Show/Post Your Bass Pedalboard

NoiseNinja

Member
Messages
2,015
Edit/Updare!!!: New picture of my pedal setup according to the update I made to it, and following new signal chain description :


This is my current bass pedal effects setup (I know, not much of an actual pedal board really, but I assume the purpose of this thread really is for people to see what effects other people use and how they do it):





That then going into this as the very last pedal in my pedal effects setup, sitting on top of my amp:





Making my entire signal chain look like this explained in written form:

4 string Ibanez GSRM20 Mikro Bass (strung with gauge .095 to .040 strings, and tuned in F# standard, 2 half steps above regular 4 string, E standard, tuning, as in F#1 to A2, and having a Di'Marzio Model P pickup wired directly to the output jack socket) ->->

TC Electronic Sub'N'Up Mini (always on polyphonic octaver, pitching the bass signal 1 octave up, mixed with the unaffected 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] (parallel effect loops mixer/switch) -> ={ [Loop A Send] -> Monarch MFL-22 (flanger, almost always used mixed with phaser in parallel effects [Loop B]) -> Joyo Orange Juice (clanky grinding medium gain overdrive, always mixed with {bass+octave up} signal from parallel effects [Loop B], either clean, or sometimes going through the {Black Rat + California Sound} distortion) -> [Loop A Return] >||< [Loop B Send] -> Xvive Phaser King (used with an almost maxed out feedback setting, almost always used mixed with flanger in parallel effects [Loop A]) -> { Mosky Black Rat (Rat clone, [Vintage] mode, quite raunchy high gain distortion, always used stacked with the California Sound overdrive in front of it, and always mixed with {bass+octave up} signal from parallel effects [Loop A], either clean, or more often going through the Orange Juice overdrive) -> Joyo California Sound (relabeled as Harley Benton, relatively dark sounding medium gain overdrive, always used with the Black Rat distortion stacked behind it, and always mixed with {bass+octave up} signal from parallel effects [Loop A] , either clean, or more often going through the Orange Juice overdrive) } -> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=> / [Bypass Output] -> { Xvive V16 Undulator (tremolo, sometimes combined with the chorus in front of it, and always used in conjunction with the Artec equalizer in front of it to tame a quite prominent volume and low frequency boost when engaged) -> Artec SE-EQ8 Graphic EQ (always used in conjunction with the tremolo behind it, primarily to cut the volume of the tremolo slightly, using the level [Gain] control, but additional used to fine tune the tone of the tremolo, mainly cutting some low frequency content ever so slightly) } -> Zoom MS-70CDR Multi Stomp (exclusively used as chorus) -> Nux Tape Core Deluxe (Roland Space Echo tape delay emulation, with build in tap tempo function)

->-> EHX Black Finger (always on tube driven optical compressor, used as much as a fairly moderate compressor effect as as a tube preamp stage) -> Peavey Solo Special 112 (160W solid state combo amp, with it's passive EQ controls set as follows, [Low] at about 1 o'clock [6], [Mid] at about 01:30 o'clock [6.5], and finally [High] at noon [5] ("flat"), it's active [Presence] control set flat as well, and the build in spring reverb fairly subtly added, with the amp's [Reverb] control set at about 11 o'clock [4], the build in 12" guitar speaker unit disconnected, and the amp instead hooked up to a bass cab) -> SWR Triad I (400W bass cab equipped with, respectively: a 15" speaker unit, receiving the full frequency range of the signal from the amp's speaker output, a 10" unit, only receiving the frequency content of the signal between 100Hz and up to 5kHz, and finally a high frequency tweeter unit, that only receives any frequency content above 5kHz, the output level of the latter being adjustable via a tweakable attenuator build into the cab, currently set to the minimum position)



The near future planed updates to the above setup is as follows :

Planing is to get some kind of preamp, I have been pondering on either the MXR M281 Thump, the MXR M81 Bass Preamp, the TC Electroic Spectra Drive or the cheap Harley Benton Custom Line Bass DI-Expander, next then a Mooer Radar cab simulator pedal, that allows for 3rd party IR's to be used, together with the preamp allowing me to be able to play, rehearse and perform without needing my quite heavy amp and cab setup, and then finally I will get a proper pedal board to mount my effect pedals setup on, together with a power supply with multiple isolated outputs.
 
