Reverb is a funny thing. I remember a few years ago, I wouldn’t be caught dead with a reverb pedal in my line, now I have two on my board currently. Now you see and hear various levels of reverb on many guitarists boards. Because of that demand, there are a ton to pick from now-a-days. So what’s the best? What’s the most popular. If you’re interested in getting a reverb, this might be a good resource to pull from. So we need your help! Please vote what you think is the best reverb out there. If you see a pedal missing from the poll, let me know by commenting below. For now, I just pulled 30 units out there.
Steve Stevens is pretty badass. Thinking about this guy with Billy Idol, is pretty classic. For years, I thought he played with PiL but later found out that was actually Steve Vai, but still, this guy is pretty timeless. I was stoked to see this Premier Guitar Rig Rundown of Steve Stevens! He spends a long time discussing guitars and amps, but I wanted to see what he did about pedals… and he went into some good detail.
Below is a break down of pedals
Source Audio Soundblox Pro Multiwave Distortion
MXR M109 6 Band EQ
MXR Phase 90 CSP026 Script 90
Chandler Little Devil Colored Boost
MXR M108 10 Band EQ (painted)
Joe Meek Floor Q Compressor
On the Floor
Roland GR-33 synth
Skrydstrup R&D SC-1 System Controller
Peterson Strobostomp Tuner
DigiTech Whammy DT
Crystal Encrusted Dunlop CryBaby Wah
Boss FV-500H Volume Pedal
Ernie Ball Volume Pedal
Let me know your first experience listening to Steve Stevens. Also, if you notice anything incorrect or missing, please let me know by commenting below!
I know today is not Friday, but due to the large queue of Pedal Line Friday, I thought I do a few on Wednesdays! Today’s pedal line is from Casey Scott. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.
Hey Effects Bay! I’ve done some major updates to my board and wanted to share. A while back, I remember reading something about the Effects Bay crowd liking to see (major) updates, to track how a pedal board evolves. Well, this is a pretty major leap forward for me, and I thought you all would like to see it.
Here’s my updated pedal board, now with a Loop-master from Loop-Master Pedals. Here’s the rundown: From the guitar, the signal hits the LS Effects Tone Messiah Line Buffer (for my money, the best buffer on the market). Then, it goes into the Loop-Master.
Loop 1 is the volume/EQ/Filter loop. It starts at the Morley Stereo Volume Pedal (discontinued), Boss Harmonist Pitch Shifter (w/ Pedal Label!), Source Audio Soundblox Pro Poly Mod Filter (auto wah, EQ, LFO effects, funk-in-a-box!), then a Tech 21 Killer Wail Wah (discontinued – best sounding “full range” wah I’ve ever head!).
Loop 2 is my “drive” loop, which is all Way Huge stuff – The Pork Loin (light OD/boost), the Green Rhino (Medium OD), the Swollen Pickle (Fuzz), and the Fat Sandwich (Distortion). I can do this because the Swollen Pickle isn’t finicky – sounds great way back in the chain. As you can see, I love Way Huge stuff, mainly because it’s so flexible. I can pull TONS of different tones out of each pedal. I love them all, but the Green Rhino sounds its best when the amp is turned up. When the amp is turned down, I tend to use the Fat Sandwich and my volume knob for heavier OD / distorted sounds.
In between the Master Bypass switch and Loop 1, you see the “Reverse” switch. That inverts Loops 1 and 2. This lets me do fuzz into wah or wah into fuzz, as well as a host of other cool effects (like running distortion into a filter effect).
Loop 3 is my modulation loop, which is all Digitech Hardwire stuff. This loop is Chorus, Phaser, Tremolo/Rotary/Vibe. The Hardwire pedals sound great and have quite a few variations on each “tribe” of effects in them (plus, they’re built like tanks). BTW, the “Vibe” setting on the TR-7 is the best Univibe copy I’ve ever played. Trems on that pedal are great too. Loop 4 is my delay/reverb loop. This one is a Way Huge Supa Puss analog delay, a Digitech Timebender Digital Delay, and a TC Electronics Hall of Fame Reverb. The pedal you see in the far upper left of the board is a re-housed Digitech FS3X. I put it in a much smaller enclosure (project box from Radio Shack). I just use it to switch memory patches on the Timebender. After Loop 4, the Loop-Master goes to the amp. Brian at Loop-Master was good enough to include an “always on” output to the GFS Tuner (which is hard to see in this picture, but it’s the pedal just to the left of the Loop-Master). Also, the Loop-Master has a Master Bypass, for when I want to kill everything and run straight to the amp. I’m thinking about adding an overdrive/boost to the front end (in between the buffer and the Loop-master) to go for a straight assault on the front end of my amp w/out a lot of signal behind it. I may bring one from home and see how it sounds.
