For years, bass players have been told they need “bass” pedals. But what if the key to unlocking incredible bass tones has been right under our noses all along – in the world of guitar effects? Today, we dive deep into the world of using guitar pedals on bass guitar, with insights from renowned bassist Roy Mitchell-Cárdenas, known for his work with Mutemath and his innovative approach to bass effects. Prepare to rethink everything you thought you knew about Good Bass Guitar Pedals.
The Burning Question: Can Guitar Pedals Actually Work on Bass?
The question on every bassist’s mind is simple: Can you use regular guitar pedals, the ones not specifically labeled “bass guitar pedal,” on a bass guitar? The answer, according to Roy Mitchell-Cárdenas, is a resounding yes. Roy, a celebrated bassist alongside legends like Pino Palladino and Carol Kaye in the eyes of many, including JHS Pedals’ own Josh Scott, walked onto the JHS Show stage ready to dispel the myth that bassists are limited to bass-specific effects.
Roy’s journey to using guitar pedals on bass stemmed from his roots as a guitar player. He never adopted the limiting belief that a pedal needed the word “bass” on it to be effective for his instrument. Recalling his early encounters with Roy’s pedalboard, Josh remembers being astonished to see a JHS Morning Glory overdrive pedal – a guitar staple – in Roy’s bass setup. This sparked a crucial question: Why do bassists often feel confined to “bass pedals” when the world of guitar effects is so vast and readily available?
Addressing the Low-End Myth: Why Bassists Sometimes Hesitate
The primary concern for bass players considering guitar pedals is often the fear of losing low-end frequencies. It’s a valid point – many guitar pedals, especially overdrive and fuzz, are designed to operate in a frequency range that can indeed thin out the bass frequencies. Roy acknowledges this, stating that many drive and fuzz pedals can indeed “cut off the low end.” However, he also offers a simple yet effective solution: equalization.
To compensate for any potential low-end loss, Roy incorporates an EQ pedal, typically at the end of his signal chain. By slightly boosting the lower frequencies, around 100-200Hz, he restores the desired bass response without sacrificing the unique character of the guitar effects. This approach highlights that using guitar pedals on bass isn’t about compromise, but about smart tone shaping.
Josh further probes whether an EQ pedal is always essential. Roy clarifies that the necessity depends on the playing situation. In scenarios with limited front-of-house support, where the stage rig is primarily responsible for the low-end, boosting lows on the amp or with an EQ pedal becomes more critical. However, in situations with robust front-of-house systems, especially when using a DI like the Colour Box (as in their demonstration), the low-end can be managed at the mixing console, offering more flexibility in pedal choices.
Studio Secrets: Low-End Management in Professional Recordings
Expanding on the low-end discussion, Josh brings up a crucial aspect of studio recording: the common practice of rolling off low-end frequencies across various instruments in a mix. Roy, with his extensive studio engineering experience, confirms this, explaining that low-end management is crucial for a balanced and clear mix.
The approach to low-end frequencies in recording is highly contextual. It depends on factors like the kick drum sound, the presence of synth bass, and the overall arrangement. Sometimes, the bass guitar might carry the primary low-end weight, while other times, it might occupy a more mid-range focused role, especially when paired with overdrive or fuzz. Roy mentions the common technique of blending a clean DI bass signal with a distorted sound from either a pedal or even a guitar amp like a Vox AC30, showcasing the versatility and creative possibilities.
Roy’s Pedalboard Essentials: A Practical Guide to Guitar Pedals on Bass
To illustrate the practical application of guitar pedals on bass, Roy walked through his essential pedalboard setup. His core setup typically includes:
- Compressor (Pulp N Peel): For dynamic control and evening out the bass signal.
- Overdrive (JHS Morning Glory): His go-to for adding grit and drive, demonstrating that good bass guitar pedals don’t need to be labeled as such.
- Equalizer (BOSS GE-7): Crucial for shaping the overall frequency response and compensating for any low-end roll-off from other pedals.
This setup is not static; Roy emphasizes that he adjusts the settings on these pedals based on the musical context and desired feel. For the JHS Show demonstration, Roy opted to go direct, using the Colour Box as his preamp, further showcasing the adaptability of his pedalboard approach.
Jamming with Guitar Pedals: Sonic Explorations
The best way to understand the power of guitar pedals on bass is to hear them in action. Roy and Josh launched into a series of jam sessions, each highlighting different pedal combinations and sonic textures achievable with guitar effects on bass.
- Octave Up Overdrive: Using the BOSS OC-2 Octave pedal set to one octave up, combined with the Morning Glory overdrive, Roy created a unique, gritty tone. The EQ pedal ensured the low-end remained solid even with the octave effect. This demonstrated how even octave pedals, often considered for guitar, can become good bass guitar pedals when used creatively.
- Tame Impala Inspiration: Channeling a Tame Impala vibe, Roy focused on the Morning Glory, adjusting the EQ slightly to emphasize the 200Hz range and reducing compression for a more open sound, proving the Morning Glory’s versatility across genres on bass.
- Hendrix Shoegaze Fusion: In a creative twist, Roy explored a “Hendrix in a shoegaze band” concept, utilizing the JHS Unicorn Univibe and delay. The Univibe, a modulation effect typically associated with guitar, added a swirling, psychedelic texture to the bass, proving that modulation effects are also viable good bass guitar pedals options.
- Mutemath/Talking Heads Blend: For a final jam, Roy aimed for a Mutemath-esque, Talking Heads-inspired groove. He simplified his setup, using the Morning Glory with less drive, more compression from the Pulp N Peel, and delay from the JHS Lucky Cat. This showcased how subtle adjustments to guitar pedals can create a wide range of bass tones.
Conclusion: Embrace the World of Guitar Pedals for Bass
Roy Mitchell-Cárdenas’s demonstration definitively answers the question: guitar pedals absolutely work on bass. More than that, they offer a vast and largely untapped palette of sonic possibilities for bass players willing to experiment. By understanding how to manage the frequency spectrum, particularly the low-end, and by creatively utilizing tools like EQ, bassists can confidently incorporate a wide range of guitar effects into their rigs.
The journey to finding good bass guitar pedals might just lead you to the guitar pedal section. Don’t limit yourself to pedals labeled “bass.” Embrace the world of guitar effects, experiment with different combinations, and discover your own unique bass tones. As Roy’s jams demonstrated, the possibilities are truly limitless.
