I am also very proud to have been an important part of the prototyping and testing for Nathan’s pedal prior to release and was involved in tweaking the tonal parameters.

https://www.bassgearmag.com/goliath-effects-hornburg-dual-parallel-drive-fuzz-pedal/

Please like and share the video - I'd also really appreciate it for some positive comments on the YouTube video itself, as it helps me to know if you wanna see more!

Good lord, who picked that thumbnail ... lol.. I look possessed! 

Whilst deciding which pedal to purchase I seem to have ended up owning both! Not a problem though as they are both keepers. 

The Seamoon has a more specialist remit but if you like it, and I do, there's no substitute. The SGFX is more what you would expect from a filter pedal with some classic funk settings which has found a permanent spot on my pedal board.

Seamoon Funk Machine;

This basically has two sounds, the classic Brecker Brothers 'sponge' envelope filter and a 'sub-dub' deep filter tone. 

The Funk Machine is a 'down' sweep only filter. The 'sponge' setting is very funky with that pronounced down sweep 'talk- box' sound and an almost pop, vowel like opening to the filter. So much so that if you slap a note the pop will almost take your speakers out! Great for finger style and more extreme than any other filter, but there is a blend control so you can get the right mix.

The sub-dub setting is with the depth control off, letting the filter act almost as an eq control to emphasise a part of the bass frequencies. At it's extreme the emphasis is so low that it gave me a headache! But at less extreme settings it really gave a punch to my bass sound. Blended with the original signal it really shines. This was the surprise setting and I'm using this as my straight tone as it adds depth, punch and clarity.

I thought this pedal would be for specialist use but the sub sounds make it far more versatile.

There are a couple of internal trim pots you have to set to get the sensitivity of the pedal right for your bass, but once done getting the right sound is easy. The build quality is top notch and this has to be the quietest pedal I own in terms of noise.

SGFX Supa Funk; 

Forward and reverse sweeps, and some classic funk sounds. At first you think the sounds are good but you want them to go further, but when I recorded the bass through the pedal I realised on listening back that they were about right and any more would be too much (judge for yourself on the clips I've posted).

The pedal doesn't have a blend control but does have a 'color' knob which adds a second low pass filter to bolster the bass frequencies of the original signal and this I really like. 

The 'classic funk' setting is a great forward sweep filter sound and having the color control means you can easily beef it up.

The reverse sweep 'talky-box' sound I wasn't so keen on at first until I recorded with it and realised how well it fitted in the mix, especially with the fretless. 

Talking of which this pedal is very responsive to playing dynamics and fretless playing. You really feel as if you can be very expressive with the way you play and how it responds.

No internal trim pots on this pedal and I know some people have mentioned clipping issues with hot active outputs but with my passive jazz I've had zero issues (going straight into the pedal caused no clipping). Also, I use all my pedals with an EHX parallel mixer so I can control the send and return levels, if you do have a hot output on your bass this is a good solution and means you won't be put off using what is a great sounding pedal. As with the Seamoon the build quality is excellent and has a great old school feel to it as it's quite chunky. Not as quiet as the Funk Machine but nothing to worry about even in the studio. Overall this pedal really lives up to it's name of supa funk.

The combination of both pedals feels like a funky ball of teats from outer space! And they are now both permanently on my board. More versatile than I thought they'd be, the Seamoon for it's sub punch and the SGFX for the reverse talky, and when you put them in funk mode they really make you want to walk like a chicken! As it says in one of the manuals, but applies to both, prepare yourself for the path to funk enlightenment. 

And to top it off the paint jobs on both do look great. I've posted some clips on another thread if you want to have a listen... for out and out funk, and maximum value for money, I'm particularly in love with using both pedals in parallel for total funkulation!

https://www.bassgearmag.com/bassic-review-omec-teleport-audio-interface-pedal/

Always been an envelope filter fan but since coming across the Aguilar Grape Phaser it's been my effect of choice when getting funky in preference to my collection of EF pedals. So I was quite keen when Warm Audio announced they were releasing an accurate reproduction of the Mu-tron phasor II... and here it is. 

