More than 4 effects for Bass?

[Lo Ki]

Here, it's preamp, compressor, utility pedals always on, rest to taste. "Taste" is one to two additional pedals. So in conjunction with the always-on-stuff, I guess I could work with the 4-effects-per-patch thing. I'd sometimes miss No5, but that's luxury.

Mind, going with individual pedals, it's more cumbersome than the patch thing.

View attachment 4241800

Just going with a HX Stomp probably would have been easier, and cheaper, for that matter. But this grew over years rather than a single purchase, so, yeah.

Hey if that set up works for you and you get the sounds you want, don't need to change? My guitarist is the guitar tech at our local big name store and he's always picking up, trying new gear at rehearsals including the Helix Stomp last week. He always goes back to his original pedal board with 'single purpose' pedals on'em. So if it ain't broke...? However, if you can afford it, it's always fun to try?

 

[gpTron]

I combined my bass and guitar pedal board. If you look at my board it looks like a lot but when my bass is plugged in the Rusty Box is the only thing that's on.

 

[P1KW]

Adept at parallel processing.

I divide the signal into 4 parts:
-Low: EQ> Comp> Comp> OD> Octaver (+ 7semitones, only provides harmonics)
-Middle: EQ> Comp> Comp> Octaver (-12 semitones)> Chorus.
-Hight: EQ> Comp> Comp> OD> Chorus> Reverb / Delay.
Sum of the 3 or 2 bands: Comp> Cabinet modeling
-Clean signal: Comp> Cabinet modeling.

The first block, EQ, defines in which range of the spectrum the compression block will act.

The 1st compressor works with the minimum attack, its purpose is to homogenize the signal without altering it excessively.
The 2nd compressor works with a longer attack time, around 150 ms for finger technique, and the short release.
Your goal is to highlight transients.

The Low frequency block has a very subtle octaver (+7 semitones) to give a slight harmonic relief in that band. It allows deep bass and subwoofer tones with a lot of definition.

The mid-range Octaver (-12 semitones) is used for the traditional purpose of an Octaver, but also to generate harmonics.

Both ODs are used as boster, individually or both at the same time.

The same for both choruses. I usually put the ratio of one of them to half that of the other.

I can use Flanger / Phaser occasionally but it is rare, it gives me a feeling of unnaturalness to the sound of the bass.

Reverb / Delay only if I am not playing my bassist role.

Sometimes I use 4 frequency blocks and remove the clean signal channel, but balancing 4 blocks is a long and laborious job.

Note:
Despite the presence of 8 compressors, I can get more dynamic range at the output than I have at the input.
Measured with Loudnes Unit Range.

+ Note:
With a bass, a cable and an amp, I'm the happiest guy in the world.

Responding to the thread, about twenty-something pedals ...

Greetings!

 

[Feral Feline]

That's a VERY interesting take on parallel processing. Thanks for posting @P1KW.

I use the MS60B, and I could see running out of room in a patch. I always use the AcBsPre at the end, for the HPF. And I always use one of the compressors, so that's 2 slots already. I often use a mild reverb or subtle delay for my solo fretless playing, so that's 3. From there, if I want to combine octave and drive, drive and auto wah, octave drive and auto wah, etc, I can't.

My solution is that I picked up a second MS60B lol, and I'm also using a separate drive pedal now. I use one MS60B for reverbs, compressors, and HPF, and the other one for filters, etc., and I can separately add drive to anything.

I have been thinking of replacing the MS60B that I use for filters with a Source Audio Spectrum. My favorite part of the MS60B is the reverbs, compressors, and the HPF on the AcBsPre, and I've been really impressed with the sounds on the Spectrum. The Boss GT-1000Core really has me intrigued also, but it's pretty expensive ... though what you get is really impressive.

Why not the CDR70? Keep it in the "family", so to speak.

Here, it's preamp, compressor, utility pedals always on, rest to taste. "Taste" is one to two additional pedals. So in conjunction with the always-on-stuff, I guess I could work with the 4-effects-per-patch thing. I'd sometimes miss No5, but that's luxury.

Mind, going with individual pedals, it's more cumbersome than the patch thing.

View attachment 4241800

Just going with a HX Stomp probably would have been easier, and cheaper, for that matter. But this grew over years rather than a single purchase, so, yeah.

An incredibly sweet board full of Canadian Maple Syrup.




Gigging was often a bit more than 4, but not by much:
Preamp, EQ, Compressor/Limiter, Xciter, wild-card

Which dwindled down to an FDeck.

