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Tag: pedals and effects

Electro Harmonix Bass Micro Synth

The Electro Harmonix Bass Micro Synth gives bass players who are looking to dive into the murky waters of synth bass sounds an opportunity to access a range of classic…

The Electro Harmonix Bass Micro Synth gives bass players who are looking to dive into the murky waters of synth bass sounds an opportunity to access a range of classic synth tones without having to go anywhere near a keyboard. Although far more limited in its scope than more recent synth pedals, like the Future Impact or the Source Audio C4, the intuitive control layout of the Bass Micro Synth means that bass players can start experimenting with sounds almost instantly without having to delve into complex sub-menus:

The Bass Micro Synth is controlled by numerous sliders that govern the following parameters:

  • Trigger affects the dynamic level at which the effect is triggered; this can be thought of as ‘sensitivity’ or ‘threshold’. The trigger only affects parameters in the filter sweep section of the pedal
  • Sub Octave controls the level of the 1-octave down signal
  • Guitar affects the dry signal volume of the bass
  • Octave controls the volume of the 1-octave up signal (the octave above signal is slightly distorted to provide a richer tone)
  • Square Wave affects the volume of the square wave distortion
  • Attack Delay increases or decreases the time taken for a note to reach full volume. Higher settings can remove the intial attack from notes, resulting in a ‘bowed’ sound
  • Resonance controls the intensity of the filter sweep
  • Start Frequency and Stop Frequency govern the frequencies at which the filter sweep starts and stops; different settings can result in ‘up’ or ‘down’ sweeps
  • Rate controls the speed at which the filter sweeps between the start and stop frequencies

If the range of controls on the bass microsynth seems daunting then don’t panic; EHX also publish a pdf of sample settings (link here: EHX Micro Synth Sample Templates PDF) that lets you get straight to the good stuff without hours of unnecessary knob-twiddling. I went through all their tone templates to see what the pedal is capable of:

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The Gear Paradox (feat. Fight Club)

Uh-oh, it’s another post about gear. The main questions that you might have are: Why are you trying to use a Whammy pedal as a pillow? What the hell does…

Uh-oh, it’s another post about gear.

The main questions that you might have are:

  1. Why are you trying to use a Whammy pedal as a pillow?
  2. What the hell does this have to do with Fight Club?

Both of these can be answered by watching the following gear-orientated soliloquy:

T.H.Palmer’s famous self-esteem poem advises ‘If at first you don’t succeed then try, try again’, which is exactly what I’m doing in an attempt to confront my own gear addiction. For the back story on my struggles with gear hoarding, take a look at the post that started it all, The Gear Fallacy.

Having failed spectacularly to keep my 2016 resolution of not purchasing any new equipment I decided to give it another shot and, at the time of writing, I’ve been ‘clean’ for almost 6 months.

But I haven’t won my battle yet. I’m still confounded by what I’ve named ‘The Gear Paradox’.

What the hell is ‘The Gear Paradox’?

Just when you thought that I couldn’t be any more pretentious I drop this on you. I’m sorry.

Simply put, The Gear Paradox expresses the difficulty in reconciling the knowledge that fixating over gear is a waste of time with the desire to have an appropriate sound for every musical situation, which necessitates a certain amount of attention to detail when it comes to equipment.

I don’t yet have a solution to this conundrum, but here are some facts ideas that have helped me to work out how I feel about gear and manage my addictive, equipment-hoarding tendencies. Maybe some of these will ring true for you:

  • 90% of ‘your’ sound is down to you: your fingers, your technique, your sense of time, your harmonic knowledge and how ‘big’ your ears are. Gear accounts for only 10%. Many players invert these percentages and perpetually change their basses/strings/pickups/amps/pedals in an attempt to solve problems in their playing.
  • There is a perception that possessing rare or expensive gear somehow makes you a better player. This is exacerbated by the superficial nature of image-based social media platforms that allow us to engage in a perpetual show of one-upmanship and endlessly fixate on what others have rather than focusing on our own progress.
  • Your band and your audience don’t care about your gear – they want you to show up on time, play the right notes and make everyone in the room feel good; if you can’t fulfil those 3 objectives then the type of magnets used in your pickups really pales into insignificance.

One analogy about the importance of gear (or lack thereof) is from world class producer/arranger/writer/educator Richard Niles (I couldn’t find the original quote so I’m paraphrasing, but the essence is the same):

“It doesn’t matter whether you’re making music with a guitar, a bass or a computer – it’s the music that’s important. It’s like having a delicious meal in a restaurant and asking the chef what sort of spoon they used to stir the soup.”

Stop worrying about spoons and instead work out what ingredients are missing from your soup.

(Your soup might already have all the right ingredients, it just needs to simmer for longer).

What’s The Best Bass For Metal?

This nebulous question (and others in a similar vein) crops up again and again across the length and breadth of the internet. I’ve lost count of the number of times I’ve seen the comments underneath virtuoso bass performances asking questions about what brand of strings or which pickups the player is using – the phrase ‘barking up the wrong tree’ doesn’t even come close.

Sax supremo Bob Reynolds deals with this far more eloquently than I ever will:

The War of Art‘ is well worth it, by the way.

Contrary to what the internet would like you to believe you don’t become a great Gospel player because your headstock has ‘MTD’ on it, you don’t get the bass chair on a show in a London theatre by owning an Overwater and having a multi-scale fanned-fret Dingwall won’t make your metal playing any heavier.

There is no substitute for doing the work; I say this as someone who, in spite of 17 years of playing, still has a TON of work to do and avoids doing it by writing blog posts and filming silly videos. Do as I say, not as I do.

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