Shimmering, fast rate, phaser sounds are great for psychedelic guitar but for bass my preference is a slow rate with high feedback. And as the manual states, the feedback control is particularly effective with slow rates. For the audio clips I've tried to match the rate and feedback as a comparison between the Warm Audio and Aguilar but the Mutation also has a depth control (lacking on the Aguilar), which I've set to preference. 

To my ears, the WA is warmer (bassier) and smoother (less harsh), whereas the Aguilar has more mids and treble, and more of a swirly, squelchy, sound. The WA seems less extreme (for the slow rates at which I'd use it) than the Aguilar, although with the depth wide open it does approach the Aguilar but I think it's at its best at less extreme settings. But my fav sound is both used in series! Very squelchy and swirly but not much shimmer. Very funky.

Interested to see what others think to the clips. 

Reverb is courtesy of a HoF, and an Aguilar TLC is first in chain. The bass used is a Squier Jazz fretless with Galli Synthesis flat strings. Settings for the WA as per picture, Aguilar is set 12 o'clock rate, 2 o'clock color (feedback).

PS the Mutation is not a small pedal, about twice the size of the Aguilar, so will take up some board real estate. Seems very well made though.

Clip 1; straight

Clip 2; Warm Audio

Clip 3; Aguilar

Clip 4; Warm Audio plus Aguilar

Tracks down low as well as well as any octaver I've come across (see response to Dood's post below). It delivers the "classic OC-2 sound" as well as if not better than the COG 16 and I think it's pretty close to the 'real thing' (sufficient for that particular itch of mine to have been scratched) - although I'll leave my fellow BC'ers with OC-2s to comment on whether they agree or not.

Costs around £59 new (Gear4Music) vs £140 for a COG T16 or £80 for s/h Boss OC-2 and it's considerably smaller than the OC-2. Seems a very good value option to me and I love the small form factor; I can't see myself going back to a T16 or wanting to get an OC-2.

It's analogue and has negligible latency and smooth tracking. I put it through its paces and you'll be able to hear for yourself how it sounds:

1. Clean by-pass

2. "Blend" - Clean 10, Oct1 10, Oct2 5. I really liked this. For me it's my classic octave down sound and I can very much see me using this setting for live music (I slightly prefer this to the best I was able to get from my COG T16 v2).

3. "Classic OC2" - Clean 0, Oct1 10, Oct2 0

4. "Sub" - Clean 0, Oct1 0, Oct2 10. Just like the Boss OC2 the volume is not as high on this as I'd like on just the Oct2 setting. But that's perhaps a good thing as I'd maybe find my speakers blowing if it was! Besides, maybe this is just normal physics / our hearing, in that our ears are attuned less to the very low end and consequently for the low end to match volume we 'hear' of higher frequencies requires a significant increase in power.

5. Combined low - Clean 0, Octs 1 & 2 10

ValetonOC10 - clean.WAV

ValetonOC10 - blend.WAV

ValetonOC10 - Oct 1.WAV

ValetonOC10 - Oct 2.WAV

ValetonOC10 - Oct 1 & 2.WAV

Here's my full in-depth, unbiased review to accompany my video: https://www.bassgearmag.com/bassic-review-ebs-unichorus-and-dynaverb-pedals/  - FREE to read.

I'll start this by confessing that I LOVE a good octaver, and I'm also a firm believer that there are some things that the digital realm just can't replicate.  Since joining a band that does live band renditions of EDM classics I now spend at least 50% of my playing up past the 7th fret with a solo octave sound, usually going for the OC2 thing.

Over time I've gone from an MXR M88 (which I had little understanding of) to a Boss OC3, followed by a TC Sub n Up mini, which lead to a TC Sub n Up, eventually going for a Cog T16 and finishing on a 3Leaf Audio Octabvre Mini (The white one).

The T16 was the pedal which opened my eyes to the OC2 sound, and was only replaced when a drunken punter fell on it, snapping the clean blend knob.  I was unable to get in touch with Tom as this was during his hiatus, and so had a couple of botched local repairs which made it worse before deciding to replace.