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William Cairns

Senior Member
Messages
103


My current board. I started playing bass in 1994 but I took a break from 2005-2019 for children, etc. I hadn’t bought a pedal since 2001, and now since October 2019 I’ve bought or traded for seven. :).

I’m pretty happy with the way it is now. Getting the Archer Ikon improved the tone. And I recently got the Source Audio BEF and love it.

Boss TU-2 Tuner> Boss LS-2 Line Selector> Keeley Compressor >Caline Pure Sky>JRAD Archer Ikon> MXR Phase 90 1974 Custom Shop> Keeley Eccos> DOD TR3B (for chorus and EQ)> BBE Sonic Maximizer. The Source Audio Bass Envelope Filter & EHX Q-Tron are in effect loops.

Unfortunately my EHX Sovtek Big Muff Pi, Ibanez TS-10 Tube Screamer and Musitronics Mutron Phasor II are all currently deceased :(
 
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amper

Member
Messages
1,204
Two vintage Boss BCB-3 boxes, six pedals:

Boss TU-2 Chromatic Tuner
Boss AD-2 Acoustic Preamp
Boss BC-1X Bass Comp
tc electronic Spark booster
Boss BB-1X Bass Driver
Boss RV-6 Reverb

I plan on replacing the Spark with a Boss FB-2 Feedbacker/Booster.

 

Naigewron

Member
Messages
1,282
Using this board for everything these days (guitar, acoustic and bass).

At home I'm running an SVT model preset into my audio interface, playing either through headphones or monitors.

At rehearsals and gigs I run into an Ampeg PortaFlex PF-500 and a Fender Rumble 410 cab (no amp model in the HX Stomp, of course), using the HX Stomp for effects (mostly a chorus and a bit of overdrive; nothing fancy).

 

NoiseNinja

Member
Messages
2,015
Some fairly big changes since my last post (still planing to get a proper pedal board to attach my pedal setup to within the not too distant future) :





Making my entire signal chain look like this :

4 string Ibanez GSRM20 Mikro Bass (strung with gauge .090 - .068 - .052 - .038 D'Addario XL nickle roundwound steel strings, tuned in G1 standard tuning, 2 half steps bellow A standard bartitone guitar tuning, and having a DiMarzio Model P pickup wired directly to the output jack socket) ->>

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] (parallel effect loops mixer/switch) ->> ={ [Loop A Send] ->> Joyo Orange Juice (low gain overdrive, with some highs cut via the tone knob, always stacked into the Metal Zone in front of it and mixed with the Black Rat distortion in parallel effects [Loop B]) ->> Boss MT-2 Metal Zone (high gain metal type of distortion, always with the Orange Juice behind it in the same effects loop stacked into it, and always mixed with the Black Rat distortion in parallel effects [Loop B]) ->> Behringer VP1 Vintage Phaser (EHX Small Stone clone, used in the high feedback and deep sweep mode, almost always used mixed with flanger in parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> Joyo Orange Juice (always on, except for when using my high gain distortion setup, relative low gain overdrive that is always mixed with the clean {bass+octave up} signal from parallel effects [Loop B]) ->> Mosky Black Rat (Rat clone, in [Turbo] Rat mode (diode clipping), quite raunchy and fairly dark sounding high gain distortion, always mixed with the {Orange Juice -> Metal Zone} from 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) }=>> Behringer SF300 Super Fuzz (Boss FZ-2/Univox Super Fuzz clone, octave fuzz, set to [Mode 1] with the gain at noon, often used with the {Orange Juice [Loop A]//Clean signal [Loop B]} stacked into it) ->> Boss TR-2 (tremolo, almost always used combined with the chorus effect in front of it) ->> TC Electronic Shaker (Vibrato blended with clean signal, via the Toneprint editor, functioning as a deep lush chorus effect, almost always used combined with the Boss TR-2 tremolo) ->> NUX Tape Core Deluxe (Roland Space Echo tape delay emulation) ->> Zoom G1Xon (exclusively used for reverb effects, which are as follows:: a very subtle, always on, main plate reverb :-: a more prominent plate + hall reverb :-: a thick lush plate + hall + tape delay reverb :-: and finally an extremely thick and lush reverb pad used with volume swells consisting of plate + hall + tape delay reverb)

