the difference? The pedal was a constant. Only that one player was different, and so by their capacities or sensibilities they were fit to be inspired by that thing. That illustration was hypothetical, but in fact that's how it works.

I am more concerned that my fairly soft touch (and finger style only) leaves a lot of untapped potential in both OD and filter pedals?

Don't be. As you audition such pedals, run a clean boost just before them. Then, if any of them does not offer control over their gain structure sufficient to set the scale of their input stage to match the scale of your playing dynamics, use the boost pedal to compensate. Also consider favoring pedals that are reputed to be touch sensitive.

Good luck with your search. I advise you to not overthink it. Approach it empirically rather, trying pedal after pedal (even, or maybe especially, those that don't seem promising on paper) until one knocks you out.

 

[AlexanderB]

@Snaxster @BassBrass @Feral Feline

Thank you for both practical and more introspective advice and tips! Much appreciated!

I have listened to even more stuff on youtube (the latest one was the new whacky Iron Ether pitch shifting delay!). Some pedals are odd, some very innovative and some are just a new take on an old ide, like another "smooth overdrive". The more I hear, the more convinced I am about the great potential for innovation AND utility in FI and C4. And the less I feel like getting the Bananana, SY-1, BitCrusher and so on.

One big caveat! As BassBrass says: "4-5 pedals is nothing"... I feel the opposite. 4 pedals would be an absolute maximum for me to bring to a gig, with the current styles I play.

I guess that defines my next (pragmatic!) short term purchase, and whatever oddity pedals there are, will be on the longer horizon.