The reason for so much self indulgent back story is just to demonstrate that I'm certainly more familiar with octave pedals than the average bear and at times feel more comfortable playing with one on than not...

So... the OC5.  After seeing the price of 3 leaf gear sky rocket, it seemed like the perfect time to cash out, but I'd need a suitable replacement to justify selling my favourite piece of gear.  A bit of talkbass and youtube searching lead me to the OC5, with rave reviews and cries of "authentic oc2 emulation". I was aware of the digital-ness of this, but thought all these players can't be wrong surely?  Turns out, they're not wrong... but it's a case of YMMV.

I really wanted to like this pedal, it looks great with a cracking feature set. At £119 it seemed a steal!  It had all the build quality you've come to expect from Boss, and was as intuitive as any other Boss pedal. After a good old play with my Sandberg VT4 with custom passive electronics, neck pickup solo'd going between this and the 3leaf... it certainly had the right sound, with maybe a little bit more bottom end than I'm used to from my Octabvre.  It had all the right texture, with an unmistakable smoothness.  Something was just a bit off...

The difference, and where I feel ALL digital octave pedals fall short, is the feel when playing.  Undoubtedly because of the digital processing time, you'll always have that ever so slight disconnect from picking the note, to it coming out the other end.  Analogue octave pedals (Octabvre included) stick to your notes like, well... a sticky note thing!  There's just an immediacy with analogue octave pedals which massively impacts the they feel, and as a result the way I play.

If this ever so slight latency doesn't bother you then it's a great option... and  certainly works a treat for the "Sledgehammer" type sound... but solo'd it's no cigar I'm afraid...

Hope this helps!

i used a pedal board for ages with a variety of pedals and a preamp and was really happy.

Both guitards in my band have used line 6 Helix's for ages and they sound great but i steadfastly stuck to my analogue pedalboard.

I don't remember what changed, but i think I was having a mess in the studio one sunday and tried a Helix and everything changed!

I got really addicted to being able to create pedalboards with any effect i wanted at my disposal.

So i took the plunge and got a Hotone Ampero One.

Which i liked so much!

I made loads of virtual pedal chains and had a lot of fun creating until I narrowed it down to what I liked best.

The more i tried things out, the more I liked the sounds and the useful options but the more I became aware of the limitations of the Ampero One , with limited options for how to lay out the signal chain.

So in came the Ampero II. Cheaper than a line 6 helix and with moe processing power.

More great sounds but more importantly, much more processing power and complete freedom as to how to lay out the signal path.

The Ampero II Stomp can have up to 10 effects in the chain in any order.

You can have:

All 10 in series with mono or stereo outputs

Parralel chains to run one or two inputs into one or two outputs

Input split at any point in the chain to become parralel going to two outputs or even joined again to run one output

Effects loop at any point in the effects chain, even out at one point and back at another.

These are all easy to set up with factory templates for all options.

The unit comes with sevceral cab sims, for guitar, bass and acoustic. It also includes 20 Celestion IR's nut these are all for guitar cabs, V30s, greenbacks et al.

There are also 20 slots to put in your own IR's so I've uploaded a good few bass IRs I own from Celestion and other places.

There are tons of amp sims on offer, including 6 bass amps.

I usually use the Ampeg SVT sim, it's very much my go to and my favorite of the bass amps included but there are Ampeg flip, Mesa and Vox amps included as well as a bass Di sim.

The Mesa model on the Ampero 1 and 2 sounds awful to me. absolutely no low end which makes them unuseable. Shame as i like the gainy nature of the model.

Some of the guitar amps sound really good on bass. I love the Roland Jazz Chorus model. On the Ampero one the guitar amps had a lot of hiss when used with bass but the Ampero 2 seems to have sorted this.

You can have an amp as one effects slot, or you can split it into preamp and power amp. This allows more tone sculpting and a choice of tube types but does take up an extra slot and processor power.

