Jump to content
Baloney Balderdash

Your always on secret magic tone sauce pedal?

Recommended Posts

So curious about what people's always on secret magic tone sauce pedal is, be it a preamp, a compressor, and equalizer or perhaps a subtle chorus effect or whatever it might be.

Mine is my EHX Black Finger, tube driven optical compressor, that run it's 2 preamp tube at proper high 300V voltage, and which beside adding a quite subtle compression to my signal actually more so functions as my tube preamp stage, beefing up the signal slightly, making the low end slightly more pronounced and tight and adding a bit of tube flavor and warmth, having the input gain turned up to just bellow the breakup point when I dig in the hardest. 

 

Here it is in all it's glory :

SDC18042-copy.jpg

 

And here's a bass player that uses it very much like I do, though with other settings (he mentions it briefly around the 4:37 time mark :

 

Edited by Baloney Balderdash

Share this post


Link to post
Share on other sites

I have a semi which never achieves its full potential. 

Unless I put it into a Joyo Sweet Baby. Then it comes to life. I tried it with my solid bodies and it was too thin. 

Another good one is the American Sound or its little brother the Orange Juice. 

  • Like 1

Share this post


Link to post
Share on other sites
2 minutes ago, stewblack said:

I have a semi which never achieves its full potential. 

Alas, ‘twas always thus 😢

  • Haha 2

Share this post


Link to post
Share on other sites
8 hours ago, stewblack said:

I have a semi which never achieves its full potential. 

Unless I put it into a Joyo Sweet Baby. Then it comes to life. I tried it with my solid bodies and it was too thin. 

Another good one is the American Sound or its little brother the Orange Juice. 

Sometimes when the full signal through a pedal is too much and becomes a deterioration rather than an improvement, an improvement can sometimes still be achieved by using the same pedal but mixing the signal from it with the raw bass signal, like for instance via a Boss LS-2, I experienced this in more than one case with the Joyo Orange Juice.

Edited by Baloney Balderdash
  • Like 2

Share this post


Link to post
Share on other sites

I'll usually have a Sadowsky preamp on when I'm playing a passive bass. That's as close as I get to having an always on pedal.

And, while not always on, I normally use a 3 Leaf Octabvre and an Emma Electronic DiscumBOBulator for my solo sound in a non jazz context.

  • Like 1

Share this post


Link to post
Share on other sites

Was a Vt bass for years as my always on pedal. Nowerdays I use a B7k with the slightest bit of drive on it( I don't use it for dirty like most demos show) , it really livens up any amp cab combo.

Edited by danbowskill
  • Like 1

Share this post


Link to post
Share on other sites

TC Mojomojo with my P Bass for a vintage Motown kind of sound.

Tech21 YYZ or DuG for more modern rock sounds with my BB1025X.

I don't really need any other pedals!

  • Like 1

Share this post


Link to post
Share on other sites

I actually got one more, which might seem like odd to most people, a faulty Behringer UV300 Ultra Vibrato.

Yup, it's true, something's wrong with the buffer in it, but it doesn't actually suck tone in a traditional sense, not as much really deteriorating the signal going through it as it just kind of alters it to something somewhat different.

On bass that gives a more mids focused, tight and snappy kind of tone that I really like.

So not even an always on pedal, in fact it is rather rarely engaged, just the fact of me actually liking what the faulty buffer of this pedal when disengaged does to my tone.

 

Edited by Baloney Balderdash

Share this post


Link to post
Share on other sites

Tech21 Para Driver, preamp/DI with regular eq & gain but has sweepable adjustable mids making it very versatile. 

  • Like 1

Share this post


Link to post
Share on other sites

BDDI. Just a hint of drive and a bit of thickening up. More noticeable when its turned off. Back in the days when i used to use MarkBass amps i really couldnt play without a BDDI or BDI-21. Tried swapping it for a Paradrive, VMTD, Q/strip, VTBass DI etc, but always came back to the BDDI.

When i got  a B3 (and its variants), and then Helix, i still used the BDDI sims as always on. 

  • Like 1

Share this post


Link to post
Share on other sites

I’m pretty much the same but with the Para Driver, Dave, no matter what I try I just keep coming back to it.

