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Category: Gear / Advice

Boss BF-2 Flanger

What is it? It’s a flanger. It, well, flanges things, you know? Flangers belong to the same family of modulation effects as chorus and phaser. The Boss BF-2 was produced…

What is it?

It’s a flanger. It, well, flanges things, you know? Flangers belong to the same family of modulation effects as chorus and phaser. The Boss BF-2 was produced by the company between 1981 and 2002, after which it was replaced by the BF-3 pedal which is still in production today.

What Does It Do?

The BF-2 creates the flanger effect by combining your original dry signal with a time-delayed copy of the signal, which is modulated by a low frequency oscillator (LFO for short). If that’s too technical, then the BF-2 is your ticket to a wonderful world of swirling, aeroplane-like sounds.

Famous bass lines that use a flanger which might serve as useful reference points include:

  • Tool – ‘Forty Six & 2’
  • Yes – ‘Tempus Fugit’
  • The Cure – ‘The Holy Hour’
  • Joe Bonamassa – ‘Had To Cry Today’

Why Would I Want One?

Because you’re in a Cure tribute band, or you grew up listening to grunge and can’t quite get that swirly guitar sound out of your head. Seriously, though, a flanger is a useful sonic colour to have at your disposal for those times when chorus is too tame and a phaser is too funky.

Connections

Standard 1/4″ jack cable input and output sockets

Power

This depends on the year of manufacture; older Boss pedals were designed to run off a 12V supply (referred to as ‘ACA’), while the newer models run off a standard 9V supply (referred to as ‘PSA’). Check the information on the pedal’s back plate to be sure – some older pedals will also have a small sticker on the top of the pedal next to the power input informing you of the need for a 12V supply. As with other Boss pedals, there’s a 9V battery compartment accessible underneath the footswitch.

Controls

The Boss BF-2 has four control knobs:

  • MANUAL controls the centre frequency of the flanger’s sweep; this is most noticeable when the RES knob is turned all the way up. MANUAL also acts as a fine-tuning knob, as some of the overtones produced by the pedal might not always sit nicely with the key of whatever you happen to be playing.
  • DEPTH affects the depth of the sweep
  • RATE controls how fast or slow the sweep occurs
  • RES is the level of resonance or feedback

It’s worth noting that the BF-2’s controls allow it to produce a wide variety of tones; reducing the resonsance and bosoting depth can result in subtle, chorus-like tones, while maxing out the resonance can generate a distinctive ring modulator sound.

Where Does It Go In My Chain?

Modulation effects traditionally sit towards the end of a pedal chain, after octaves, envelope filters and fuzz/distortion. However, there are few hard and fast rules about pedalboard sequencing, so let your ears be your guide.

How Much Does It Cost?

As with many Boss pedals, the price that you pay will vary depending on the age of the pedal and the location where it was built; older MIJ pedals will command the highest price tags, but it’s worth mentioning that the internal components of the pedal didn’t change much during it’s production lifespan, so older doesn’t always mean better (or even different).

Broadly speaking, there are two main varieties of BF-2:

1980-1990 black knobs, made in Japan
1990 – 2001 white knobs, made in Taiwan

New: N/A

Used: £40-£75

Pros

  • Familiar, rugged Boss enclosure
  • Simple, intuitive controls
  • Wide range of tonal possibilities
  • Finished in an attractive shade of mixed berry

Cons

  • A flanger might not be top of your tonal priorities, so this is probably one for dedicated modulation enthusiasts

What Are The Alternatives?

There are a range of flanger pedals on the market to suit most budgets:

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When to say ‘NO’ to gigs (Gigonomics 101)

The Agony of Choice In spite of advances in modern technology, it’s still not possible to be in two places at the same time. As a freelance musician — or…

The Agony of Choice

In spite of advances in modern technology, it’s still not possible to be in two places at the same time. As a freelance musician — or freelance anything, come to think of it —you have to constantly decide which gigs and projects to accept and which to decline. Sometimes, it can be difficult to make the right decision and it’s not always obvious which choice is the right one.

This is where a helpful tool called ‘The Gig Triangle’ comes in; this appeared in a column in Bass Player Magazine some years ago (I’ve searched for the original article, but to no avail) and has stuck with me ever since. It’s also proved to hold true on every gig I’ve ever been on.

What is the ‘Gig Triangle’?

Every gig or project on offer contains a balance of three areas; music, people, and money. Let’s take a closer look at each side:

1. The Music

This is a pretty basic thing, but is the music bearable? I’m not talking about whether or not you like the music that you have to play, because part of being a professional is being able to make it seem like everything you have to play is your favourite music in the whole world. Everyone also has notions of musical credibility until it’s time to pay their rent.