Of course a tuner, always.

Most recent gig: Tuner>Rat>Univibish>HPF-Pre


At home, that's another story... several stories...

 

[amper]

Adept at parallel processing.

I divide the signal into 4 parts:
-Low: EQ> Comp> Comp> OD> Octaver (+ 7semitones, only provides harmonics)
-Middle: EQ> Comp> Comp> Octaver (-12 semitones)> Chorus.
-Hight: EQ> Comp> Comp> OD> Chorus> Reverb / Delay.
Sum of the 3 or 2 bands: Comp> Cabinet modeling
-Clean signal: Comp> Cabinet modeling.

The first block, EQ, defines in which range of the spectrum the compression block will act.

The 1st compressor works with the minimum attack, its purpose is to homogenize the signal without altering it excessively.
The 2nd compressor works with a longer attack time, around 150 ms for finger technique, and the short release.
Your goal is to highlight transients.

The Low frequency block has a very subtle octaver (+7 semitones) to give a slight harmonic relief in that band. It allows deep bass and subwoofer tones with a lot of definition.

The mid-range Octaver (-12 semitones) is used for the traditional purpose of an Octaver, but also to generate harmonics.

Both ODs are used as boster, individually or both at the same time.

The same for both choruses. I usually put the ratio of one of them to half that of the other.

I can use Flanger / Phaser occasionally but it is rare, it gives me a feeling of unnaturalness to the sound of the bass.

Reverb / Delay only if I am not playing my bassist role.

Sometimes I use 4 frequency blocks and remove the clean signal channel, but balancing 4 blocks is a long and laborious job.

Note:
Despite the presence of 8 compressors, I can get more dynamic range at the output than I have at the input.
Measured with Loudnes Unit Range.

+ Note:
With a bass, a cable and an amp, I'm the happiest guy in the world.

Responding to the thread, about twenty-something pedals ...

Greetings!

You are doing this with what?

 

[Lo Ki]

Adept at parallel processing.

I divide the signal into 4 parts:
-Low: EQ> Comp> Comp> OD> Octaver (+ 7semitones, only provides harmonics)
-Middle: EQ> Comp> Comp> Octaver (-12 semitones)> Chorus.
-Hight: EQ> Comp> Comp> OD> Chorus> Reverb / Delay.
Sum of the 3 or 2 bands: Comp> Cabinet modeling
-Clean signal: Comp> Cabinet modeling.

The first block, EQ, defines in which range of the spectrum the compression block will act.

The 1st compressor works with the minimum attack, its purpose is to homogenize the signal without altering it excessively.
The 2nd compressor works with a longer attack time, around 150 ms for finger technique, and the short release.
Your goal is to highlight transients.

The Low frequency block has a very subtle octaver (+7 semitones) to give a slight harmonic relief in that band. It allows deep bass and subwoofer tones with a lot of definition.

The mid-range Octaver (-12 semitones) is used for the traditional purpose of an Octaver, but also to generate harmonics.

Both ODs are used as boster, individually or both at the same time.

The same for both choruses. I usually put the ratio of one of them to half that of the other.

I can use Flanger / Phaser occasionally but it is rare, it gives me a feeling of unnaturalness to the sound of the bass.

Reverb / Delay only if I am not playing my bassist role.

Sometimes I use 4 frequency blocks and remove the clean signal channel, but balancing 4 blocks is a long and laborious job.

Note:
Despite the presence of 8 compressors, I can get more dynamic range at the output than I have at the input.
Measured with Loudnes Unit Range.

+ Note:
With a bass, a cable and an amp, I'm the happiest guy in the world.

Responding to the thread, about twenty-something pedals ...

Greetings!

Honestly, for me, this is very educational on just the use of compressors alone. Never thought about using multiple compressors nor use of octavers that way. Mahalo for the info!

 

[P1KW]

You are doing this with what?

With my bass.

It seems a mistake, a crazy setup. I understand that it looks like this, and I must clarify that I do not get the "definitive sound", nor perfect. Nor do I pretend.

If I describe it in a less graphic or detailed way, it is surely easier to assimilate.

The dynamics of the bass is a bit unique, there is a lot of energy in the low part of the spectrum, therefore it is valid to compress in different bands.

A compressor can act in different ways, you can compress RMS, or peak, or perhaps music program, or you can pass very short peaks.
Chaining two or more compressors acting lightly and with different objectives is not an unreasonable technique.
Many engineers use it in production.
In my case, I homogeize the signal, and then I let peaks pass.