->> Zoom MS-70 CDR (exclusively used as an always on EQ, utilizing six 2 band fully parametric equalizers to fine tune the tone by cutting/boosting various frequency bands -/+ 1 to 2 dB, 2 of the bands used to sculpt an about -9dB/Oct downward slope, starting at about 4kHz) ->> Behringer BEQ700 Bass Graphic Equalizer (always on, with the 50Hz, 120Hz, 400Hz, 500Hz and 800Hz bands boosted ever so slightly) ->> [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 the SWR Triad I bass cab) ->> SWR Triad I (400W bass cab, equipped with 1x15" + 1x10" speaker units + high frequency tweeter horn, the 15" speaker unit receiving the full signal, the 10" unit only receiving the part of the signal that is between 100Hz and 5kHz, and the high frequency tweeter horn receiving everything above 5kHz of the signal, with the build in tweeter attenuator set at noon, which according to the manual is the "normal setting", practically meaning an about -4dB cut of the signal send to the tweeter) =>> The Box PA 502 (300W full range passive PA speaker, connected in parallel to the Triad I cab, equipped with 1x15" + 1,7" high frequency tweeter horn)
 
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Tube199

Member
Messages
1
THIS IS COMPLICATED! EXPLAINED BELOW

ALL SOURCE AUDIO EQUIPMENT EXCEPT MOOG expression and custom external switch. SA soleman MIDI controller, SA neuro hub. All SA One Series pedals have 2 in/outs. In/outs 1 are TS mono and are located above in/outs 2 which are TRS stereo.

GREEN: ts mono signal.

WHITE: Control signal for Neuro Mobile Editor.

YELLOW: MIDI

PURPLE: MIDI-USB

RED: TRS patch (external control pedals)

BLUE: TRRS control cables

ORANGE: DC power

Signals exiting board pigtail for easy connect/disconnect. PURPLE leads to Laptop. ORRANGE: power supplies 9V, 12V, GREEN: to ADA MB-1 EFX loop A send/return. YELLOW: to ADA MB-1 MIDI in

( EQ2 is dual stage.. EQ2 input 1 to outputs at 2 and input 2 outputs at 1.) Signal chain goes ADA MB-1 send to EQ2 input 2. EQ2 output 2 to Gemini Chorus input 1. Chorus output 1 to Spectrum Filter input 1. Filter output 1 to TIP input of INSERT Y cable into EQ2 input 2. EQ2 output 1 to ADA MB-1 return. The WHITE cable carries the Neuro Mobile Control signal from pedal to pedal on the TRS RING and is terminated when EQ2 output 1 sends a mono return signal to the ADA MB-1.



 

Naigewron

Member
Messages
1,282
I added a master bypass switch to my board. This serves three purposes:

1: It lets me quickly switch between my direct amp tone and any set of effects loaded in the Stomp

2: If anything goes wrong with the Stomp, it can serve as a panic button to bypass it completely and just go straight to the amp

3: When I'm recording at home, I can either record through the Stomp or via plugins without swapping cables.

I also swapped out my MIDI cable with a Rockboard flat cable.

 

tnvol

Ufologist
Messages
6,717
It's not as boutique as some posted, but it sounds killer and does exactly what I want it to do and does it very well. I swap out various dirt here and there.