Once the amp and cab are sorted, theres loads more to play with.

I like to set up a noise gate, and i really like the Gated Boost which really cleans up my low end to get rid of any boominess and muddiness. It's something of a magic bullet that really makes the bass tone far better.

There are loads of boosts, drives, modulations, choruses, delays and reverbs. Theres four detunes, ring mods, and pretty much anything you'll need. many are dedicated bass effects too with most types having at least one bass option.

Theres even a Darkglass B3K model in the drives, which sounds fantastic but is a little more processor intensive than the other drives.

My current set up is a bi-amped tone:

one input split into two parralel chains, each start with an eq and noise gate.

the first chain the eq is set to keep the low end, which i keep clean. gated boost, into Ampeg svt into Ampeg 810 IR.

second chain eq loses low end but keeps higher, into a Dumble sim into a Celestion v30 410 IR. This has a switchable quad detune for more atmospheric intros or outros.

It sounds sooo good, clean low end and hairy top end and i tweak it to have the darkglass mod instead of the detune for dirtier patches.

So no problem running dual chains , sims and IR's although this set up does pretty much max the processor.

Hardware wise there are balanced stereo outs (balanced jacks only but i sue xlr adaptor to connect to the mixer) and a stereo effects chain.

Aux in and headphone out. midi connections and usb to connect to computer.

You can do anything easily on the touchscreen but its also a little easier to do on computer and you can add IR's. 

There are three footpedals and each bank of patches gets three patches. I have clean dirty and really dirty set up for each of my basses.

I also connect an Ampero two button footswitch which you can assign functionality.

You can also assign the quick access knobs on the front to adjust whatever you want or connect an expression pedal instead.

The Ampero II is wonderful. and will my rig for ages.

It gives me the option to do whatever i want to my pedal chain and it sounds superb.

Bonus, I can even set up anything i want for electric or acoustic guitar too. It even functions as  a recording interface.

big fan of this one! The ability to switch between a big muff tone stack or a rat tone stack is great! 

https://www.bassgearmag.com/bassic-review-trondheim-audio-skarbassone-pedal/

Form-Factor is great, love the smaller size, would take up loads less space on a pedal board, no issue in using it, might get lost under the platform boots of a 70’S Glam Rock Revival Band!

Twin LED’s glow Green Vol / Red Wah but are mainly unseen under ya foot when using it at home. Might get an nice glow on a darkened stage, but might need to move ya foot to check the switch state.

Housing is plastic but feels quite substantial, thick around all the edges and where the M6 allen bolt for the hinge goes, Rubbery Non Slip pads on the top, rather than just textured plastic.

I’m not a great fan of the Super Small style pedals that need external 9v connection. Fine if you have a full pedal board and quality power supply, not so good if you run with just one or two pedals.

There was a bit of noise from the pedal when at Max Vol, and Pedal Forward in Wah Mode. Not being metal may result in a lack of screening  I suspect that it was more likely Mains Interference from my own cheapy 9v wall-wart that was plugged in to a Double wall socket along with my Combo, and another reason I like batteries, (I’ve got a pack of PP3 9v Batt Snap to 9v Center Negative Plugs on order via Ali Express.) Not really an issue in a vibrant Pub n Club Band, but might prove an issue if you were recording.

Wah did 'all the usual' on guitar and favourable in the frequancy range for bass, All-Good clean, and not too muddy with some drive for the Black Sabbath / Geezer Butler or Metallica / Cliff Burton stand out moments. I loved using the Wah setting as more a Vocaliser for that Spacey Feel in Progressing and repetitive bass lines, I'm a Hawkwind fan... kind of like a Manual Phaser, used in a more random manor, or left as fixed filter rather than in the traditional Rhythmic Style of a Foot Pump, when pumping up a car tyre!

Using the pedal in Vol mode, nice to be able to easily moderate volume without having to go for the on board vol pot, while the amps compressor keeps the playing dynamic in check, rather than just trying to lighten the load with fingers and pick to reduce the volume.