The real question is: can you do the gig without feeling like your soul is being eroded with every note that you play, or wishing for some apocalyptic event that would mean that the gig would be brought to a swift end? In a decade of freelance work, I’ve had this happen three times and it has never been worth it.

2. The People

Who’s on the gig? Are they going to be a pleasure to work with, or are you going to have to share a 4-hour journey to the gig with that creepy keyboard player who lacks any sense of personal hygiene?

So little of the time on a gig is spent actually playing that this is a serious issue and often has nothing to do with the musical skills of the people involved. The gig is not the music – a vast proportion of your time is spent travelling, loading in gear, setting up, and then hanging around waiting to play. You don’t want to spend all that non-playing time surrounded by people who drive you crazy, so if we assume that there’s a basic level of musicianship and everyone in the band can play then the main concern is what will the hang be like?

3. The Money

Obviously, this is why you’re doing the gig, because you need to earn a living and doing gigs sure beats working in Starbucks. But this side of the triangle is not always about how large or small the gig fee is; your time is a valuable, non-renewable resource, so you have to factor in how much prep work the gig requires and how much time you have to block out of your day in order to actually do the gig.

The Golden Rule of Gigging

So we have music, money and people on the gig triangle, and the golden rule is that there have to be two sides of the triangle in place for a gig to be worth saying yes to, which leaves us with these three scenarios:

Option 1

Gigs where there isn’t not really much money, but you enjoy the music and the people are great; this is basically every original band project ever.

Option 2

Gigs where there’s a decent fee and there’s a good hang, but the music isn’t your ideal choice; this is essentially most covers bands, unless you happen to really love playing ‘Wonderwall’ or ‘Valerie’ every week for the rest of your life (and there’s nothing wrong with that at all!).

Option 3

Gigs where the people are not enjoyable to work with, but you enjoy the music and there’s a good fee – this is probably the rarest scenario.

In most cases, you won’t need to go into this level of analysis, but it can help avoid situations where you make spur of the moment choices that make you resent the gig that you end up on. There’s nothing worse for the audience, the band, or the music itself than having someone on stage who really has somewhere better to be.

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MXR M288 Bass Octave Deluxe

What is it? The MXR M288 Bass Octave Deluxe is a dual-voice analogue octave pedal and some neat additions that give bass players an expanded take on the tried-and-tested octave…

What is it?

The MXR M288 Bass Octave Deluxe is a dual-voice analogue octave pedal and some neat additions that give bass players an expanded take on the tried-and-tested octave pedal format.

What Does It Do?

The pedal can be used to generate an additional signal one octave below that of your bass; you can control the levels of both the dry and effected signal in order to achieve your desired tone.

Why Would I Want One?

An octave pedal running 50/50 wet/dry signal adds thickness to lines played in the higher register of the bass, which is really useful if you play in a three- or four-piece band and want to fill more space. A 100% wet octave down signal will give you access to synth-like bass sounds, adding that extra element of authenticity when playing the bass line to any tune that was originally recorded on a keyboard (think ‘Ain’t Nobody’ or ‘Superstition’ or even bloody ‘Moves Like Jagger’).

Connections

Standard 1/4″ jack cable input and output

Power

Again, totally standard: 9V DC power supply or 9V battery accessed by removing the pedal’s rear plate.

Controls

The Bass Octave Deluxe has three main control knobs:

  • GROWL is the first of two independent, blendable sub-octave channels; MXR describes the voicing of the GROWL channel as a ‘throaty, mid-range sub-octave’
  • GIRTH is the second sub-octave voice designed to provide a ‘deep and smooth’ octave tone

The GROWL and GIRTH voices are completely separate from one another and can be individually soloed or blended together to create a variety of tonal options.

  • DRY controls the volume of your original bass signal

In addition to the three main controls, MXR has also added the very practical MID+ button, which gives users a boost of up to 14dB to their dry signal at either 400Hz or 850Hz; both the amount of boost and the frequency can be adjusted via an internal trim pot and slider underneath the pedal’s back panel.

Where Does It Go In My Chain?

Some octave pedals have difficulty tracking in certain parts of the fretboard or during faster passages of playing, so my preference is to put them near the start of the signal chain in order to get the best input signal possible. I also find that putting the octave before an envelope filter produces the best result when using both effects simultaneously.

How Much Does It Cost?

New: £139.00/$149.99

Used: £75-90/$85-100

Pros

  • Rugged Construction in a relatively small enclosure
  • Two blendable octave voices give a range of tones
  • MID+ boost gives the pedal added tonal flexibility
  • Blue LEDs are classy as hell

Cons

  • Some players might feel that the two octave channels are too similar in their voicings

What Are The Alternatives?

Nearly every major bass pedal manufacturer offers some sort of octave pedal, so there are lots of options: MXR also offers the M280 Vintage Bass Octave, which offers similar functionality to the legendary Boss OC-2 in a much smaller package; Boss offers the OC-3; Aguilar has the Octamizer; EHX has a variety of octaves in a range of sizes, with the Nano POG being one of the most popular.