The board itself is 3 layers of 1/2″ plywood with aluminum angle and is handmade. The “layers” are accomplished by using bolts as support columns with nuts and washers as supports for the three “decks.” It’s rock solid (and quite heavy). There are rubber feet on the bottom to keep it from moving around on either carpet or tile. The whole thing is powered by 2 Voodoo Labs Iso5‘s, and one Visual Sound One Spot (for the Harmonist – don’t ask why ), plus the factory adapter for the Timebender.
So far, I’m really digging this configuration. I’m not in love with the Boss Harmonist, but it does the trick (for now). It will probably get replaced by the Eventide H9 when it comes out. That’s all for now. Thanks for letting me share.
I’ve been a fan of Reeves Gabrels for some time now, but definitely been more interested in what’s he’s been involved in since he recently signed on with the Cure last year. Reeves played guitar with David Bowie for years in the 1990s (where I first heard of him). I’ve been a Bowie fan for years as well as a major Cure fan for years. Following Reeve’s Facebook page, he announced he was building a new board and I thought it would be cool to break it down, he definitely has some great pedals on that board!
Ernie Ball Jr. Volume
Line 6 DL4 Delay
Boss Dimension C Chorus
Timmy Overdrive (not 100% sure)
Bearfoot Model H 4K
Bearfoot Honey Beast OD
Creation Audio Labs MK 4.23 Clean Boost
Ernie Ball 6185 WAH Pedal
The only pedal I wasn’t 100% sure about was the Timmy Overdrive. This does fit the controls layout, footswitch position and color. If you see anything incorrect or missing, please let me know by commenting below. Also, let me know if you’re a Cure/Bowie/Reeves fan!
I saw Pigtronix post this today, and had to repost. I’m quite fascinated with musicians that loop, and here we have Evan Marien doing some looping with the Pigtronix Infinity Looper AND using the MIDI sync via Ableton Live (which is a great piece of software)
This is the first looping video I’ve seen featuring bass and Ableton, so this gets the gears rolling for sure. The Pigtronix Infinity Looper is a great looper, and one on my short list of new pedals to pick up.
Here is the video posted by Pigtronix:
If you notice Evan moving his right hand causing the swelling effect (note the ring), that is the Source Audio Hot Hand, which is super fun!
I went ahead and broke down the pedals used for this demo for those that are interested:
Pigtronix Infinity Looper
Source Audio Soundblox 2 Dimension Reverb
Source Audio Hot Hand 3 Wireless Effects controller
Markbass MB7 Booster 7-Band Bass Graphic EQ
Boss SYB-5 Bass Synthesizer
AKAI APC20 Performance Controller
Let me know what you think by commenting below!
Today’s pedal line is from Ricky Wilson. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.
Hi, my name is Ricky Wilson and I am a bass player and I occasionally play guitar for my own projects. I play a Peavey T40 bass, with an Ampeg 8×10 cab and a T.C. Electronic Staccato 51′ amp. I recently put this pedal board together in order to make it more efficient for me to set up for shows. I built the pedal board within a two week period. It has 8 outlets wired into it as well as a power switch and an IEC power inlet for a C19 connector (which delivers the power from an outside source). The pedals on the left pedal board are mostly powered by the light blue power strip at the top and the pedals on the right pedal board are powered by their own adapter.
My main pedal board (The one on the left hand side) is as follows:
1. Morley Volume Pedal: I use this pedal mostly with my delay to make swells or if we end a song by letting the note ring out I will usually use this pedal to drop out a bit quicker.
2. Digitech Whammy: I use this pedal mostly for the detuned effect when I play with my band. When recording my own stuff I use this pedal on the 4th/5th setting alot. All around great pedal.
3. Dunlop 105Q Bass Wah: I use this for typical wah effects. I like to use this pedal with my Boss Flanger on the Gate/Pan effect with a high depth.
4. Source Audio Soundblox Bass Envelope Filter: I use this pedal if a few songs of ours to get a bass funk vibe.
5. Digitech Bass Synth Wah: This pedal has some really cool options. I use this pedal mostly for more sustained parts that I want to sound really weird. It drops the volume a bit but not enough to worry about.