Don't often play my Acoustic Bowlback Bass plugged in, it is wearing Flatwound Strings, rather than squeaky phosphor bronze, to look to get a warmer upright bass tone. Using the Vol setting was able to just fall off and vary the attack for a warm bowed bass sound… Other effects have attack/release settings but these will give the same effect on every note, sounding artificial, controlling an element of Vol rise and fall gives an almost analogue emulation of bow pressure, Nice slow playing using the instruments sustain, also if holding back on the volume, leaving yourself a bit of head-room you can give the sense of increased sustain by pulling back up the dying volume with the pedal....

I also tried this with a cheapy Chorus pedal to try and achieve a more fretless sound. Nice...

Although pluggin in the Acoustic has highlighted an inbalance in string volume, the E beign a bit quieter... prolly down to when i had the bridge saddle blade out to remove a shim and for a bit of fine sanding to change the string action... so it will have to come out again

So, nice and usable Vol 'n Wah in One... Great Price (even better when Donner messaged to say i could keep it!) Quality Item without breaking the bank, and you would be able to pick up 3 Donner pedals for the price of a JD Cry Baby.

https://idonner.eu/collections/wah-volume-expression-pedal/products/donner-vowel-mini-active-wah-volume-effect-guitar-pedal-2-in-1

Especialy after reading recent posts about getting too bogged down in what ya got, v's what the punter hears down the Dog 'n Duck... They might not win out in a direct comparison to boutique at 3 (or 4 times the price) but get you a fair amount of the 'Sound' and maybe less likely to sprout legs when ya turn ya back.

Shame Donner no longer make the Alpha Bass Comp/Drive/Chorus 3-in-1 with XLR out... looks like it was a tool.

[Note, in the interest of transparancy - If any issues with this post let me know, This is an Open and Honest review, Unpaid, but i was allowed to keep it as a 'gift']

1. Supa Funk with 'classic funk' settings (forward sweep).

2. Funk Machine in 'sponge' mode.

3. Supa Funk & Funk Machine together in parallel. 

4. Supa Funk with 'talky-box' settings (reverse sweep).

5. Funk Machine in 'dub-sub' mode (not as sub as it will go but as much as I can cope with!).

Squier VM Jazz with Creamery pu's and Galli Synthesis flatwounds.

50_SGFX classic funk.mp353_Seamoon Sponge.mp355_Supa Funk + Seamoon.mp3

57_SGFX Talky-box.mp3

60_Seamoon sub-dub.mp3

My latest funk pedal and it's a keeper. I also bought the SGFX Supa Funk and Seamoon Funk Machine (also reviewed here) with the idea of seeing which of the three I like best but they're all so good at what they do I'm going to keep the lot and my pedalboard real estate is suffering as a result!

First off, this thing has balls!! This really is thick and juicy. After playing through this the Supa Funk sounds thin but then going back to the Fwonkbeta you feel like it's missing top end (I'm never satisfied!). But they both do something different; the Supa Funk filter emphasises the vowel like elements whereas the Fwonkbeta emphasises the low end and has massive depth. And you have enough flexibility with their frequency controls to find a spot in the mix to make them stand out.

I have a EHX parallel mixer and like to see how pedals work in this setup. Both the Fwonkbeta and Supa Funk do not have a blend control and you can hear why. Mixing in parallel some of the original signal diminishes their sound and they seem to work best as full on processors. In contrast the Funk Machine has a blend control and seems to work best with some original signal blended in.

The three controls are sensitivity (stroke), depth (fwonk) and frequency (juice). There's no choice of filter direction so this is a dedicated pedal in that respect, as Mr Black says; 'the FwonkBeta works by opening filter sweep (increasing frequency response) as envelope peaks; I guess you’d call that “up?”'. What I found with this pedal is that if you have a lot of staccato or ghost notes the filter doesn't have enough time to fully open so the sounds become very percussive and as you don't have a blend control that's what you'll get. With full notes you'll get the full on fwonk. The percussive sound can be good so not necessarily a bad thing but if you want more nuanced envelope sounds then the Supa Funk is the way to go. 