 
Messages
701
I added a master bypass switch to my board. This serves three purposes:

1: It lets me quickly switch between my direct amp tone and any set of effects loaded in the Stomp

2: If anything goes wrong with the Stomp, it can serve as a panic button to bypass it completely and just go straight to the amp

3: When I'm recording at home, I can either record through the Stomp or via plugins without swapping cables.

I also swapped out my MIDI cable with a Rockboard flat cable.

Noice! What kind of bass is that, Ibby or ESP?
 
Messages
701
Thanks! That's an old Ibanez SR505
Yeah, these are mostly great, and yours is quite a beauty from what i can see. Having in mind this is your secondary rig, if i'm not mistaken(no offense meant, i've gathered from your other posts that you're probably playing mostly guitar - feel free to correct me if i'm wrong :)), it's neat and simple, yet you can dive in deep with helix.
 

Naigewron

Member
Messages
1,282
Yeah, these are mostly great, and yours is quite a beauty from what i can see. Having in mind this is your secondary rig, if i'm not mistaken(no offense meant, i've gathered from your other posts that you're probably playing mostly guitar - feel free to correct me if i'm wrong :)), it's neat and simple, yet you can dive in deep with helix.
I'm actually primarily a bass player these days, since that's what I play in my band, but I also play acoustic guitar there when we do acoustic shows. I've actually been a drummer for most of my "career", and only fairly recently made the switch to bass.

I play electric guitar mostly at home for fun and for recording myself. The beauty of this pedalboard is that it covers all my bases: A full amp modeling bass or guitar rig for home playing and recording, and an effects platform in front of my bass stack when I play with my band.

It's funny how the gear obsession is usually worse for instruments that I only play at home though. I want the perfect guitar tone, even though few people will ever hear it. I guess it's got something to do with not being lost in a loud band mix and wanting every detail to sound perfect.
 
Messages
701
I'm actually primarily a bass player these days, since that's what I play in my band, but I also play acoustic guitar there when we do acoustic shows. I've actually been a drummer for most of my "career", and only fairly recently made the switch to bass.

I play electric guitar mostly at home for fun and for recording myself. The beauty of this pedalboard is that it covers all my bases: A full amp modeling bass or guitar rig for home playing and recording, and an effects platform in front of my bass stack when I play with my band.

It's funny how the gear obsession is usually worse for instruments that I only play at home though. I want the perfect guitar tone, even though few people will ever hear it. I guess it's got something to do with not being lost in a loud band mix and wanting every detail to sound perfect.
Ah, a renaissance man, then.. spot on!

I can imagine that finding the right tones for such a variety of individual instruments may be a big struggle, i have drums as a secondary instrument and i like synths a lot ... I think that the perfectionism is a natural way for a lot of folks, absolutely nothing wrong with that, imo.

... the bottom line is that it's a heck of sound engineering experience, so it's worth it. More power to you! :aok
 

NoiseNinja

Member
Messages
2,015
Here's my new pedal board, a Harley Benton Spaceship 80 board, that I haven't got around wiring and attaching my pedals to yet, but here they are sitting on the new board as I plan to arrange them (Count on possibly getting it done later today. Also the white goo on some of the knobs is hot glue applied to fixate the settings. Also got a lot of comments on how dirty my pedals seems to be when I posted this picture on TalkBass :rolleyes: , so just to get that out of the way: Yes, I stomp on them with my shoes on at band rehearsal, I don't plan to use them as dinner plates, and tend to use my ears when playing music, not my eyes, beside the way that I edited the photo after I shot it to make it look more clear and crisp apparently had the side effect of enhancing the dirt as well, making it look much worse than it really is) :





My entire signal chain explained in written form :

(
*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 .090 - .072 - .054 - .040 D'Addario XL nickle plated steel core roundwound strings, tuned in F# standard tuning, 2 half steps above regular 4 string bass E standard tuning) ->>