6. Ibanez PD7 Phat-Hed Overdrive: I have tried a few overdrive pedals (not a lot) but I always come back to this one for some reason. Sounds great
7. Boss OC-2: Sounds great with the PD7 pedal. Custom paint job on this one
8. Boss Temolo/Pan: I use this pedal with the depth all the way down and on the tremolo setting with the rate going fairly fast. I only use this pedal in a couple of songs. Sounds amazing
9. Boss Flanger BF-3: I mostly use this pedal on the Gate/Pan mode with a high depth and a somewhat quick rate.
10. Behringer Ultra Vibrato UV300: This pedal is pretty cheap but the sounds you can get out of it sound really cool.
11. Strymon Timeline Delay: Just recently bought this pedal and it is an amazing delay.
Pedal Board on the right hand side is plugged into my amp as an FX Loop
1. Boss Bass Chorus CEB-3: I use this pedal on a lot of our songs
2. MXR Blowtorch: This pedal is used to give my signal extra overdrive
3. Way Huge Swollen Pickle (fuzz): Used in some heavier parts of our set
4. Moogerfooger Lowpass Filter: Used throughout most of our set. Has a smooth quality to it.
5. Moogerfooger Bass Murf : I use this pedal mostly for the Modular synth type sounds you can get out of this pedal. Usually during a weird Jam session.
6. Boss Slicer: This is another pedal like the Bass Murf that is used during jam sessions that just sounds really trippy.
A few days ago I got a Facebook message from one of the members of Preacherz of the Savage Truth showing me a photo of their bassists board. The board is for Matth Mullet who plays some pretty mean bass, and I thought it would be cool to if I could break down this board. Preacherz of the Savage Truth is a band out of Toulouse, France. For those of you that don’t know me, I am/was/will be a pretty big Cure fan, and these guys sucked me in a with a cover of ‘Cold’. I’ll present the video further down in the post.
Matth definitely has crafted a great board with a lot of tonal ranges for his bass. This is the breakdown of pedals. Like always, if you see anything incorrect, missing, or just want to comment, please do so by commenting below!
Dunlop Bass Wah 105Q
Source Audio Bass Envelope Filter
Source Audio Expression Pedal SA161
Digitech Bass Whammy
Ibanez Tube Screamer TS9B Bass Tube Screamer
Xotic Bass BB Preamp
Devi Ever The Wolf Fuzz
MXR Script 90 Phase CSP-101CL
Tech 21 NYC AR3-B Footswitch
Voodoo Lab Pedal Switcher
EHX Russian Big Muff Pi
Alien Hate Fuzz
Homebrew Electronics Hematoma Bass Overdrive
TC Electronic Polytune Mini Noir
TC Electronic Hall of Fame Reverb
Line 6 DL 4 Delay
Rothwell Love Squeeze Compressor
Line 6 Wireless G30 Relay
As I mentioned above, here is the video by Preacherz of the Savage Truth covering Cure’s Cold:
The fine fellows over at Source Audio came up with a great new product – the Hot Hand 3 controller. They had the Hot Hand previously, but those were controllers dedicated to their own lines of pedals. The Hot Hand 3 Universal Controller is taking their hand controller and giving that control to other pedals by different manufacturers! You can now control pedals with the Hot Hand if the pedal has an expression input!
The Hot Hand is a ring that fits on your finger that is connected wireless to the Source Audio Hot Hand interface which allows you to affect the 3-axis accelerometer to translate that motion to an expression signal! With the Hot Hand 3 Interface you can control the ‘Depth’ and ‘Smooth’ controls – which controls the effect amount and ring sensitivity. Simply connect the Hot Hand 3 interface to your pedal via 1/4″ mono plug.
Below is a great demonstration video by sourceaudioeffects showing how this can be used with a variety of effects:
Today’s pedal line is from Andy Jetking. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.
Line selector used to balance clean and dirt from the madebymike pedals. Check him out on YouTube. Fishman pedal rocks – finally have closure after losing my old Akai UniBass!
The big dots is great as I’m an old man…
M80 is used with the colour setting engaged.. sounds really sweet.
The following is a guest review by Chad Beeler of BassEFX.com . If you are interested in guest posting, please contact me!