As for the frequency control, well this thing goes sub-sonic bowel moving if you want. You have to turn the control to about 10 o'clock to get into normal frequencies but once you get over to full CW the filter has a top end 'pop' and gets close to the Seamoon in that respect. For me about halfway is that really juicy sound.

The Seamoon has a setting with the depth off (full ccw) where it acts as an eq filter and has a nice bass boost effect. Both the Fwonkbeta and Supa Funk can't do this and at the least depth settings still have an envelope effect. Not an issue but just something to be aware of.

Like the Seamoon, this is more a specialist pedal as it does one thing really really well. The Supa Funk is the more nuanced of the three (and the only one where you can select sweep direction) but can't go as extreme.

The only thing I'd like to see on this pedal is an internal trim pot so you can set the gain, and thus sensitivity, to match your bass output. The Seamoon has this and it's a great feature.

Overall though, this is a great sounding envelope pedal and massive fun to play in the right context. Maybe not in a death metal band but I would love someone to prove me wrong!

I'm sure these two pedals are familiar to bass players but they've become favourites on my pedalboard so thought I'd give them a quick review.

I was watching the Andertons youtube video where they played the latest Aguilar pedals and these two caught my ear. The octamizer I thought, gave a very organic thickening of the tone and that does indeed seem to be the case. It's analogue and I know some people have said it's not the best at tracking but... I quite like that. If you play too fast or play double stops, it doesn't throw up anomalies, it just doesn't follow you and that's ok. It means you don't just have a double playing everything one octave below with ever nuance of your playing and to me that feels quite organic and pleasing to the ear.

With the octamizer you can also control the filter sound from smooth, for a nice thickening of your tone, to edgy, which almost has a slight overdrive feel to it. Separate octave and clean levels is a welcome touch that makes the sound very controllable, and the tilt eq has a nice pivot point, good for taking the edge off if it gets too bright.

The grape phaser is funky! As an alternative to an envelope filter I love it. The thing that does it for me is the color control which feeds back some if the original signal into the phase circuit and makes it quite funky.

The pedals work well on their own but my fav sound is both together... a sort of hefty funk tone.

Only oddities of note; I got an old style case with the octamizer which because of the overhang on the 'lip' won't allow right angle leads to fit (get the newer design if you're buying s/h), and when you power these pedals from a 9v psu, use an isolated supply. Initially I used a Spot One to power both but as it wasn't isolated to each pedal they were noisy, as soon as I used my Palmer isolated supply they were quiet as could be. 

I've added some clips, the last two I've put the octamizer through the Fwonkbeta which is quite fun. The edgy tone makes it a little bit more synthy sounding.

Clip1; octamiser (smooth filter) + grape phaser

Clip2; grape phaser only

Clip3; octamizer (smooth filter) only

Clip4, octamizer (edgy filter) only

Clip5; octamizer (edgy filter) + grape phaser

Clip6; octamizer (smooth filter) + Fwonkbeta 

Clip7; octamizer (edgy filter) + Fwonkbeta 

235_Aguilar grape + oct smooth.mp3

233_Aguilar Grape.mp3

239_Aguilar oct smooth.mp3

241_Aguilar oct edgy.mp3

237_Aguilar grape + oct edgy.mp3

243_Aguilar oct smooth fwonk.mp3

245_Aguilar oct edgy fwonk.mp3

Initial impressions of the purple funk generator... it's got balls I'll give it that!

Clip 1; frequency at 1 o'clock, depth at 2 o'clock, sensitivity at 3 o'clock.

Clip 2; frequency at 4 o'clock, depth at 3 o'clock, sensitivity at 2 o'clock. 

Clip 3; by way of comparison, the classic funk setting on the Solid Gold FX supa funk.

221_Fwonkbeta purple funk generator .mp3

223_Fwonkbeta purple funk 2.mp3

50_SGFX classic funk.mp3

It is a analog mixer channel strip approach, see video posts...as you would expect from Tech 21 its well built...