General bass effects sound clips

Note I'm a self-taught, intermediate bass player. While I lack formal training, I do have a fair amount of experience with wide variety of hardware multi-effects from Behringer, Line6, BOSS, and Roland, as well as other pedal and rack effects, and most software amp simulators and various plugin effects. Hopefully that lends itself towards some quality patches and sounds.

As you'll see below I've done a HORRIBLE job of keeping my clips organized and documented. I often just record some clips, save them with some file name that seems detailed at the time, then forget about them. Or I share them on website forums and forget to add them here until 6 months later. So detailed and accurate information isn't really available. Plus I've used a variety of instruments and recording gear along the way. What I can say is that I've done my best. Most of these clips were recorded in 2009 shortly after taking up bass guitar, wanting to play some dirty electronica type bass lines, and then burning through tons and tons (and tons) of hardware effects. Both my playing and recording skills were pretty amature. But hopefully adequate enough to illustrate some of the fun sounds you can get out of the effects below.

Newer clips are at the bottom of the page.

Click back to my main page for links to other sound clips.


2012 CLIPS

Wah Huge Pork Loin touch sensitivity test
Lakland Duck Dunn P-bass with Lindy Fralins, GHS Pressurewound, finger style, Pork Loin, SVT-CL w/Peavey 15" BW recording by Heil PR-40. A quick test to illustrate how the Pork Loin is *NOT* touch sensitive regarding the overdrive quality. Yes, the volume goes up and down with my playing intensity but you'll notice the same amount of overdrive is affecting my signal during the loudest and quiestest parts of my playing. Other than this flaw I totally love the tone of this overdrive. It retains nearly all of the original tone and just layers a nice, smooth, harmonic overdrive to the sound. And has a LOT of differnt sounds from classic and kind of dull sounding to clanky and harsh, or clean boost.
OD vs Distortion vs Fuzz
Lakland 44-60 jazz bass into Way Huge Pork Loin dialed for mild crisp overdrive, BOSS ODB-3 dialied for gainy distortion, Chunk Systems Octavious Squeezer dialied in for non-gated fuzz with maximum monster gain. All run into my GR-55 used purely for a basic amp sim.
Thermonic Effects TE.01 Tube Overdrive
Quickie 1-take demo. Lakland Duck Dunn, Lindy P, Labella flats, finger style, into Zoom B3 Ampeg sim, along with an Abbey Road drum loop. Clean/bypass, then increasing gain while trying to roll down the volume for unity. Does everything from clean boost, to light grit, to monster tube fuzz. Maintains a good tone even though there's only a volume and gain control provided.
Devi Ever Supermassive Black Hole modded
Installed a 200k resistor between the footswitch lead and the PCB input to reduce the gain going into the effect which tightens the gate significantly and seems to solidfy the low end considerably. It's now my favorite gated fuzz for bass. Roll your instrument volume down 1/3 or 1/2 and it should barely pass the gate threshold for a super short-n-tight sound with a sputtery decay.
ADA MB-1 programmable tube preamp
Picked up one of these in a trade and spent a little time trying it out. It has a tube preamp driven by two 12AX7 (I believe) and a solid state preamp, each with their own gross EQ curves (countour), plus a shared 5 band EQ, compressor, and chorus. And a crazy amount of rear I/O including two programmable FX loops. All saved into presets. FUN! I haven't gotten a clean-ish tone I really like yet but watch-OUT!!! some of those dirty tones are pretty awesome right out of the 1/4" full range output.  Lakland Duck Dun P-bass with LaBella flats and a Fralin pickup played finger style, run through a couple clean and a bunch of dirty presets I created, then an old Peavy Fury with nickel rounds and the original Dimarzo pickup played with a pick and run through the same presets,. I rarely use the Peavey, rounds, or a pick these days so it was fun to throw it in there for contrast. Sometimes dirt just sounds better with a pick.
AKAI Drive3 fuzz
Lakland Duck Dunn, Lindy P, GHS ground wounds, pick into Ampeg SVX VST. Clean tone, then the warm fuzz at low gain, then high gain, then the rest is the muff fuzz at various gain and tone settings to show the various sounds you can get.