For a round-up of five analogue octave pedals be sure to check out this comparison test: The Quest For The Brown Note – Can Anything Match The OC-2?

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Is the Boss OC-2 still the best analogue octave pedal?

Why would you want to use an octave pedal with your bass? If you want to be able to keep up with synths without having to go anywhere near a…

Why would you want to use an octave pedal with your bass? If you want to be able to keep up with synths without having to go anywhere near a keyboard, or you want to access lower notes without switching to a 5-string or detuning, then an octave pedal is the way to go.

Introduced in the early 1980s, the Boss OC-2 is still widely touted to be the best analogue octave out there; famous players like Pino Palladino, Tim Lefebvre, Juan Alderete, Jonathan Davis and Janek Gwizdala have all helped to maintain the popularity of this pedal long after it was discontinued and replaced by the more refined and much less enjoyable OC-3. In fact, many players swear that the ‘glitchy’ and imperfect nature of the OC-2 is the very reason that they love it so much.

Ever since the Boss OC-2 was released, other manufacturers have been trying to steal its crown. Some have added additional features to their pedals, while others opt for a no-frills emulation of the classic octave pedal sound.

Analogue Octave Pedal Shootout

This video gives an overview of 5 different analogue octave pedals to see if anything comes close to the classic sound of the OC-2. Although each unit is capable of producing multiple tones, this octave pedal comparison focuses on the 1-octave down 100% wet signal sound that the OC-2 excels at:

  • Boss OC-2
  • MXR M288 Bass Octave Deluxe
  • EBS Octabass
  • 3 Leaf Audio Octabvre
  • Iron Ether Subterranea

Tone is in the ear of the beholder, and every viewer will have their opinion on which octave pedal sounds best. For the curious, my go-to octave pedal for gigs is the 3 Leaf Audio Octabvre; it does a great impression of the OC-2 while adding some useful features, particularly the ability to switch between a blended dry/wet sound and a solo’d sub bass octave with a simple tap of a footswitch (you can hear a practical demo of multiple pedal settings within the same song here).

Although I still keep my 1986 Boss OC-2 in the studio for recording (and nostalgia) purposes, it isn’t robust enough for live use and has a habit of falling apart on gigs.

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“No Need for 5-Strings if You’re Good Enough.”

Occasionally, I see things on the Internet that are so insanely idiotic that I feel compelled to set the record straight. Here’s a Facebook comment on a fellow bassist’s page…

Occasionally, I see things on the Internet that are so insanely idiotic that I feel compelled to set the record straight. Here’s a Facebook comment on a fellow bassist’s page that made me despair for the future of humanity:

The reason that this incensed me so much – aside from the lack of grammatical awareness displayed by the author – is that it represents a narrow-minded point of view and attempts to draw a correlation between the type of instrument being played and the ability level of the person playing it, which is completely misguided.

Should I Switch to a 5-String Bass?

Here’s how to work out how many strings are right for you:

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DOD FX25 Envelope Filter

The DOD FX25 envelope filter pedal has become something of a cult classic – a simple, two-knob auto wah that gives bass players a variety of tones ranging from subtle…

The DOD FX25 envelope filter pedal has become something of a cult classic – a simple, two-knob auto wah that gives bass players a variety of tones ranging from subtle vowel sounds to a full-on funk ‘quack’. The straightforward user interface and low price point make the FX25 a good starting point for bassists looking to experiment with envelope filters. 

There are only two controls on the FX25:

  • Range controls the intensity of the filter effect
  • Sensitivity affects the point at which the effect becomes active (frequently labelled as ‘threshold’ on other envelope filters)

The sensitivity control allows the user to dial-in how subtle (or otherwise) they want the effect to be; as with all envelope filters, the FX25 responds to changes in your plucking hand dynamics and for this reason it’s wise to place it towards the front of your signal chain if you’re using multiple pedals. As all envelope filters and autowah effects react to changes in playing dynamics it’s important that any compression happens after the effect.

The FX25 was manufactured between 1982 and 1997, after which it was replaced by the FX25B; the main difference between the two is that the FX25B has an additional ‘blend’ knob.

The DOD FX25 is now sadly discontinued, but there are plenty floating about on eBay and other second hand gear sites. Here’s an overview of the pedal’s features and a demo of some of the sounds that it’s capable of producing, both on its own and in conjuction with other pedals including octave, fuzz, and distortion:

Part of the pedal’s popularity can be attributed to the fact that Flea used an FX25 during part of his ‘Adventures in Spontaneous Jamming and Techinques’ instructional video. It can be heard here during a jam with Red Hot Chili Peppers’ drummer Chad Smith:

 


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