Synthy analog bass pedals that are designed to work together

[moon-bass]

Also, fun tip - adding a RFE EQ - like the Broughton RFE, the Frequency Distiller - Frequency Distiller — Audiofab - or the Anderton Super Tone Control after the octave/ef/fuzz can really accentuate the resonance of the overall tone. Even with the 00Funk, you can only get so much resonance without it sounding like crap, but you tend to lose resonance with the fuzz - you can add it back after!

Anyways, my service to the bass playing public for the day.

 

[davelowell2]

Also, fun tip - adding a RFE EQ - like the Broughton RFE, the Frequency Distiller - Frequency Distiller — Audiofab - or the Anderton Super Tone Control after the octave/ef/fuzz can really accentuate the resonance of the overall tone. Even with the 00Funk, you can only get so much resonance without it sounding like crap, but you tend to lose resonance with the fuzz - you can add it back after!

Anyways, my service to the bass playing public for the day.

This is a god tip. I use Broughton RFE for this. I had an Idiotbox fuzz with resonance that lead me there.

 

[connected2aj]

I've been following this thread for a bit now and figured I'd drop a few suggestions. Let me preface this by saying I am a TWA artist and I have been loving the Krytical Mass & the Lattitude pedals. The KM has a ton of flexibility. It's great on its own, and plays nicely with OC-2 style octaves.

The Lattitude takes almost any sound you run through it and makes it synthy. It's so good that I've hardly messed with the expression pedal yet. I have been using the Xerograph and the PX-101 for that.

 

[moon-bass]

I've been following this thread for a bit now and figured I'd drop a few suggestions. Let me preface this by saying I am a TWA artist and I have been loving the Krytical Mass & the Lattitude pedals. The KM has a ton of flexibility. It's great on its own, and plays nicely with OC-2 style octaves.

The Lattitude takes almost any sound you run through it and makes it synthy. It's so good that I've hardly messed with the expression pedal yet. I have been using the Xerograph and the PX-101 for that.

The Lattitude is on my radar!

 

[sunbeast]

Also, fun tip - adding a RFE EQ - like the Broughton RFE, the Frequency Distiller - Frequency Distiller — Audiofab - or the Anderton Super Tone Control after the octave/ef/fuzz can really accentuate the resonance of the overall tone. Even with the 00Funk, you can only get so much resonance without it sounding like crap, but you tend to lose resonance with the fuzz - you can add it back after!

Anyways, my service to the bass playing public for the day.

Wait- are you running the fuzz after the filter?

 

[moon-bass]

Wait- are you running the fuzz after the filter?

It depends on the gear. Some of it like fuzz before, some in the middle (via effects loop in the filter), and some after. I generally prefer in the middle or after, and I find the square wave of the fuzz can kill teh dynamics on the filter.

It's probably worth mentioning that I've been messing with parallel signal paths with the OBNE Signal Blender.

 

[FretRiff]

Interesting sneak peek of an upcoming MXR synth pedal.

 

[moon-bass]

Interesting sneak peek of an upcoming MXR synth pedal.

Dude that is super cool! Like, look how happy he is playing with this thing. The bass face during the knob turning is awesome lol..now I'm definitely intrigued!

 

[moon-bass]

Two more fuzzes came yesterday and I put them thru their paces.

The first is an Ezekiel 25:17 clone from Smokin' Amp Co. It's an excellent, excellent stand alone dist/fuzz pedal. Love the diode options, and the blend is very effective. But, like a lot of fuzzes that sounds really great as a stand alone, it just isn't what I'm looking for, synth wise. I think it's because it's more of an OD/Distortion that can "get" fuzzy.

It's a different story with the second fuzz - the Big Bass Fuzz, also from Smokin' Amp, which is a Big Muff Pi modded to be more bass friendly. This one kills for synth sounds. It's not as versatile as the Alpha Haunt or as crazy as the Fat Fuzz Factory, it just has some really solid tones. Sweet, smooth, and snythy fuzzy. It also sounds great as a stand alone.