2011 CLIPS

Clipped BOSS OC-2 Bass into GT-10B, OC-2 in the FX loop, then XLR out to my interface. No compression, amp sim, etc, just dry bass and the following effects only. EQ +20db low +20db overall, tight noise gate, OC-2 soloed on OCT1. Then I add maxed out tremolo after the EQ but before the OC-2 to glitch the OC-2. Unfortunately I didn't record a regular OC-2 sound for comparison. But rest assured its smooth and synthy, not all fuzzy sounding as heard in this clip.
KORG G5 synth w/ BOSS OC-2 KORG G5 bass synthesizer with some delay/chorus/verb for the first progression, then I play the same progression an octave higher but turn on a BOSS OC-2 which is in front of the Korg G5. Note how much fatter and richer it makes the KORK G5 sound. Then I turn the OC-2 off and play the progression down an octave. Totally the same notes, the OC-2 just gives it a lot more character. Try the BOSS OC-2 in front of your effects, particularly other analog tracking effects such as synth. It's like magic fatness!  Note I have an entire KORG G5 Bass Synth page available.
KORG G5 synth w/ BOSS OC-2 KORG G5 with a horribly weak sounding down-swept filter for two progressions, add the OC-2 which adds a slight amount of fatness but makes it harder to trigger the KORG envelope detection, then blend in the raw OC-2 sound with the KORG for a seemingly good sounding, percussion type bass synth tone.  Excellent illustration of how the BOSS OC-2 can make bass synth tones so much better. It took an unusable tone and morphed it into a wonderful tone. At least in my opinion. :)  Sorry about the clipping in the track, bad recording on my part.
ZVEX Wooly Mammoth clone Quickie clip using a Sabertooth based clone, Lakland Duck Dunn with Lindy Fralin's, and a basic amp sim in my Roland GR-55.  Super monster gain, tons of low end.
Wooly Mammoth  clone VS Brown Dog synthiness comparison Trusty Lakland Duck Dunn into BOSS OC-2 with OCT1 soloed. Then the clip is structured like this:  1) Mammoth clone at nearly full gain  2)  Octavius Squeezer's fuzz at nearly full gain and with gate on, this is essentially the same as a Brown Dog with the fuzz soloed.  I always think the Brown Dog sounds much more synthy, it's a more cleaner square wave sound where the Mammoth continues to sound like dirty bass fuzz. Of course, both sounds change after adding modulation, etc. but the Brown Dog always sounds much more synthy to my ears.
Zoom Ultra Fuzz UF-01 Lakland Duck Dunn with Lindy Fralin's picked, and a basic amp sim in my Roland GR-55. Clip goes like this: Zoom with Gain 1 O'clock, Color 3 O'clock, Tone 11 O'clock. Gate off, then Gate around 1:30 and Volume boosted to unity. Same thing again but I roll the Lakland tone down so you can hear how it fattens the fuzz tone.Same thing with a DOD FX-25 in front with all knobs at minimum to provide dub type filter in front to cut highs and boost lows. At the end of the gated sections I also roll the Lakland volume down so you can hear how the Zoom's gate tricks out the sound with glitchy decay.

Note this pedal has a "reso" knob which can provide overtones and self-oscillation. However, it requires a passive instrument plugged directly into the input. Or a significant level boost into the pedal, like a gain boost or boosted overdrive in front. Which also changes the overall character of the fuzz. The reso doesn't really sound that different with bass, it doesn't mix in that well so you end up only really hearing it between notes, and only when the gate isn't too high.
Way Huge Pork Loin overdrive vs MESA Bottle Rocket tube overdrive Lakland Duck Dunn with Lindy Fralin's picked, and a basic amp sim in my Roland GR-55. Clean signal, then Pork Loin at a low gain, then a high gain, then I roll the bass volume down so you can hear how it responds. Then MESA Bottle Rocket at a moderate gain (11 O'clock) then a high gain (2 O'clock) then I turn the Pork Loin on in front of it to drive the tubes then I get all crazy and crank the Pork Loin volume knob higher to REALLY push the Bottle Rocket tubes for monster drive. Somewhere in there I rolled the bass volume down so you could hear how the MESA tubes respond to input volume. I also stuck a short Addictive Drum track in there briefly just for some audio fun. At the end I turn the Pork Loin off, roll the MESA gain back down to 11 O'clock and then finally turn it off for clean tone. 