  • Like 2

Share this post


Link to post
Share on other sites
2 hours ago, Lozz196 said:

I’m pretty much the same but with the Para Driver, Dave, no matter what I try I just keep coming back to it.

I loved the MK2 PD i had a couple of years ago, more than the original one, but the BDDI was still with me and i couldn't use both.

What i didnt like about the PD is purely the amount of EQ choice. Unlike with the BDDI i was forever tweaking the PD. Not a negative of the pedal, but it was distracting . I’d say the same about my Q/strip as well. Too much choice is not good for me. 

I sold my BDDI recently, but still have a BDI-21 which I’d use if and when i go back to bass. 

Edited by dave_bass5
Typo.
  • Like 1

Share this post


Link to post
Share on other sites

Newer thought I'd say this but I have almost just dropped the EHX Black Finger as part of my setup, along with the Behringer UV300 Ultra Vibrato with a faulty buffer that somehow made my bass sound more mids focused and snappy.

The reason why I even considered it was because the preamp tubes in my Black Finger gave up, so I had to find an alternative, and in the same instance I thought I would find away around not having to have the Behringer Ultar Vibrato take space up in my setup, and with a slight adjustment of the EQ, using a patch of six 2 band fully parametric equalizers in my Zoom MS-70 CDR and a Behringer BRQ700 Bass Graphic Equalizer, which I guess would be 2 of my other always on tone pedals, and with one of my Joyo Orange Juice pedals blended with clean signal via my  Boss LS-2, I found the perfect replacement for those two pedals.

The Orange Juice being a sized and pared -down clone of the now discontinued Tech 21 Oxford preamp/overdrive pedal, meant to be an analog emulation of an Orange amp, that in the effort to size it down to about as small as a pedal practically can get had most of the EQ section of the original sacrificed to now only feature a standard Tone control and a Voice control, which is basically the same as the original's Character control, which is a pre gain stage EQ control, only with the difference that while it boost a quite wide curve around a center frequency of 800Hz turned above noon, like the original, instead of cutting the same area bellow noon, like the original, it instead cuts a wide curve around a center frequency of 400Hz.

I have it set with the Tone control at dead on noon and the Voice control (aka 800Hz) boosted a bit, I think about 3-4dB, and then the Gain turned up to a light overdrive, blended with the clean signal of my bass via my Boss LS-2, giving me some of the same slight tube breakup I used to get from the Black Finger, as well as some of the same punch and snap I got from the Behringer vibrato's faulty buffer, in addition resulting in an overall much clearer and more articulate kind of tone than before.

And after much parameter tweaking in the Toneprint editor I also replaced my always on compressor last in my effect pedals chain, right before my EQ setup, previously delivered by the DBX 160A model in my Zoom G1Xon, with my TC Electronic SpectraComp fully programable 3 band compressor, placed at the very front of my effect pedals chain, right after my bass. 

The EHX Black Finger might very well come back into use once I've got some new preamp tubes to replace the faulty ones, but this far I actually don't really miss it and am more satisfied with the tone that I got now than I was before. 

 

Here is the Joyo Orange Juice with the setting that I use, blended with just about 40-45% clean signal or so, via my Boss LS-2 (and, as you might be able to tell from the foort switch and the plugs of the patch cables, the pedal is much bigger on this picture than it is in reality. Also note that the black part is actually a lid that can be closed over the control area to protect the settings of the pedal, and that the drive setting might seem higher than it in reality is, due to the fact that some of it's initial travel, up till just about 9 o'clock or so, is actually clean, not really adding any overdrive, though of course depending on how hot the input signal is, as well as how the Voice, pre gain stage EQ, knob is set) :

Orange-Juice-Tone.jpg

Edited by Baloney Balderdash

Share this post


Link to post
Share on other sites

Hmm, I usually have at least one drive pedal on with a very low gain setting to give a bit of slight drive to any 'rock' set. From the age of 13 my 'magic' pedal has evolved from a Boss ODB-3, then a Sansamp Bass Driver, then the Sansamp plus an EHX English Muff'n (which I used very much in a similar way to how the OP used the Black Finger). After that was a EBS Valve Drive, then it was an Aguilar Agro for 7-8 years through my early to late twenties, for the last 4 years or so it has been a Darkglass B3K. Ones that I tried and went 'not for me' include a EBS Metal Drive and EBS Billy Sheehan (the original permanently 'out of phase unless you use a buffer pedal' one). 