As electronic musicians, bass players and guitar players alike, we’ve all been drawn to the “next coolest thing” or heard of “this one dude making insane ___________ boxes!” That dude, of course, is the modern boutique pedal builder, who is passionate about giving us a fresh perspective about what’s possible for our tone. It’s what we gravitate toward, that gourmet sonic ingredient. That, which will create thee sound. For most of us, including me, there is the romantic notion of a hand-crafted analog pedal, painstakingly soldered, numbered by hand, individually painted, blessed by Tibetan monks. (Maybe not that last part, but you get the idea.) For this, all boutique pedal builders are to be commended for pushing the sound and design envelope which has stoked the creative fires in a huge number of bass players, including me. Thank you!
But, there is a passion for tone pushing the sound and design envelope from another direction; using the science of sound and cutting edge digital technology to get to the end result. That’s the mission of digital pedal builders Source Audio. Chief Scientist, Bob Chidlaw, brings a vast musical knowledge to Source Audio with over 40 years of effects and amp building and 20 years as Chief Scientist at Kurzweil. And colleague and engineer, Jesse Remignanti, brings cutting edge digital signal processing innovation to the design and execution of the Source Audio lineup. It’s their combined passion for musical science and technology that has pushed pedals like the Pro Classic Distortion, Bass Envelope Filter Pro, and the other worldly Hot Hand products to the front of modern guitar and bass pedal design.
One of their latest offerings is the Source Audio Programmable EQ, and it too is digital. You may be an analog guy or not. Regardless, the Programmable EQ is simply a great tool to have in your arsenal. It’s rugged, silent, intuitive, flexible, MIDI capable, and it also has an interesting “X Factor” as well, more on that later.
The Source Audio Programmable EQ for Bass Guitar
The Programmable EQ has 7 band range with +/- 18dB capability. You also get an additional 8th band at 62 Hz, which can be programmed with the Octave Extend Backpage function. This gives bass players additional flexibility, especially for creating a scoopy slap sound, fat and dubby reggae tone, etc… The “Band Select Buttons” are clearly marked with left and right arrows. Once a frequency is selected, you use the grey encoder knob in the middle of the pedal to boost or cut dBs. The Programmable EQ lets you save up to four presets. Simply push the “Select” button to scroll through the presets. Each preset has an LED indicator and the saved EQ curve is visible above as you scroll through your presets. When you have a curve you like, just press and hold the “Save” button for two seconds and you’re done. The overall output for each preset is controlled by a brightly lit blue knob, which actually glows brighter the higher the output is set. That way you have some idea of the output of each preset as you scroll through. Smart. The output is automatically saved along with the chosen preset. The footswitch is true bypass and also functions as a preset selector. Once you engage the footswitch you can press and hold it to scroll through your presets, just release the pedal when you’ve found the preset you want and you’re ready.
In addition to the EQ functions, it has four “Backpage Parameters” which you access by pressing both the “Left” and “Save” buttons simultaneously: Octave Extension, to access the extra 62 Hz band; Switching Speed, to control how fast or slow you want the Auto-Scroll function to operate; Auto-Scroll, either on or off; and MIDI Channel, which will allow you to control functions of the Programmable EQ with other MIDI sources. This brings us to the “X-Factor” I mentioned earlier. When the Auto-Scroll mode is on, and the switch is pressed, the preset scroll will automatically continue scrolling even when the footswitch is released. This can create very cool sequencer-like and modulated effects. I created some tremolo sounds using this, however the presets need to have fairly wide and varying degrees of output levels to get a radical tremolo effect. You may or may not use this, but it is very cool to play with and yet another example of Source Audio using technology as a creative tool. (FYI, I’ve included some of Source Audio’s demo clips so you can check the functionality of the Programmable EQ.)
The NEW Programmable EQ pedal by Source Audio
Though not technically an effect, an EQ pedal does make valuable contributions to creating tone and there are many EQ pedals available. Whether you like the idea of using an EQ with state of the art DSP, 56-bit processing , and 24 bit converters or not, you gotta like the extra thinking behind it. Digital or not, a tool like the Source Audio Programmable EQ this is certainly worth consideration. And you don’t have to boot any of your state of the art, hand-crafted, boutique beauties to use it.
About the author:
“I created BassEfx.com because the bass community clearly needed a place that would consolidate all the best effects pedals in one place. BassEfx.com gives bass players – and only bass players – a resource that showcases what’s available, offers the best advice and gets you the right effect. My background: I co-founded Bass Northwest, the world’s largest bass-only retail operation, and ran it for 15 years, (1994-2009.) In 30 years as a bass player, I’ve seen, heard, and played just about every amplifier, bass, cabinet and effect pedal imaginable.”