It's important to note that these effects sound vastly different when run into a real tube amp. I have a MESA 400+ and the Pork Loin totally kills - it really overdrives the MESA tubes but the serious clean that always bleeds through the Pork Loin keeps the tone very ballsy and punchy. Really a simple clean boost into a tube amp is about all it takes to push great overdrive, I usually keep the Pork Loin overdrive knob fairly low when running into the 400+. The Bottle Rocket gain usually gets lowered into the 400+ since the actual amp generates so much tubey gain all by itself. But the Bottle Rocket really sounds pretty great through anything, in my opinion. I've really grown to love tubes.
EHX English MUFF'n overdrive vs MESA Bottle Rocket tube overdrive Lakland Duck Dunn with Lindy Fralin's picked, into BOSS GT-10B for a non-effected loop, into the MESA Bottle Rocket and EHX MUFF'n, then into my GR-55 for a basic amp sim.  The dry loop is the riff with the volume rolled down slightly, same thing with volume on full so you can hear how the overdrives respond. I couldn't record a particularly long loop, sorry. :)  I then toggle between the MESA and the EHX starting with a very low gain for just a little warmth then rolling the gain on each device up  each time the loop progresses until I hit maximum gain on each device, then end with the dry loop again for comparison. MESA had the bass at 1 O'clock, trebel at 11 O'clock.  EHX low 1 O'clock, mid 2 O'clock, high 8:30 O'clock. Both with volume/output at attempted unity gain.
EHX English MUFF'n overdrive vs MESA Bottle Rocket tube overdrive TUBE SWAP I swapped the tubes between the two pedals so the MESA has the 12AY7 pair and the EXH has the 12AX7 pair just for comparison. The MESA now lacks much usable gain and I have to start with the gain at 12:00 and output at max just to get some barely usable output levels. The EHX now has monster distortion on tap and I start with the gain at nearly the min and it's basically unusable at max gain, at least for bass. I think each pedal more or less retains their general EQ scheme and sound with the MESA being a little darker. Same setup as above except just max volume out of theLakland Duck Dunn with Lindy Fralin's picked, into BOSS GT-10B for a non-effected loop, into the MESA Bottle Rocket and EHX MUFF'n, then into my GR-55 for a basic amp sim.  I run through the MESA and it's gain range, then the EHX and it's gain range. Note I had to roll the output down slightly as I increased gain to try to keep some unity levels.
EHX English MUFF'n overdrive TUBE SWAP I swapped the tubes in just the EHX English MUFF'n and run through the gain ranges. First a 12AX7 in the V1 socket and stock 12AY7 in the V2 socket. Then I stick a 12AU7 in the V1 socket and leave the 12AY7 in the V2.  Note I had to roll the output down slightly as I increased gain to try to keep some unity levels. I'll have to spend some time comparing the various clips but I think I'm liking the 12AU7 in the V1 and the stock tube in the V2. Cuts down on the gain a bit, and definitely cuts down on the output as I have to run the output knob at max or nearly max with the 12AU7 in the V1. But it mellows the pedal out a bit, though I suppose I could just run the stock tubes with the gain lower and probably be about the same. You be the judge. 
BOSS OC-2 Synth Mod You can see what appears to be the origin of the BOSS OC-2 "synth mod" in this YouTube video.  I didn't have a DPDT switch and I was only interested in OC1 so I just took a run of wire and ran it from #1 to #3 in the video, noting I have a Japanese pedal. In the clip I recorded a simple loop using my GT-10B then ran it through the normal OC-2 then the "synth mod" OC-2.  First dry for comparison, then OCT-1 soloed max, then Direct and OCT-1 blended max, then OCT-1 soloed into my Zoom Ultra Fuzz, then OCT-1 soloed into my EHX English Muff'n, then dry again.  What the mod primarily does it remove the output filter for the octave generators so you get a more or less pure square wave, which sound ver much like what you normally get out of a square fuzz like a Chunk Systems Brown Dog when pushing a normal OC-2 OCT1 into it. Look a few rows up for my Mammoth vs Brown Dog clip where I push my normal OC-2 into the Brown Dog.
BOSS OC-2 Synth Mod Clip to compare the before/after into a square fuzz effect which is what many people use to morph regular bass into synth without the "synth mod".  Played with a pick so I could push my playing speed, and some slower staccato at the end so you can hear residual string-mute noise from each pedal. In this clip I recorded a simple loop using my GT-10B then ran it through the normal OC-2 into a gated fuzz in my Octavius Squeezer (theoretically the same fuzz as the Brown Dog) then the "synth mod" OC-2 alone, then the "synth mod" OC-2 into the same gated fuzz just so you can hear what it sounds like into a square fuzz.  

