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Ridiculous Synth Pedals: Markbass Super Synth vs. EHX Bass Microsynth

R

RangerMoose

Jun 25, 2010
17
0
#1
Hey bassketeers,

I'm currently in the market for a pedal to add to my collection. As of now I have an ODB-3, Q-Tron Plus (which needs repair and is currently out of commission), and RC-20XL (but I use that as more of a utility than effect). I've always been interested in the sounds that some electric musicians like Jimi Hendrix, Tom Morello, and Brian Gibson are able to produce, and I've also been playing in a small group with a guitar-friend of mine who's able to create some pretty outlandish sounds with his setup. I'm able to contribute to the noise pretty well with the ODB-3, but I'd like to add something with a different voice, and the aforementioned synth pedals seem to like they would be a good addition. The Super Synth seems like maybe it would be more versatile, but I'm more trusting of a pedal where all the variables are right there in front of you, instead of simplified down to four knobs and some switches. They are at the same price point, which is about as high as I would want to go. Other suggestions are welcome!
 
#2
Very different pedals.

The Markbass is more complicated and takes more time to learn and setup but has a wider range of sounds and the ability to setup presets to be easily recalled. .

The BMS is simpler and somewhat narrower in application but it can be tweaked on the fly. The difficulty with it is that the sliders make it a bit difficult to quickly transition between different sounds or reproduce the same exact sound that you had before.

I'd also say the Markbass is better for doing 80's and 90's style synth tones while I like the BMS for those 70's prog rock tones.

They are different enough to have both but if I were to choose, my personal preference would be for the BMS.
 
#3
I haven't tried the Markbass but the BMS is really pretty cool. It gets pretty far out while still having an "organic" analog sound. I let mine go because, being a 5 string player, I couldn't wrap my head around using a pedal that rendered 2/5 of my instrument useless. Just the way my brain works, I know. Oddly, it was the filter section rather than the octaves that had the biggest limitation IIRC.
I prefer the modular approach, separate filter and fuzz, etc. Right now I'm using a Q-tron + with the octave fuzz (or other fuzz) and comet trails from my M9. The octave fuzz tracks much better than the synth effects.
 
#6
Jared Lash said:
Very different pedals.

The Markbass is more complicated and takes more time to learn and setup but has a wider range of sounds and the ability to setup presets to be easily recalled. .

The BMS is simpler and somewhat narrower in application but it can be tweaked on the fly. The difficulty with it is that the sliders make it a bit difficult to quickly transition between different sounds or reproduce the same exact sound that you had before.

I'd also say the Markbass is better for doing 80's and 90's style synth tones while I like the BMS for those 70's prog rock tones.

They are different enough to have both but if I were to choose, my personal preference would be for the BMS.
Click to expand...

I fully agree with Jared's comments. Spot on. The only thing I would add is the BMS can be used as a distortion/buzz pedal; it does that very well and the tones are superb. One of my favorite pedals. I like to use it in cunjunction with a Fulltone Bass Drive; an idea picked up from a popular bass player of the moment.
 
#7
I luv the BMS but it is a finicky and fragile beast, mine stays in the studio for that reason. Another approach is to get several pedals to create a modular 'synth' set up: distortion, octaver, filter, modulation/delay.
I have a small 'synth' board: DOD FX25B, Boss ODB3, Digitech BassSynthWah, EHX BassBalls that I add a multi effect for modulation/delay/reverb.
 
#8
I use both the SuperSynth and the BMS. I gig the BMS more often for retro-funk, but the I like the SuperSynth for more experimental tones.

It's a different kind of beast, but if you want to design your own sounds you might also have a look at the Soundblox Pro Multiwave bass distortion.
 
#9
derrico1, I just took a look at the Multiwave Bass Distortion, and I think combined with an expression pedal it may be a dream come true. I saw an advertisement for it in the last issue of Bass Player that I got, and after listening to some demonstrations online I think I'm going to get it. For the potential it seems to have, I'm kind of surprised it's only $220, I would've expected more like the price of Chunk Systems' Octavius Squeeze. Thanks for all the input everyone, it's great to have such a responsive and helpful community here!
 
#10
Swift713 said:
I let mine (Bass Microsynth) go because, being a 5 string player, I couldn't wrap my head around using a pedal that rendered 2/5 of my instrument useless.
Click to expand...