Also have an Idiotbox Blowerbox Deluxe - it's a modded Rat, more distortion than fuzz - and that sounded really good. Not quite as synthy as I would like, but better than what I expected. It's more of a dark, heavy, gritty synth as opposed to a smooth fuzzy synth.

 

[AngelCrusher]

El Jefe,
here's another morsel of food for thought. It seems like you're diving into this rabbit hole and let me tell you, it's a good one. Lots of fun to be had, especially because it's all about the interaction of a group of pedals, which makes it so much more complex than a Preamp Journey, which pales in comparison.

However, one thing that is really important to the gigging musician is the stability/robistness of the chain you employ.

For my personal, simple needs, I settled on running a Doom2 into the PX-101 into an Analogman Chorus - no octaver. This works for me for multiple reasons, but one important factor is that both the Doom2 and the PX-101 have larger sweet spots and they will still work when a single knob gets bumped by a small increment. You can take a photo of the pedal settings, transport the board, perform a visual check with the knob positions on the board vs the photo and if it looks okay, it'll work.

That’s pretty sweet how does it sound to send the doom2 into the px? That’s a pretty moog heavy combo which sounds like it could be cool. I have a doom2 coming in a few weeks.


I have the density hulk. As people have said it is more of something you feel - but you can send it into a drive or distortion and really change its sound up a lot. I really want to send mine into the doom2 and see what happens.

 

[el murdoque]

That’s pretty sweet how does it sound to send the doom2 into the px? That’s a pretty moog heavy combo which sounds like it could be cool. I have a doom2 coming in a few weeks.


I have the density hulk. As people have said it is more of something you feel - but you can send it into a drive or distortion and really change its sound up a lot. I really want to send mine into the doom2 and see what happens.

The Doom2 has more than one party trick, but in conjunction with the PX-101 there are two worth mentioning:

1. The output does not drastically change when you sweep through the gain knob, so you can find your sweet spot on the 101 and then toy around with the gain on the Doom2 without messing that up.

2. The Doom2 leaves your playing dynamics mostly intact. When you've played through the Agent 00Funk / Brown Dog combo or a Meatball (clone) with the Fuzz in the FX-Loop, you discovered a new dimension. Many people use a comp to squash the signal for better tracking of the OC-2, then send that signal into a fuzz and have exactly zero dynamics left, which means they hit the envelope with the exact same strength every note.
With the Doom2 (or one of the above mentioned methods), you can use your playing dynamics to toy around with how far the filter opens, and that is a very cool feature.

 

[AngelCrusher]

The Doom2 has more than one party trick, but in conjunction with the PX-101 there are two worth mentioning:

1. The output does not drastically change when you sweep through the gain knob, so you can find your sweet spot on the 101 and then toy around with the gain on the Doom2 without messing that up.

2. The Doom2 leaves your playing dynamics mostly intact. When you've played through the Agent 00Funk / Brown Dog combo or a Meatball (clone) with the Fuzz in the FX-Loop, you discovered a new dimension. Many people use a comp to squash the signal for better tracking of the OC-2, then send that signal into a fuzz and have exactly zero dynamics left, which means they hit the envelope with the exact same strength every note.
With the Doom2 (or one of the above mentioned methods), you can use your playing dynamics to toy around with how far the filter opens, and that is a very cool feature.

Yeah the Doom2 is my type of "fuzz"pedal since its not really a fuzz so your signal doesn't drop out when you engage it. I personally don't use a compressor into an Oc2 because I don't have tracking issues and also for the same reason you listed - playing dynamics.

I need to go listen to some examples of the PX101. The thing about an octave/doom2 and filter is for me that is a lot of effects that I can use together but also separately. The Doom on it's own can do a cool, thick Moog thing that I really love.

 

[moon-bass]

Not trying to influence you, but my experience with the TAFM was that it had great tones but was finicky to dial in. Specifically, the Clean knob was super sensitive: for high gain and high fuzz, with gate enabled ("velcro" sounds) I was never able to tune the blended clean to my liking, a tiny move on the knob was either too little or too much. Curious if you or others experience this too.

Indeed what you mean about the Team Awesome. Definitely seems to be finicky ...

