6 types of Bass Drive/EQ effects added to the StompShare app!
Bass Booster
The EP Booster by Xotic Effects has numerous fans among active musicians, particularly in Japan and the US. Compared to the distortion type Bass BB Preamp, which has similar controls, this is a clean sounding booster. With this model, for a sound that is close to the unaffected sound, set the Gain, which is the amount of boost, to 0, the Bass and Trebl tone controls to their center values of 0, and the Level for the overall volume to 50. This sound is still different from a complete bypass, however, because it is a little warmer. We could say that the unique character of the EP Booster is sneaking through. This is, of course, a useful preamp for vintage passive basses, but it is also very suitable for supporting low frequencies and managing high frequencies after chorus and phaser effects.
Bass OD
This effect models the ODB-3 bass overdrive from BOSS. The equalizer on the original has been concentrated into a single Tone parameter, but the bright, emphasized mid frequency sound that is characteristic of that pedal has still been carefully re-created. The gain is not as high for overdrive as it is for distortion, so working with picking nuances is easy and distortion can be changed by adjusting your touch. Raising the Gain no more than necessary allows you to maximize the character of this effect. Used together with the Bal parameter that adjusts the mix between the original and effect sounds and the Tone parameter, you can create a fairly wide range of sounds. The effect will also differ depending on the instrument, so you should take your time in finding settings you like.
Bass Muff
Electro-Harmonix has continued to build unique effect pedals from the 1960s until today. One of their most famous products is the Big Muff, which is synonymous with fuzz effects. This is a model of the Bass Big Muff, which is their bass version of that pedal. Even if you turn the Gain all the way up for deep distortion the sound does not become thin. This impressive sound, which could even be called violent, is the amazing. The Tone control has a slightly unusual impact on the sound. Turn it to the left of center for a combination of high cut and bass boost or to the right of center for low cut. You might think that a low cut is not suitable for bass, but this is not always the case. If you adjust the mix with the original sound using the Bal knob, and set the Mode switch to BsBST (bass boost) you can make the lows fatter and add fuzz distortion to the highs for a sound that is great for ensemble playing. The “right” way to use this fuzz is to enjoy mastering it.
Bass Dist 1
This models the DS-1, which BOSS released as their first distortion pedal in 1978. Compared to their Bass OD, it had a higher gain and featured sound with a wider range. In this model, adjust the depth of distortion with the Gain control (“Dist” on the original). The Tone and Level parameters are like those on the DS-1. In addition we have included a Bal control that allows you to adjust the mix of the unaffected and effected sounds. By using this, you can mix a deeply distorted sound with the original sound, for example, making this better for bass than the original and allowing you to create even more diverse tones. If you like deep distortion, we recommend this effect over Bass OD.
Bass Metal
Among the numerous distortion pedals made by BOSS the one that boasts the greatest gain is the Metal Zone MT-2. In this model, we have replaced the original 3-band equalizer with a single Tone parameter, while adding a Bal control so you can adjust the mix of original and effect sounds. These changes make this effect even better for bass distortion. Even if you turn the Gain all the way up, picking nuances will not be lost because this effect has been specialized for heavy metal with its many fast songs with drilling rhythms. By mixing the original sound in, the picking and effect sounds interact with each other subtly, producing a “hot” sound with an unusual sizzling feeling. That effect becomes even clearer when you play with a pick, which we recommend when you want that real metal sound.
Bass GraphicEQ
A graphic equalizer (GEQ) uses multiple parallel sliders to precisely adjust set frequency bands. As the name suggests, this type of equalizer lets you look to check the set frequency characteristics. Typical GEQs have frequency bands assigned to sliders in even intervals of octaves or 1/3 octaves, for example. Rather than sticking to equal intervals, however, this model uses frequencies that are convenient for crafting bass tones. 50Hz controls the heavy, air-moving low frequencies. 120Hz is effective at picking up the sound of the G string, which can become a little weak. The neighboring 400Hz and 500Hz bands are convenient for fine adjustments of the mid frequencies. 4.5kHz and 10kHz can be used to control harmonics and fret noise. We recommend increasing 4.5kHz to create a bright sound and lowering 10kHz slightly to control unpleasant highs.