Er... what?

I've used a Guitar Microsynth on 6-string guitar, and had no problems with it tracking across the range of the instrument. Does the Bass Microsynth only track 3 strings of a normal electric bass guitar?

I'm very curious, as I was thinking of picking up a bass version to see how it works compared to the guitar version. If it only works for two octaves, that would suck majorly, and I'd rather get the guitar version.

Anyone else have that limited-usability experience with the BMS?
 
#11
I think the difference between the bass and guitar versions is pretty minimal. Supposedly it's the range of the filter.
Don't get me wrong, I really liked the BMS. I just have a problem with octave and synth pedals requiring so much compromise. I sort of feel like if I really want to play a synth, why not get a real synth and not worry about tracking etc. You don't hear keyboard players griping about tracking.
 
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#13
So... does that mean that the BMS didn't track across the whole instrument, or that you felt it took too much work to get usable tone/tracking out of it?

Sorry to be curious about the specifics, but the two ideas are a bit different.

I can understand not wanting to worry about tracking concerns. I know that I've found my own ways of getting better tracking out of synth pedals, usually related to technique, and I think I wrote a bit about them in the non-MIDI synthesis thread.

At this point, it's a tradeoff between just adding two pedals to what I'm carrying, or a keyboard, either normal or pedalboard. The two Boss pedals are much smaller than anything I've seen in terms of keyboards, so playing with cleaner technique wins for me. Plus, bonus - cleaner technique!
 
#14
Explorer said:
I'm very curious, as I was thinking of picking up a bass version to see how it works compared to the guitar version. If it only works for two octaves, that would suck majorly, and I'd rather get the guitar version.

Anyone else have that limited-usability experience with the BMS?
Click to expand...

All analogue octave dividers are the same - you'll get good tracking down to about C2, slightly iffy tracking to around A1, and unreliable tracking below that.

If you think not being able to produce an A0 is going to be a big deal then I would stay away from the BMS and all the other excellent-sounding octave dividing effects that are available.

Incidentally the only slider on the BMS that cares what you're playing is the suboctave slider. Turn that one off and it doesn't track anything.
 
#15
Yeah, I know how to play to the pedal for optimal tracking. It just kind of sounded like poo below A. I found the sub octave alone worked better than the filter section in this regard. I know it's not "tracking" and perhaps something was wrong with mine or it didn't care for my bass' signal. I could improve it with the slider on the far left but that basically just weakened the synth tone. I would have probably kept it if I were a 4 string player but I'm used to playing the lower notes at pitch.
 
#16
Well then yeah, octave dividers probably aren't for you. Those of us who like them are after the sound they make rather than trying to chase low pitches that our amplifiers probably can't even reproduce anyway.

Hmm sorry if that sounded harsh I'm really tired, didn't mean to sound like an arse.
 
#18
i love my EHX BMS. great analog tones, anything from minimoog bass, to sequential prophet tones. and everything in between. the preset guide EHX has is a great place to start. that pedal has so much going on, i think a lot of people underestimate it sometimes cause they don't delve to deep into the beauty of it.
 
#19
Swift713 said:
Yeah, I know how to play to the pedal for optimal tracking. It just kind of sounded like poo below A. I found the sub octave alone worked better than the filter section in this regard. I know it's not "tracking" and perhaps something was wrong with mine or it didn't care for my bass' signal. I could improve it with the slider on the far left but that basically just weakened the synth tone. I would have probably kept it if I were a 4 string player but I'm used to playing the lower notes at pitch.
Click to expand...

There is something in the way the filter triggers on low notes. It wasn't just your unit that does it, mine did as well and it wasn't the octave down as I tried it with and without the octave down. I still loved that pedal and wish I had any use for it in any gig, but no such luck for me. :bawl:
 
#20
markjazzbassist said:
i love my EHX BMS. great analog tones, anything from minimoog bass, to sequential prophet tones. and everything in between. the preset guide EHX has is a great place to start. that pedal has so much going on, i think a lot of people underestimate it sometimes cause they don't delve to deep into the beauty of it.
Click to expand...
I think the BMS, maybe more than other pedals, is very dependent on it's operating environment. By that I mean, depending on the input levels, the nature of the signal it's being fed, and the nature of the devices downstream, one can get very different results.

It works great for some, and is way too kludgy for others.
 

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