 

[jasonmitsch]

One thing I didn't see mentioned is using a digital pitch shifter to add +5th or +12th. I use the +12th if its after an octaver to avoid mud. Putting it before dirt sounds dirtier, between dirt and filter sounds synthier. After filter makes it sound like 2 separate filter sweeps from 2 synths.

I got the idea from an post years ago from Taylor of Iron Ether, he was describing his in depth analysis of the OC2 and how he made the Subterannea. If my memory is correct he said that a big part of the OC2 tone is there is a slightly flat 12th above the octaves fundamental. Using a digital pitch shifter doesn't make any analog octaver sound more like an OC2, but I really like the effect it creates.

 

[moon-bass]

One thing I didn't see mentioned is using a digital pitch shifter to add +5th or +12th. I use the +12th if its after an octaver to avoid mud. Putting it before dirt sounds dirtier, between dirt and filter sounds synthier. After filter makes it sound like 2 separate filter sweeps from 2 synths.

I got the idea from an post years ago from Taylor of Iron Ether, he was describing his in depth analysis of the OC2 and how he made the Subterannea. If my memory is correct he said that a big part of the OC2 tone is there is a slightly flat 12th above the octaves fundamental. Using a digital pitch shifter doesn't make any analog octaver sound more like an OC2, but I really like the effect it creates.

That's pretty cool, I haven't heard that before, but I am gonna check it out. Digital pitch shifters can sound very synthy.

 

[moon-bass]

The Team Awesome, once I got the hang of it is ... Awesome. Smooth fuzz to dirty fuzz and lots in between. I kinda like it. My fuzz choices are getting harder.

 

[sunbeast]

One thing I didn't see mentioned is using a digital pitch shifter to add +5th or +12th. I use the +12th if its after an octaver to avoid mud. Putting it before dirt sounds dirtier, between dirt and filter sounds synthier. After filter makes it sound like 2 separate filter sweeps from 2 synths.

I got the idea from an post years ago from Taylor of Iron Ether, he was describing his in depth analysis of the OC2 and how he made the Subterannea. If my memory is correct he said that a big part of the OC2 tone is there is a slightly flat 12th above the octaves fundamental. Using a digital pitch shifter doesn't make any analog octaver sound more like an OC2, but I really like the effect it creates.

The OC-2 harmonics aren't (can't be) flat pitch-wise because they are all derived directly in real-time from the input signal rather than synthesized or delayed. Maybe this is the post you are referring to? Looking for a pedal to do the Boss OC-2 tone?

 

[bassbrad]

One thing I didn't see mentioned is using a digital pitch shifter to add +5th or +12th. I use the +12th if its after an octaver to avoid mud. Putting it before dirt sounds dirtier, between dirt and filter sounds synthier. After filter makes it sound like 2 separate filter sweeps from 2 synths.

I got the idea from an post years ago from Taylor of Iron Ether, he was describing his in depth analysis of the OC2 and how he made the Subterannea. If my memory is correct he said that a big part of the OC2 tone is there is a slightly flat 12th above the octaves fundamental. Using a digital pitch shifter doesn't make any analog octaver sound more like an OC2, but I really like the effect it creates.

I really like using a TRex Quint Machine for adding octave down, octave up and a fifth up. It is fairly neutral but plays well with any sound thrown at clean, dirty or synth resulting in a massive power chord. .

 

[Teryup]

I really like using a TRex Quint Machine for adding octave down, octave up and a fifth up. It is fairly neutral but plays well with any sound thrown at clean, dirty or synth resulting in a massive power chord. .

I have been looking at the quint machine for synthy applications. You definitely implied the answer in your post but does it handle fuzz going into it well?

 

[bassbrad]

I have been looking at the quint machine for synthy applications. You definitely implied the answer in your post but does it handle fuzz going into it well?

Indeed it does, it takes whatever you input signal and adds the different frequencies, for me it works best late in my signal chain but it does work the other way but it confuses some of my octavers and synths if it is early. On my main board a Mel9, Aftershock, C4, Ultrawave and Spectrum are all feeding the Quint and it works well with all those sounds.