The Keeley Bassist though has been a constant presence over the last 3-5 years. Though it is a very transparent compressor so it doesn't really affect the tone very much, so I don't think it is magic so much as I think it is effective.

Share this post


Link to post
Share on other sites

Sadowsky SBP-2 and MXR M87. As I currently use passive basses, the SBP-2 just sprinkles 'fairy dust' on my tone, whilst the M87 (new to me this year and only used once live) just adds that pop to make my bass sit nicely in the mix, it's at the end of my chain, rather like you would for a recording.

Edited by ezbass

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


  • Recently Browsing   0 members

    No registered users viewing this page.



  • Similar Content

    • By pantherairsoft
      Hi all,
      I've only had this for a short while, but I already know it's not the right fit for me. Honestly, this thing is INCREDIBLE, but it's just not fitting in place for the project I picked it up for.

      Loads of buzz and videos online for anyone looking for a very different synth pedal that does a touch of OC2 octave tone, a touch of Moog FreqBox vibe and some crazy envelope swells. Utterly mad. The pedal is in great condition, as per pics.

      I'd like back what I paid for it little more than a week ago - £175. The pedal can be collected in Derby, or posted in the UK for £5. SOLD!
      Any questions, let me know!
      Shep



    • By MrT-Bass
      MXR M81 Preamp pedal - VGC with original box, etc... £100 + £5 shipping in UK
      Bank transfer preferred but Paypal (Friends & Family) could also work.

       
    • By pantherairsoft
      SOLD.
        Up for grabs is my almost-new Darkglass Element.   This was purchased just under four weeks ago as a practice solution and it's AMAZING, however, I've just come into possession of a practice amp that has both headphone out and speaker kill on it so I don't need two headphone amps. The unit is immaculate - the condition is 'as new'. Boxed, comes with everything it shipped with and has the most recent firmware installed.   The feature set for the Element is pretty stunning and being able to control the parameters via blue tooth from your phone is amazing. Amp and cab simulation is top notch (the Jon Stockman of Karnivool rig is wicked!) and it also functions as a DI and a range of other cool stuff if you so feel inclined to dive into it. Plus, the touch-screen stuff is very funky!   Cost £235 a few weeks ago, so I'm asking £200 NOW SOLD within the UK. Collection in Derby is also cool (and I'll knock the postage cost off if you collect).   Potentially interested in trades or part-ex with reverb or synth pedals (though nothing any bigger than a typical enclosure - pedalboard real estate is tight!). Particularly interested in the iron Ether Nimbus or FMeron.   Any questions, please ask. Shep

    • By MrT-Bass
      MXR M87 - Bass Compressor VGC with original box, etc...£120 + £5 shipping in UK
      Bank transfer preferred but PayPal (Friends and Family) could be fine too. 

