There are some really nice features to be found on the Bassbone, and it definitely does present a package that’s excellent value for money. The sound is very similar to the MXR; unlike the Sansamp, it doesn’t colour the tone, and the DI sound is fantastic – there’s such a great deal of headroom, thanks to the 15 volt power supply. The EQ controls are equally as impressive, and seem to be voiced perfectly. The low adds chest thumping bass, without muddiness, the mid brings out serious growl, while the high control gives a beautifully glassy top-end, without being sharp on the ears. The functionality of this little box also extends to a footswitchable boost control, a tuner out, and an effects loop.

However, there are, of course, disadvantages. There’s no amp modelling to speak of, no drive, the EQ can only be used on one of the channels (although the other does have a switch to engage 2 preset contours), the effects loop isn’t switchable and requires a Y-shaped insert lead, and the boost control will be kind of redundant unless you play lots of bass solos. However, overall, the sound of this device prevails and it out-weighs the negatives by a great deal.

So, which box did I finally buy? You’ve probably guessed by the longer review, the Sansamp. I’m an absolute sucker for tubey tone, and this is delivered by the bucket load. The programmability is unrivaled, and, in my opinion, for use on stage and in the studio, it’s unmatched. The bass sound that this creates on record fills out the bottom end beautifully, and with slight bit of compression, it’s ready to go. It sounds great through PA and bass rigs alike, and even has an incredible talent of making my diminutive 15 watt practice amp sound like an SVT stack. What’s not to love?

While it ultimately features the same tone-shaping innards as its smaller sibling, the MXR’s biggest rival, the Sansamp Bass Driver DI, this is something very different to both, and pretty much all that has been before, (apart from the Sansamp Bass Driver Programmable, which is basically a scaled down version). See any similarities emerging here? Anyway, the unit is a dual-input, programmable DI, with amp and cab modelling circuitry. This means that you can connect 2 basses and switch between the 2, whilst having 3 different tones set up for each, or connect 1 bass and have 6 sounds at the command of your big toe. However, what’s really impressive about this unit is the fact that the signal chain is 100% analogue; it only uses digital technology to store the presets. Yummy.

So how about I actually start my review? The unit’s very well built, with a solid feel and smooth motion to all of it’s knobs. The memory interface is extremely intuitive and interactive; when a control is moved, the LEDs show the current set up in comparison to the saved patch, by blinking faster as you reach the point of the saved control. Tech 21 seem to have thought hard about how this device will be used, and the knobs have to be moved quite a lot before they will change the settings of a saved patch; obviously to stop it being changed mid-song on stage. To top it all, there’s also an effects loop (which is also programmable) to contain those nasty tone-munching pedals, such as phasers, delay units and tuners. Once you’ve got a sound that you’re happy with, you just tap the current switch twice, and it blinks, saying that it’s saved your patch. Simple.

As for the all-important sound of this thing… It really is impressive. If you like the sound of classic valve amps, such as the Fender Bassman, Ampeg Flip-Top and SVT, well, you’ll love this stompbox. I’ve never used any solid-state or digital device that behaves so much like a valve amp; set the gain midway, and your tone will begin to break into overdrive as you dig in harder, play softly and it remains clean. The DI excels, filling out the low end with the unit’s rich tones, and there’s also a pad switch if your output is too hot. The one disappointment concerning the sound is a flaw in the EQ circuitry; the Sansamp has definite scooped-mid sound about it, and without a dedicated mid control (there’s only bass and treble) this can be hard to shake. However, I found by increasing bass and treble on my bass’ preamp, and then turning them down on the Sansamp, as well as increasing the presence control on the Sansamp, I could get a lot more mid to sing through. Unfortunately, the presence control brings on some hiss, so I wouldn’t recommend taking it past 2 o’clock. I found that when using my amp, the best results were achieved when I blended in the sound of the Sansamp (about 50/50), and when running direct, having it up 100%. (Although on other amps with solid-state preamps, I much preferred the blend to be on full).