Note there's some ongoing discussion of this mod on here:
BOSS OC-2 Synth Mod Clip to compare the before/after into the KORG G5 and Source Audio Bass Envelope Filter Pro. In this clip I recorded a simple loop using my GT-10B then ran it into a LS-2 for faster switching between the two signal paths:  normal OC-2 into a gated fuzz in my Octavius Squeezer (theoretically the same fuzz as the Brown Dog) and then the "synth mod" OC-2 alone. I give you the dry, then the two OC-2's against each other, then toggle between the two OC-2 into three KORG G5 presets (1 synth, 1 filter, 1 formant filter), then three BEF Pro presets (1 fat sweep, 1 formant, 1 fast LFO), then the two OC-2s against each other at the end for comparison again.  I suppose they're not really that different, but the normal OC-2 into fuzz carries a more bass-focused tone which often comes through the filters as "deeper and fatter" where the "synth mod" tone still has lows in the tone but there's so much more highs in the raw tone I think they tend to suck away some of the overall low end from what you end up hearing.
BOSS OC-2 various raw tones available Here's a clip demonstrating all of the "factory" tones you can get from the unit. Here's what's in the clip:  direct, OCT1 raw waveform (R48), OCT1 envelope out (R32), OCT1 filter out (IC4 PIN7, factory sound), OCT2 raw waveform (R51), OCT2 envelope out (R56), OCT2 filter out (IC4 PIN1, factory sound).  I simply jumpered the signal at various points in the circuit as noted in parenthesis. Note I'm using a Japanese PCB as detailed here:    I'm no electronics guru, but it looks like the filter section for OCT2 is slightly different than OCT1, so it's possible to direct the raw OCT1 signal through the OCT2 filter section for a potentially different tone.
BOSS OC-2 various raw tones available Blending the raw OCT1, raw OCT2, and the direct signal in various ways. 
Zoom Ultra Fuzz into English Muff'n Zoom gated fuzz into Muff'n real tube overdrive. My other fuzz sounds horrible into the Muff'n, turns into ultracompressed, mega-bass mush. I think the generally higher slant to the Zoom tone pushes into the tube overdrive for an awesome gritty, sputtery distortion. Then I turned it into dancey rocktronica with some Roland TD-6 V-Drums into a couple BOSS VF-1 multieffects. Probably my best live drumming yet, I only had to edit out parts of the last half of the track to hide my off-tempo playing. Heh. Bass is 100% live straight through.
Aguilar Fitler Twin for synthy sounds Quickie ad-hoc clip for a person wanting to buy an Aguilar Filter Twin I received in trade. Trusty Lakland Duck Dunn into synth modded OC-2 with OCT1 and OCT2 maxed with my English Muff'n tube overdrive for some extra grit. Then I turn the Filter Twin on which is inserted in between the OC-2 and Muff'n. You get some totally awesome formant sounds with the two blended and with the velocity on the downsweep at 11:30 and velocity on upsweep at 1 O'clock, threshold to taste depending how far you want the filter to open. Eventually I turn the Muff'n off so you can hear just the OC-2 and Filter Twin, end with just the synth modded OC-2 in all it's glory. At least that's what I think I did. :)  That's what you get with ad-hoc, baby, no specific memory of what you just did 5 minutes ago! 