    • By Baloney Balderdash
      Do you have a favorite tone that you consider your's, and if that is the case how would you the describe it and what are the main contributes to it?
      Not sure if this is the correct sub forum, one could argue it'll fit as well or better in some of the other, but well now it's here, if a moderator feels that it is better placed somewhere else feel free to move it.
      How I would describe my tone would be twangy, like it got some of that Fender Bass VI vibe going for it, or one could maybe describe it as a more twangy and polite version of the classic 80's punk P bass tone, like for instance JJ Burnel utilize, as it also got a fair bit of bite, snap and punch to it and is mildly overdriven with an Orange amp type low gain overdrive that got that signature grinding clanky character to it.
      I achieve it with my main Ibanez GSRM20 neck + GSRM20B mahogany body Mikro Bass with just an EMG Geezer Butler P pickup installed, wired directly to the output jack socket, tuned to F# standard, as in 2 half steps above regular 4 string E standard tuning, and string accordingly with  gauge .095 - .072 - .054 - .040 strings, which gives a very balanced tension, always run through a 1 octave up effect mixed with clean signal, delivered by a customized toneprint in my TC Electronic Sub'N'Up Mini, to give an effect similar to that of an 8 string bass, with pairs of respectively bass and octave strings, only the octave up is mixed a bit lower than it typically would on a real 8 string bass, but before that a TC Electronic SpectraComp at the very beginning of my signal chain, right after the bass, also with a thoroughly customized toneprint, adding some snap, bite and punch, then after the Sub'N'Up going into a Boss LS-2 with 1 of the parallel effect loops got the before mentioned Orange amp type light overdrive in it in form of a Joyo Orange Juice, which adds some light grindy grit and a good deal of snap and bite, mixed with the other parallel effects loop of the LS-2, where an 8 band graphic equalizer resides, then after that some additional EQ'ing, mainly boosting the lower and upper mids, again emphasizing punch, snap and bite, then a subtle plate reverb, and finally a faux, EQ based, cab sim, utilizing the bass specific full parametric equalizer model in my Zoom MS-70CDR, basically just rolling off a good chunk of upper treble frequencies, before going into an EHX Black Finger, tube driven optical compressor, though with the compression dialed in so that it practically never reaches threshold, just adding a beautiful touch of tube coloration warmth and slight compression, really acting primarily as a tube preamp stage then a compressor, making it all sound a bit more focused and just rounding off the upper most harsh edges, through without in any possible way affecting playing dynamics or dulling my tone in any possible way, basically retaining all it's snap and bite, just keeping it from sounding unpleasant, and then as the last point in my "ampless" setup going into an Art Tube MP Project Series tube preamp with the 40Hz LPF engaged, again helping with focusing my tone (unlike the Black Finger, which run it's 2 preamp tubes at proper high 300V plate voltage, the Art ustilizes a starved tube plate design, I think around 70V, but I like what it does, and the tube in it is definitely not just for a gimmick, changing the cheap horrible Chinese stock tube it came with out with an EHX 12AX7EH one, same as in my Black Finger, made a huge different for the better on it's tone).
      That's more or less roughly how I get my basic main clean tone.
      However I would also consider my high gain distortion tone a main aspect of "my tone", which is basically the same as above, but with another Boss LS-2 being placed right after the first one, having a Mosky Black Rat, RAT clone, set to vintage (silicon I assume) clipping mode, with the gain knob up fairly high and a relatively dark tone, placed in one of the parallel effect loops, blended with the other parallel effects low where another Orange Juice overdrive is sitting, sort of set to a lower medium gain stacked into a Boss MT-2 Metal Zone, which has the gain knob set close to the minimum position, which together with the fact of the Orange Juice overdrive stacked into it helps with it not getting into the fizz territory that the Metal Zone otherwise is infamous for, the Orange Juice also bringing it in a more crunchy and grindy direction, together contributing to bring in some high end and a more focused shaping of the mids, and actually overall having a big say in making this cross-fusion high gain distortion tone exceptionally well articulated and defined, despite it the otherwise being absolutely massively ballsy, monster heavy, roaring and growling, with a quite prominent super raunchy fuzz like quality, basically preventing it from turning into just one big indistinguishable monolithic shapeless sludge of a blurry mess. 
      In some way you could say that my high gain distortion tone is somewhat in contrast with my clean tone, but I actually find they compliment each other well, despite one would properly expect something less heavy and massive, somthing in a more biting and clanky direction, somewhat more in line with my clean tone.
       
       
      Just for reference here's my entire signal chain put to words:
      (*pedals listed in [ red/bold/underline text ] are "always on" effects*)
       