TC Electronic SpectraComp (always on 3 band parallel compression, adding extra punch, snap and bite, but without really affecting my playing dynamics) ->> 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 11 o'clock, [Voice] set to boost a wide curve around a 800Hz center frequency about +3dB pre gain stage, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> (empty effects loop for clean {bass+octave up} signal blend with Orange Juice in effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=>> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Behringer SF300 Super Fuzz (Boss FZ-2/Univox Super Fuzz clone, octave fuzz, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> Joyo Orange Juice (lower medium gain grindy kind of overdrive, always used either stacked into the Metal Zone in front of it, and mixed with the Rat distortion in parallel effects [Loop B], or as a dirty slight "clean" boost mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> Boss MT-2 Metal Zone (distortion, used with a relatively low gain setting, 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, since it's a few dB above unity gain when engaged and got a tone control) ->> [Loop A Return] ->||<- [Loop B Send] ->> Mosky Black Rat (RAT clone, in Turbo RAT, LED diode clipping, 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 55/45 ratio) }=>> Behringer UT100 Ultra Tremolo (almost always used staked into Valeton chorus in front of it) ->> Valeton Aquaflow Vintage Chorus (Boss CE-1 clone, almost always used with the tremolo staked into it) ->> Artec SE-EQ8 (always on 8 band graphic equalizer, settings as follows: [Freq=100Hz [I]LoShlv Boost=+1dB ; Freq=170Hz Q=wide Boost=+1dB ; Freq=280Hz Q=narrow Boost=+3dB ; Freq=500Hz Q=narrow Boost=+2dB ; Freq=800Hz Q=narrow Boost=+1dB ; Freq=1.4kHzHz Q=narrow Boost=+2dB ; Freq=2.3kHz Q=wide Boost=+3dB ; Freq=5kHz HiShlv Cut=-10dB]) [/I]->> Zoom G1Xon (Always on "160 Comp" (emulating a DBX 160A compressor) set to a quite subtle compression, and additionally used for 2 reverb patches, which respectively are as follows: 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 x 2 band parametric EQ : [Freq=63Hz Q=4 Boost=+1dB ; [I]Freq=200Hz Q=4 Boost=+1dB ; Freq=400Hz Q=2 Boost=+1dB ; Freq=1kHz Q=4 Boost=+1dB[/I]] ->> subtle plate reverb ->> and faux, EQ based, cab sim, consisting of a 2 band parametric EQ set as follows: [Freq=12kHz Q=1 Cut=-18dB ; [I]Freq=20kHz Q=0.5 Cut=-20dB], and additionally used for a lush Church reverb that can be switched on/off[/I])

->> Band rehearsal/jamming/gigging // ->> Home practice / Home recordings :

->>
Joyo American Sound (always on clean preamp (gain set to ever so slightly break up when digging in the hardest), a Tech 21 Blonde clone, analog emulation of a Fender type amp, with a wide curve around the center frequency of 400Hz boosted about +3dB, and an about +3dB pre gain stage boost to wide curve around the center frequency of 800Hz) // ->> 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) ]



I use this setup for the musical project that currently has my main focus, a bass/vocals and drums/vocals duo that in lack of a better genre definition can be categorized as something like progressive psychedelic stoner/doom rock.

.
 
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Messages
701
Here's my new pedal board, a Harley Benton Spaceship 80 board, that I haven't got around wiring and attaching my pedals to yet, but here they are sitting on the new board as I plan to arrange them (Count on possibly getting it done later today. Also the white goo on some of the knobs is hot glue applied to fixate the settings. Also got a lot of comments on how dirty my pedals seems to be when I posted this picture on TalkBass :rolleyes: , so just to get that out of the way: Yes, I stomp on them with my shoes on at band rehearsal, I don't plan to use them as dinner plates, and tend to use my ears when playing music, not my eyes, beside the way that I edited the photo after I shot it to make it look more clear and crisp apparently had the side effect of enhancing the dirt as well, making it look much worse than it really is) :





My entire signal chain explained in written form :

