LEFT: Providing a big, warm, well-compressed tone with an option for extra distortion, this basic
pedalboard setup covers the needs for 90 percent of my work. RIGHT: For solo-bass performances
and funk gigs, I’ll bring a pair of envelope filters, along with synth-bass, chorus, and octave pedals
to add to the necessities like the preamp/DI and compressor pedals from my basic pedalboard.
A student of mine recently asked me to
explain bass pedals, from the basics on up.
It’s no secret that almost every guitarist uses
pedals as part of their artistic pallet of sonic
colors and textures, and for a guitarist to show
up at a gig without pedals is almost unfathomable.
Bassists, on the other hand, are usually
expected to bring only a clean, strong foundation,
without any real color beyond the sound
of their fingers, bass, and amplifier. I’ve gone
through stages as a player where I used pedals
for color only when absolutely necessary, and
I’ve also gone through stages when the sounds
I heard in my head required some effect for the
type of gigs I was doing at the time.
Many pedal manufacturers use true bypass
as a major selling point, but in my opinion,
the richer harmonics of the sub lows of my
signal never stay completely unaffected when
my pedals are in standby mode. And for me,
this is the only major drawback of using pedals.
While power buffers and quality patch
cables can help minimize this problem, I
play bass, not guitar (which exists more in
the midrange and is not quite as sensitive to
this issue), so I might opt for no pedals at all
to keep a pristine tonal path. In fact, the few
times my pedalboard has gone down mid-show
while out on tour, the FOH engineer
confirmed that he got a richer bottom-end
when the cable was plugged straight into the
amplifier. With all that said, my current local
gigs and main touring gig require that I use
pedals. And for me, there are necessary pedals,
less necessary pedals, and “candy” pedals
(the ridiculously fun ones that will get you
fired from certain gigs if used too liberally).
The Basic Needs: Preamp/DI,
Compressor, and Tuner
I believe a preamp/DI pedal is an absolute
necessity. Not only will you be familiar with
the DI at the gig since it’s your DI, you also
have the opportunity to warm up the sound
and dial in some overdrive. (Personally, I
use this type of pedal as an amp simulator,
and never really dial up more of the heavily
distorted tones it’s capable of.)
The basic pedalboard for bassists should
also house a compressor pedal, since they
really help make most basses punchier and
more even. Because I play 5-string basses
almost exclusively, having a compressor
pedal helps that 5th string blend in better
with the other four—both in frequency and
tone. And finally, a tuner should certainly
be part of the basic pedalboard, but because
of the tone-deterioration possibility mentioned
earlier, I run a parallel line to it
instead of running my sound through it.
The Next Step: Secondary
Distortion and Octave Pedals
In addition to a tube-warmth pedal that
stays on my pedalboard permanently
(which I only use for amplifier-type coloration),
I use a separate pedal for a heavier
distortion sound that really pops. I prefer
a very present bite in the high end, though
I’ve noticed that a lot of other bassists try to
avoid this in their distortion settings. This
tone is equally usable for heavy metal and
Larry Graham-type lead-funk tones, and
that’s why it is almost a necessity for me.
When it comes to octave pedals for bass,
their use can be heard on many classic records,
and they can really make a dramatic statement.
During my first years as a professional
bassist, I was a 4-string player exclusively, and
using an octave pedal enabled me to play the
occasional low C or D when needed, and
more importantly, allowed me to cover basic
synth-like pop tones with a traditional 4-string
instrument. While it can be a cool and fun
effect for solos, an octave pedal can also be
used to propel an entire song and provide you
an additional voice as a player—giving you
the opportunity for a greater variety of gigs.
The Fun Ones: Envelope
Filters, Chorus, Reverb, and
Synth-Bass Pedals
I have to start this section with a disclaimer: If
you are a funk player exclusively, these pedals
might actually belong in the section for basic
pedals. Since I primarily play pop, rock, soul,
and modern country, these types of pedals are
pure, playhouse candy for me. An auto wah/
envelope filter is a pedal that is as effective
for bass as a traditional wah is for guitar. It
can make a solo or other part really sound
like its own thing by making a stronger sonic
imprint and stronger artistic statement. I
actually have two different envelope filters on
my pedalboard, so I’m able to better replicate
different, classic funk tones. And for stepping
even deeper into funk land, I also employ a
bass-synth pedal for an assortment of wacky
settings for really out-there sounds, or more
traditional, moog-esque synth tones. But I
have to watch out: This pedal can absolutely
blow up a PA if used recklessly.
When playing solo pieces—and ballads in
some cases—a good chorus pedal will come
in handy by providing higher notes with a
gorgeous voice. Using chorus in a band setting
also totally works (Duff McKagan on the
Appetite for Destruction album and Mark King
with the band Level 42 are great examples),
but you have to use diligence since it’s possible
to make the whole band sound slightly out
of tune. And when it comes to reverb pedals,
they too can be tremendously useful for bass-solo
pieces. I like to really indulge in reverb
when I’m performing a solo piece in order
to emulate the acoustics of playing in an old
cathedral. It inspires me to play fewer notes
and helps me use a greater dynamic range.
Choices in pedals are such an individual
thing, and my pedalboard is a very personal
setup. So if you are just beginning your adventure
in bass-pedal exploration, the best starting
point is to prioritize from basic to fun based
on what’s ideal for you and your style.
Victor Brodén
Nashville bassist and producer Victor Brodén
has toured and recorded
with more than 25 major-label
artists, including
LeAnn Rimes, Richard
Marx, Casting Crowns, and Randy Houser.
His credits also include Grammy-winning
albums and numerous television specials
on CMT and GAC, as well as performances
on
The Tonight Show and
The Ellen
DeGeneres Show. You can reach him at
vbroden@yahoo.com.