      4 string 28,6" scale Ibanez GSRM20 neck + GSRM20B body Mikro Bass (equipped with an EMG Geezer Butler P pickup, wired directly to the output jack socket, and strung with gauge .95 - .75 - .55 - .40 D'Addario XL nickle roundwound steel core strings, tuned in F# standard tuning, 2 half steps above regular 4 string bass E standard tuning) ->>
      TC Electronic SpectraComp (always on compressor) ->> TC Electronic Sub'N'Up Mini (always on digital polyphonic octaver, used as an 1 octave up effect mixed with clean bass signal, giving an effect similar to that of an 8 string "octave" bass, with pairs of respectively bass and octave strings) ->> Boss LS-2 [A+B Mix <-> Bypass] (always on, parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Orange Juice (always on low gain overdrive, really primarily used to enhance harmonic content, [Tone] set at about 10:30 o'clock, [Voice] set to boost a wide curve around a 800Hz center frequency about +2dB pre gain stage, always mixed with the Artec Graphic EQ in parallel effects [Loop B]) ->> Joyo Orange Juice (medium gain clanky grinding overdrive, always used with the other Orange Juice behind it stacked into it, and always mixed with the Artec Graphic EQ in parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> Artec SE-EQ8 Graphic EQ (always on 8 band graphic equalizer [100Hz LoShlv= +1dB ; 170Hz (low Q)= 0 ; 280Hz (high Q)= +3dB ; 500Hz (high Q)= 0 ; 800Hz (high Q)= +1dB ; 1.4kHz (high Q)= +3dB ; 2.3 (low Q)= +3dB ; 5kHz HiShlv= -10dB], always blended with the Orange Juice overdrive in parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 55/45 ratio) }=>> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Orange Juice (lower medium gain, somewhat grindy type of overdrive, always used staked into the Metal Zone in front of it, together always mixed with the Rat distortion in parallel effects [Loop B]) ->> Boss MT-2 Metal Zone (distortion, always used with the Orange Juice behind it stacked into it, and always used mixed with the Rat distortion in parallel effects [Loop B]) ->> Behringer VP1 Vintage Phaser (EHX Small Stone clone, used in the high feedback and deep sweep mode, always used boosted by the Hotone Trem in front of it, and almost always used mixed with flanger in parallel effects [Loop B]) ->> Hotone Trem (Tremolo with rate and depth at 0, always used to boost either the Behringer phaser placed behind it and make it a bit brighter, or stacked into the Metal Zone in front of it, since it's a few dB above unity gain when engaged) ->> [Loop A Return] ->||<- [Loop B Send]  ->> Mosky Black Rat (RAT clone, in original classic RAT [Vintage] mode, quite raunchy, fuzz-esque, high gain distortion, always used mixed with the Metal Zone distortion in parallel effects [Loop A]) ->> Monarch MFL-22 (flanger, most often used mixed with phaser in parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=>> Zoom G1Xon (Used for an always on 2 band parametric equalizer [Freq=63Hz Q=4 Boost=+1dB ; Freq=200 Q=2 Boost=+1dB], and additionally used for 3 patches (all including the EQ at the end of the chain), which respectively are as follows: Tremolo+VintageCE (Boss CE-1 emulation), chorus patch :-: Plate Reverb+HD Hall Reverb+Tape Delay, prominent reverb patch :-: Plate Reverb+HD Hall Reverb+Tape Delay, extremely thick lush reverb patch, used as a reverb pad effect with volume swells) ->> NUX Tape Core Deluxe (Roland Space Echo tape delay emulation) ->> Zoom MS-70CDR (always on 2 band parametric EQ [Freq=400Hz Q=2 Boost=+1dB ; Freq=1kHz Q=4 Boost=+1dB], subtle spring reverb, and faux, EQ based, cab sim, consisting of a 2 band parametric EQ set as follows: [Freq=10kHz Q=1 Cut=-18dB ; Freq=20kHz Q=0.5 Cut=-20dB], plus a lush Church Reverb model with a line selector behind, making it switchable on/off)
      ->> Band rehearsal/jamming/gigging  // ->> Home practice / Home recordings  :
      ->> EHX Black Finger (always on tube driven optical compressor, dialed in to a quite subtle compression, primarily functioning as a tube preamp stage) ->> Art Tube MP Project Series (tube preamp, with HPF at 40Hz) // ->> Band rehearsal/jamming/gigging ->>  [Effects Return] (poweramp input) of Peavey Solo Special 112 (160W, solid state guitar combo, with the build in 4 Ohm 12" speaker unit disconnected and instead hooked up to a The Box PA 502 PA speaker) ->> The Box PA 502 (full range PA speaker with 1x 15" + 1.7" high frequency tweeter horn)  // ->> Home practice / Home recordings  ->> Behringer Eurorack UB1202 (mixer) ->> [ ->> Sennheiser HD 380 Pro (headphones) ]/[ ->> Behringer Tube Ultragain MIC100 (tube preamp) ->> M-Audio Fast Track (sound interface) ->> Reaper (DAW) ]    
×
×
  • Create New...