I said Octaver, it's actually a pitch-siffer. I'm not a fan of artificial sounds, but a pitch-siffer can be a very useful tool for altering the harmonic content of the signal.
The SI or (B 1) note vibrates at about 30 Hz, very close to the threshold of hearing.
Altering the harmonic content of the low register is a good resource to give it definition without losing its quality, and being able to do it only in that part of the spectrum is essential.

As with an OD, being able to apply it to the part of the spectrum you want is once again a more efficient and versatile resource than applying it to the entire signal.
In my case I use it in the upper part of the spectrum to add cut in the mix, definition, and in the lower part, (often with the +7 pitch-siffer) to add grain to the sound.

The rest of the effects I use are purely circumstantial and are of no interest to my explanation.

Obviously I'm not carrying twenty-something pedals, I use digital processing, Helix, and I have clarified that I am a guy who can live happily without all that process, my bass and my amp.

Greetings!

 

[amper]

With my bass.

It seems a mistake, a crazy setup. I understand that it looks like this, and I must clarify that I do not get the "definitive sound", nor perfect. Nor do I pretend.

If I describe it in a less graphic or detailed way, it is surely easier to assimilate.

The dynamics of the bass is a bit unique, there is a lot of energy in the low part of the spectrum, therefore it is valid to compress in different bands.

A compressor can act in different ways, you can compress RMS, or peak, or perhaps music program, or you can pass very short peaks.
Chaining two or more compressors acting lightly and with different objectives is not an unreasonable technique.
Many engineers use it in production.
In my case, I homogeize the signal, and then I let peaks pass.

I said Octaver, it's actually a pitch-siffer. I'm not a fan of artificial sounds, but a pitch-siffer can be a very useful tool for altering the harmonic content of the signal.
The SI or (B 1) note vibrates at about 30 Hz, very close to the threshold of hearing.
Altering the harmonic content of the low register is a good resource to give it definition without losing its quality, and being able to do it only in that part of the spectrum is essential.

As with an OD, being able to apply it to the part of the spectrum you want is once again a more efficient and versatile resource than applying it to the entire signal.
In my case I use it in the upper part of the spectrum to add cut in the mix, definition, and in the lower part, (often with the +7 pitch-siffer) to add grain to the sound.

The rest of the effects I use are purely circumstantial and are of no interest to my explanation.

Obviously I'm not carrying twenty-something pedals, I use digital processing, Helix, and I have clarified that I am a guy who can live happily without all that process, my bass and my amp.

Greetings!

So, you're using a Line 6 Helix?

 

[P1KW]

So, you're using a Line 6 Helix?

It is affirmative Amper

 

[Lo Ki]

So, you're using a Line 6 Helix?

Our guitarist just got a Stomp last week, lol!

 

[Lo Ki]

With my bass.

It seems a mistake, a crazy setup. I understand that it looks like this, and I must clarify that I do not get the "definitive sound", nor perfect. Nor do I pretend.

If I describe it in a less graphic or detailed way, it is surely easier to assimilate.

The dynamics of the bass is a bit unique, there is a lot of energy in the low part of the spectrum, therefore it is valid to compress in different bands.

A compressor can act in different ways, you can compress RMS, or peak, or perhaps music program, or you can pass very short peaks.
Chaining two or more compressors acting lightly and with different objectives is not an unreasonable technique.
Many engineers use it in production.
In my case, I homogeize the signal, and then I let peaks pass.

I said Octaver, it's actually a pitch-siffer. I'm not a fan of artificial sounds, but a pitch-siffer can be a very useful tool for altering the harmonic content of the signal.
The SI or (B 1) note vibrates at about 30 Hz, very close to the threshold of hearing.
Altering the harmonic content of the low register is a good resource to give it definition without losing its quality, and being able to do it only in that part of the spectrum is essential.

As with an OD, being able to apply it to the part of the spectrum you want is once again a more efficient and versatile resource than applying it to the entire signal.
In my case I use it in the upper part of the spectrum to add cut in the mix, definition, and in the lower part, (often with the +7 pitch-siffer) to add grain to the sound.

The rest of the effects I use are purely circumstantial and are of no interest to my explanation.

Obviously I'm not carrying twenty-something pedals, I use digital processing, Helix, and I have clarified that I am a guy who can live happily without all that process, my bass and my amp.

Greetings!

That's another reason I got the ms60b, the pitch shifter. Hopefully not too synthy or laggy. Can't afford a Helix right now, lol!