(
*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 .090 - .072 - .054 - .040 D'Addario XL nickle plated steel core roundwound strings, tuned in F# standard tuning, 2 half steps above regular 4 string bass E standard tuning) ->>

TC Electronic SpectraComp (always on 3 band parallel compression, adding extra punch, snap and bite, but without really affecting my playing dynamics) ->> 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 11 o'clock, [Voice] set to boost a wide curve around a 800Hz center frequency about +3dB pre gain stage, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> (empty effects loop for clean {bass+octave up} signal blend with Orange Juice in effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=>> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Behringer SF300 Super Fuzz (Boss FZ-2/Univox Super Fuzz clone, octave fuzz, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> Joyo Orange Juice (lower medium gain grindy kind of overdrive, always used either stacked into the Metal Zone in front of it, and mixed with the Rat distortion in parallel effects [Loop B], or as a dirty slight "clean" boost mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> Boss MT-2 Metal Zone (distortion, used with a relatively low gain setting, 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, since it's a few dB above unity gain when engaged and got a tone control) ->> [Loop A Return] ->||<- [Loop B Send] ->> Mosky Black Rat (RAT clone, in Turbo RAT, LED diode clipping, 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 55/45 ratio) }=>> Behringer UT100 Ultra Tremolo (almost always used staked into Valeton chorus in front of it) ->> Valeton Aquaflow Vintage Chorus (Boss CE-1 clone, almost always used with the tremolo staked into it) ->> Artec SE-EQ8 (always on 8 band graphic equalizer, settings as follows: [Freq=100Hz [I]LoShlv Boost=+1dB ; Freq=170Hz Q=wide Boost=+1dB ; Freq=280Hz Q=narrow Boost=+3dB ; Freq=500Hz Q=narrow Boost=+2dB ; Freq=800Hz Q=narrow Boost=+1dB ; Freq=1.4kHzHz Q=narrow Boost=+2dB ; Freq=2.3kHz Q=wide Boost=+3dB ; Freq=5kHz HiShlv Cut=-10dB]) [/I]->> Zoom G1Xon (Always on "160 Comp" (emulating a DBX 160A compressor) set to a quite subtle compression, and additionally used for 2 reverb patches, which respectively are as follows: 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 x 2 band parametric EQ : [Freq=63Hz Q=4 Boost=+1dB ; [I]Freq=200Hz Q=4 Boost=+1dB ; Freq=400Hz Q=2 Boost=+1dB ; Freq=1kHz Q=4 Boost=+1dB[/I]] ->> subtle plate reverb ->> and faux, EQ based, cab sim, consisting of a 2 band parametric EQ set as follows: [Freq=12kHz Q=1 Cut=-18dB ; [I]Freq=20kHz Q=0.5 Cut=-20dB], and additionally used for a lush Church reverb that can be switched on/off[/I])

->> Band rehearsal/jamming/gigging // ->> Home practice / Home recordings :

->>
Joyo American Sound (always on clean preamp (gain set to ever so slightly break up when digging in the hardest), a Tech 21 Blonde clone, analog emulation of a Fender type amp, with a wide curve around the center frequency of 400Hz boosted about +3dB, and an about +3dB pre gain stage boost to wide curve around the center frequency of 800Hz) // ->> 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) ]



I use this setup for the musical project that currently has my main focus, a bass/vocals and drums/vocals duo that in lack of a better genre definition can be categorized as something like progressive psychedelic stoner/doom rock.

.
Congrats, man, i'm proud of you, it's a nice and pretty big board. I like the rocket illustration on the HB pedalboard cases, too! :D And don't take complaints about the dirt too personally, i think most folks may be just a bit worried about the pedals themselves(and maybe the resale value too - sort of professional deformation), some surfaces may not react well to the grime, and some of the dust may get in the pots and stuff.. just give them a light scrub once a year(or few years, lol) and you should be good. Just a recommendation, not a criticism or anything - i have issues of my own, mostly with dog, cat and human hair(mostly my own) on the bloody velcro. Btw, you switched the black finger with spectra?
 




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