OLD 2009-2010 CLIPS

BOSS VF-1 LOFI processor sound clip It starts with clean bass, then just the BIT feature at 8 then 1 noting it's more of a dirt sound, then I add in the SAMPLE RATE which gives the bit crushing sound and noise, then I diddle with the filter section cycling through LPF/BP/HP then back to LPF and play with the cutoff and resonance. Lastly I push a MXR Bass Octave Deluxe and then BOD + Brown Dog through the LOFI so you can see what it does to signals other than clean bass. It can generate total pure noise depending on what you feed it. Unfortunately I whipped through this fairly fast and failed to write down the various settings I used so I'm going off memory as to what values for the various settings I used. One setting I didn't use was the PRE FILTER = ON which functions somewhat like a pre noise gate as it cuts out the clicks and noise between notes you play. There's also a POST FILTER which I have never found a use for as it basically muffles the entire sound and seems pretty useless. The BOSS VF-1 has a ton of functionality for a pretty cheap $100 - $150 product. All MIDI controllable, with four assigns you so you can assign 4 parameters to pedals/CC though I haven't gotten that far yet. But I'd think you could assign CUTOFF FREQUENCY to a CC pedal to sweep with it, though I'd expect it to be a stepped sweep based on how it functions when sweeping the front panel control knob.
Chunk Systems Brown Dog VS Moog Freqbox Everything is played on my B string. Starts clean; Brown Dog with gate max, fuzz 2 O'clock, pure dirty no clean, switch to hard; then Freqbox set to saw, Freq on 2, Mix on 10, hard sync on, everything else off. I bounce back and forth between the BD and Freq, and lastly run the BD into the Freq to illustrate the difference in sound and tracking, then noodle with the tracking down my B string. At the very very end I loosen the BD gate from max to about 2 O'clock where I normally run it. That seems to give the Freq nearly limitless sustain and help tracking those low B notes much better since the gate doesn't sputter.
Moog LPF vs Electrix FilterFactory LPF Open E played through a Chunk Systems Brown Dog with Gate = 2 O'clock, Drive = Max. You hear the clean tone first, then I enable the Moog Low Pass Filter with Envelope = Off, Mix = 10, Filter = 4 Pole, Resonance = 6, and I manually sweep the Cutoff Frequency knob with my hand. I then switch to the Electrix FilterFactory with LFO disabled (Singleshot=On), 2 Pole Stereo (closer to the Moog's 4 Pole I think), Resonance = 2.5, Filter Type = Low Pass, and I manually sweep the Frequency knob.
Electrix FilterFactory LFO I've got the FF set as follows: * Resonance at one notch above 2.5   * MIDI CC5 expression set for 10-55 to give the pedal the most control over the low range without totally excluding the highs. * LFO set to 1:1 * LFO speed 3 notches past 12 O'clock * LFO Wave on reverse saw wave.  * LFO Depth at 11 O'clock *Bass run thru DOD FX25 and Chunk Systems Brown Dog
Electrix FilterFactory HPF MXR Bass Octave Deluxe, BOSS VF-1 bit crusher, into the FilterFactory set as follows:  * Resonance at one notch above 2.5   * MIDI CC5 expression set for 0-80 to give the high pass filter access to the lowest possible filter frequency (gets super high as you'll hear).  Then into a second BOSS VF-1 for delay/verb. One thing I forgot to do was cut in some dry non-filtered sound so you could hear with the original sound was. It's voiced fairly high via the bit crusher without any specific abundant crushing lows.
Various Fuzz with Octave and Filter Sweep Devi Ever BIT / Legend of Fuzz. Volume 8:30, Control 11:30 Chunk Systems Brown Dog. Dirty 1:00, Clean 11:00, Gate max, Fuzz max Guyatone TZ3. Volume 1:30, Depth started at about 1:00 and at 1 min into the audio I changed Depth to 11:00  Dr Scientist Frazz Dazzler. Sizzle max, Gain 3:00, Volume 9:00, Mix 3:00, Gate on Devi Ever Truly Beautiful Disaster. Volume 3:00, Fuzz min, Oscillation 3:00, Blend 3:00, Gate on. Note that all knobs are ass backwards, so when I say "max" I mean the knob is pointing at where max should be, but to the pedal that's really min since the knobs are ass backwards. It's maddening. Pigntronix Disnortion. Level 1:00, Shape 5, Gain 3:00, Octavia Filter max

