On the Topic of Bass Effects: Everything Else

Here commences the second post in a series of two about bass effects, a topic which all mothers of bass players must pretend to be interested in. 

In my previous entry, I talked about bass distortion and overdrive, an effect quintessential to my bass tone. I discussed its use, it's sonic components, and it's purpose, finishing the entry by sharing two of the signal chain configurations in which I use bass distortion. So, you know, you're welcome.

In this post, I will discuss the remaining types of bass effects that I actually care about. (DISCLAIMER: I do not classify compression nor equalizer as "effects." Thus, they will not be part of this discourse in audio philosophy.) These fall into three categories: modulation, time-based, and pitch-based.

Many, if not all modulation effects operate using the same principal. The signal is copied as it is produced, and the copy signal is put out of phase with the original. There is usually a "depth" control on such effects to dictate exactly how "out-of-phase" the two signals are, as well as a "rate" control to make the phasing effect move faster or slower. Modulation effects include (but are not limited to) choruses, phasers, and flangers. These can be used for a variety of purposes; choruses are absolutely divine at bringing out bass harmonics (as shown by the late great jazz bassist Jaco Pastorius), and both phasers and flangers sound good when laying down a solitary bass groove, just to add a little bit more spice to an otherwise uninteresting bassline.

Time-based bass effects like reverb and delay are less commonly used. Since bass is meant to provide uncompromising low end to a band's sound, reverb does not suit it well. Delay is a little more forgiving, but really only when the bassist is playing a solo or a series of harmonics. In layman's terms, high-end + delay = GOOD. Low-end + delay = BAD. Or at least in my opinion. There is always such a thing as preference.

The last of the bass effect types that I will talk about today are pitch-based. And there's really only one of this type worth mentioning: the mighty octaver. Put simply, it has the ability to make the bass sound even more meaty by producing notes an octave lower than those being played. While such an effect does not really work well with fast runs or chords, it works wonderfully for sludgy grooves. Also, pair with overdrive/distortion for especially nasty tones (see previous entry). 

To wrap all of this up, I will say that my own philosophy when using bass effects is to do so sparingly, only when the section calls for it. 

I mean, unless it's distortion. Use that stuff ALL the time!

Cole Millward