Here's how I had my non-fuzz effects set. BOSS OC-2 Oct1 max, everything else min for pure wet octave down EBS BassIQ. Threshold 11:30, Attack 2:00, Mode HiQ

Here's what you'll hear. * Dry bass * Bass through the fuzz in the order listed above, with the Pigtronix fuzz, then fuzz + octava last * Bass through OC2 * Bass through OC2 then through the fuzz in the order listed above, with the Pigtronix fuzz, then fuzz + octava last * Bass through OC2 and BassIQ * Bass through OC2 and BassIQ then through the fuzz in the order listed above, with the Pigtronix fuzz, then fuzz + octava last.
Dr Scientist Frazz Dazzler This clip highlights the Dr Scientist Frazz Dazzler on bass. Frazz has the gate on the whole time. You'll hear clean bass, then Frazz with Sizzle = Max and Gain = 3 O'clock, then Gain = 12 O'clock, then Gain = 3 O'clock, then I roll the Sizzle down to 9 O'clock where I think it sounds best on bass with Gain = 3, then Gain = 12 O'clock, then I turn on a DODO FX25 before the Frazz to cut the highs and it REALLY fattens up the Frazz fuzz sound, I think it sounds best with the FX25 in front actually as it really cuts the high end fizziness of the Frazz, it's like a completely different box run like that. Lastly I throw in the Chunk Systems Brown Dog for comparison as it's my benchmark gated fuzz and the one that's been on my board the longest.
Zoom UF-10 Ultra Fuzz  vs Brown Dog ZOOM: Gate: 9 O'clock Color: 1 notch below max Reso: n/a doesn't work on my pedal Tone: 10:30 O'clock Gain: 9 O'clock Level: Max
Notes: If I turn the gate up any further the level drops significantly, so this is the max gate I can get while still maintaining this level of output.

BROWN DOG: Dirty: 11 O'clock Clean: Off Gate: 2 O'clock Drive: 9 O'clock Switch: Hard
Catalinabread Heliotrope VS BOSS VF-1 Ringmod Here's a super quick clip of the Catalinabread Heliotrope through a couple settings (no gain on any, cycle through hi/low, and cycle through some sample/resolution settings), then some then with the Chunk Systems Brown Dog feeding it. Then a quick clean bass and the BOSS VF-1 with effect = 80% direct = 60%, start on normal ringmod, cycle through some frequencies, then BOSS VF-1 intelligent ringmod (you can hear it tweaking while trying to match the input frequency), then cycle through some frequencies.
SansAmp RBI vs ASA MB-1 My attempt to create a patch that mimics the SansAmp RBI tone. SansAmp is EQ'ed flat. Then I try a few different mid/hi-mid combinations on the MB-1 in an effort to get that serious 900Hz mid-scoop the RBI has while also providing hi-mid boost. The MB-1 has no ability to cut the highs at 10K like the RBI does. Anyway, you be the judge. You'll hear the RBI, then the MB-1 preset using a -14 cut at 880Hz, RBI, MB-1 preset using a +3 boost at 1680Hz, RBI, MB-1 preset using a +10 boost at 1680Hz. The MB-1 only has one EQ section, HI MID that covers the 900Hz to 1680Hz range. So you can opt to either cut around 900Hz or boost the upper mids. Basically it lacks enough EQ control to accomodate the needs to really attack the RBI tone.
Copilot Orbit vs Brown Dog Copilot Orbit's fuzz circuit (no VCO blended in), Int = 4 O'clock. You'll hear clean bass, Orbit, then Brown Dog for comparison.
Copilot Orbit VCO You'll hear clean, just the Orbit VCO (Mix = Max for pure VCO), then the same Orbit settings but with the DOD FX25 (Sensitivity = Min for pure high cut) in front. Illustrates how you can really affect the Orbit with some pre-EQ or filtering to tame the VCO.
Copilot Orbit VCO A short clip with just VCO again, unsure on the settings, but it's a nasaly, warbly ring, with Addictive Drums in the background.
Bass Synth via VST Regular 4 string bass guitar fed into a laptop. I don't recall the exact VST chain but it went something like this:  Bidule as the VST host, FrettedSynth synth, various FabFilter plugins like Volcano for the arpeggio sounding filtering, and Timeless for the high-voiced warped sound. All processed from a single, live mono bass line. Cool stuff!  But extremely complicated to program, setup, and get to work well.
FrettedSynth Saffron FrettedSynth offers a lot of seriously great sounding free VST synth apps that track guitar or bass. This clip has the actual bass panned hard to one side, the FrettedSynth output the other so you can hear tracking. I cannot recall when I made this clip, but probably early on in my FrettedSynth use. I haven't used in over 9 months, but I recall getting the tracking to perform much better than what you hear in this clip with the missed notes.
Clipped BOSS OC-2 I accidentally discovered that if you push a super hot signal into a BOSS OC-2 you can get it to clip and change it from a smooth synthy octave into a really dirty machine, almost 8-bit sounding, but fuzzy from the clipping. The last part of the clip adds a tremolo (or something similar) to the signal before the OC-2 to give it a kind of quasi pulse width sound.
CoPilot Orbit, Octave, FilterFactory I don't recall the exact setup. But from the MP3 file name apparently it goes like this.  MXR Bass Octave Deluxe > CoPilot Orbit > FilterFactory. I start with the fuzz, add the octave in front, then the filter after. Good example of the typical bass synth via efffects signal chain of octave  + fuzz + filter.
TS Audio To MIDI An audio to MIDI Windows application. Raw bass panned hard to one side, the triggered softsynth to the other.  I don't recall ever using this app beyond general testing though it sounds like it tracks fairly well in the high range of the bass guitar.
BBE BMAX-T preamp Probably one of my favorite preamps. Has a really deep, smooth, tubey sound. What it doesn't have is a ton of functionality beyond the basic preamp stuff so no crossover, level controllable FX loop, etc. The overdrive via high gain sounded really, really poor, and I also recall them to have somewhat noisey tube type crackles on the very end of note decay, though it was low in volume and you really had to have your ear up to the speaker cab to listen for it. I doubt it would ever come across in the mix, or live. Note that some of the early models had a gain stage issue where the gain was always way too hot which prevented any type of really clean / clear tone. But they're inexpensive, 1U, easy to use.  I owned both the solid state and the two of the tube versions, both tubed units had the tube noise issue so I'm doubtful it was just me, though it could've been my setup or the way I was using it. You certainly cannot hear it in this direct recording though. Sounds great if you ask me!
BBE BMAX-T preamp noise Ahhh, found a clip where I have the gain set slightly higher and you can hear how it starts to overdrive... but in a completely unpleasant way. The gain stage was always overly sensitive, even with gain below 12 O'clock, and with the factory gain stage update.
iRig vs Korg Pandora vs MESA Titan Quick testing of a couple of pocket sized amp sims VS the real deal. Note the iRig was using the first release of Amplitube for the iPhone. I never could get it to sound decent, it was always un-clear sounding, clipped and buzzy sounding, and you really had to push the gain and volume on everything to get a decent output which furthered the clipped/buzzy/dirty sound. It was a serious disappointment for bass. The Korg Pandora is great, very versatile, surprising full featured and really great sounding for a dinky little piece of hardware and has TONS of output volume available. I actually think it sounds the best in this recording. But note I recorded the MESA Titan via DI out, so you're not getting any cabinet or mic flavor in the recording, I threw in some Titan tube overdrive/fuzz in there, too. Love the overdrive on the Titan.
Source Audio Bass Envelope Filter Start with a synthy tone created with my BOSS GT-10B and BOSS OC-2 in the FX loop, leverage a beat-synced slicer, push that into the awesome Source Audio Bass Envelope Filter that I modified to have an expression pedal jack to control the filter frequency. I run through a variety of filter voices and settings, but I couldn't possibly tell you what they were other than the MP3 file name indicates "filter 17" so I'm assuming it's only using that specific filter voice. The BEF has a really quick filter reset time so things like slicers, hard tremolo, etc. easily trip the filter envelope which is one of the great features of this particular filter. Full dislosure: I'm a BETA tester for the Bass Envelope Filter Pro they're working on in Spring 2011. But I was a regular Joe user that paid full retail for the non-Pro version you hear in this clip.
Source Audio Bass Envelope Filter Another Source Audio Bass Envelope Filter. Similar to above, synthy tone genereated and fed into the filter, apparently filter 10 based on the MP3 file name. I then bop through settings on the filter, likely with the expression pedal modulating the frequency parameter.Full dislosure: I'm a BETA tester for the Bass Envelope Filter Pro they're working on in Spring 2011. But I was a regular Joe user that paid full retail for the non-Pro version you hear in this clip.
BOSS SE-70 drive sounds BOSS SE-70   This unit is similar to the VF-1, but older, less overall functionality, and even more restrictive with the way the effects are packaged into algorithms. People like this unit for it's fully analog drive section, and the fact The Prodigy used it to some degree on some of their tracks (something about oscilating reverb if I recall correctly).  While the drive section definitely sounds vastly superior to the VF-1 digital drives it still doesn't sound as good as your typical stomp box and still required a lot of EQ or amp block (used as EQ) to help shape the tone. At least when used with bass guitar, anyway.  I believe I ran the my bass into the SE-70 directly, then output that into the front input of my MESA Titan, then recorded DI out of that. So again, you're missing physical cabinet and microphone flavoring of the tone.
Bass Synth Effects No idea what I used to create this clip. But I believe BOSS GT-10B, BOSS OC-2, and some filter assigned to an expression pedal to get that screaming high voiced sound.
Hip Hop Bass Tone No idea what I used to create this either. But I believe just my bass into the BOSS GT-10B and OC-2 in the FX loop. Check out my GT-10B page for a "super low too" or "pure sub" patch, going off memory on that one.
Electronica Bass And again.... no idea. But probably fuzz (CoPilot Orbit?) + chorus.
Ambient Bass Sounds like a guitar, but it's totally my bass played high on the neck and into a BOSS Phaser stompbox pedal (I believe the BOSS PS-3), and apparently some drive effect and some delay. Ended up sounding like some sort of ambient shoegaze type guitar. I really like the melody and think the drums loop fits it perfectly. But certainly not very bass sounding.
Electronica Bass Everything but the drums you hear is my bass through hardware effects of some sort.
Electronica Bass Everything but the drums you hear is my bass through hardware effects of some sort.
Filter Bass Some sort of attempt at synthy bass sounds using a filter. Possibly an Electro Harmonix Bassballs.
Electronica Bass Some sort of octave + fuzz + envelope filter.
Industrial Bass Some sort of octave + fuzz  + filter that I'm modulating frequency and/or resonance somehow. No idea what's creating this but I believe hardware pedals, BOSS VF-1, and Electrix Filter Factory. In general I think it sounds like crap, exept it has this really interesting sounding noise in the background created from all the effects amplifying and morphing the picking noises.
Industrial Bass Clip I recorded using hardware pedals, BOSS VF-1, and Filter Factory.
Various Effects First half of this clips sounds like gated fuzz (Brown Dog?) for the bass, some sort of HPF for the "lead" synth sound, then the second half is.... I have no idea. But sounds like overdrive and reverb, I just have no idea what I used to create it. But I like how it sounds. :)   You're not allowed to steal that riff, I totally plan on using it for my next groove rock band.
Electronica Bass More unknown fuzz + filter sounds.
Electronica Bass And more. :)   I believe this is just the BOSS GT-10B with the OC-2 in the FX loop.
Bass Synth via VST Regular 4 string bass guitar fed into a laptop. I don't recall the exact VST chain but it went something like this:  Bidule as the VST host, FrettedSynth synth, various plugins like FabFilter Volcano. All processed from a single, live mono bass line. Cool stuff!  Very well defined, nice stereo separation but still cohesive. Overall really happy with how this synth sound turned out. But extremely complicated to program, setup, and get to work well.
Bass Synth via VST Regular 4 string bass guitar fed into a laptop. I don't recall the exact VST chain but it went something like this:  Bidule as the VST host, FrettedSynth synth, various plugins like FabFilter Volcano. All processed from a single, live mono bass line. This one didn't turn out as well, sounds kind of mushy and undefined.



Last updated 03-29-2013





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