So, final thoughts… I really love the sound of the Sansamp; although there are some flaws, such as the lack of a mid control, the sound is warm, yet crisp and tight. It’s a completely different animal to the MXR, which is much more transparent – this pedal really colours the tone with it’s own voice. It would be brilliant for recording, as well as a live DI, and the extra input and programmable memory makes it a very useful on-stage tool.

I tried out three models before I parted with my hard earned cash, so I’ll give you my opinion of all three.

The first is the cheapest of the bunch, the MXR Bass DI+ (£150). Before I even plugged this in, I could see that it was well built; it had a good, reassuring weight to it, and the knobs had a quality feel. However, the phantom power / ground lift switch on the model I tested was faulty, and didn’t latch down. This was a bit of a worry, but obviously just a small fault that had been missed. Anyway, regardless of this problem, the pedal was very impressive; both the sound through the amp and the direct out were very pure – it really doesn’t colour your tone too much, and just lets the sound of your bass come through. The EQ can add chunky lows and sizzling highs, although the midrange control wasn’t voiced correctly for my own personal taste; it was focused more on low mid thump, rather than high mid growl.

I also found the drive channel to be lacking some what; it was very much an all or nothing affair. It can do subtle drive tones as well as buzzsaw distortion, but it was quite unresponsive – everything was distorted and compressed at the same level, regardless of playing style. However the addition of a noise gate in the drive section was a welcome sight, and worked very well, especially when the gain was right up.

In conclusion, the MXR has a great direct tone, as well as the added benefits of a distortion pedal thrown in. While it does have some ingenious little features, (such as the aforementioned noise gate), I can’t help but think that this is a fuzzbox with a DI thrown in for good measure. Still, if you predominantly play rock or metal, this would be ideal, and there’s nothing in this price range that matches it for features. Its closest relative would be the Tech 21 Sansamp Bass Driver, which is slightly cheaper, but doesn’t have a foot switchable drive section.

Many people could use this last comment as propulsion into a joke about the choice of his company’s rather vibrant, yellow and black colour scheme, but not me, I’m above all that. And I quite like the wasp-tainted livery. The one thing that comes to mind however, is that these pedals are shaped awfully like those that Ashdown released a few years back… You know, the line that, well, kind of flopped… *cough* Maybe they’re trying to get rid of an excess of unused stompbox cases… *ahem*

Anyway, joking aside, lets get down to business; there’s quite a range of pedals to choose from,  and they really do look very well equipped.  The compressor and distortion pedals have a warm valve heart, and along with a booster (which also acts as a DI box, with the sought-after Mark Bass Vintage Loudspeaker Emulator and Variable Pre-Shape Filter) and an octaver, the range of analogue, true-bypass pedals is complete. However, as much as it pains me to say it… I find the digital pedals of the range a lot more interesting. These are the Chorus Flanger, Riverbero (reverb) and Super Synth. Why are they so appealing then? Simple: these effects come rigged with a USB port and editing software. Sounds can be edited on a computer, and then downloaded onto the pedal; it would be particularly useful for any patch that needs to be kept, but the memory of the effect unit is full.

Anyway, expect a review of this range ASAP, just as soon as I can get my filthy mitts on them.

With the passing of this summer’s NAMM show, we’ve seen many manufacturers bring out new sound sculpting toys in the form of effect pedals. However, due to my adoration for their simple wackiness, I find Electro-Harmonix’s announcements of new gear the most exciting.

In the past few years, the parents of the luscious Small Stone phaser, iconic Big Muff Pi fuzz and the quite sublime / ridiculous / completely debauched Micro Synthesizer have really stepped up their game. It was only about 10 years ago that they had a small handful of different effects, and these all dated back to their original incarnations from the late 60s and 70s (excluding a time during the 1980s when they only made valves… what a horrible decade). Now they are producing an absolute plethora of different pedals, some new, some reissues, but new designs are being realised all the time.

In the past couple of years, we’ve seen smaller, more compact and crowded-pedalboard-friendly versions of existing, iconic stompboxes in their Nano line, and also new versions of classics that, let’s face it, should have always existed; the Big Muff Pi was always a favourite among bass players, but it’s guitar voicing meant that it could only be used with the tone knob right down. So, EHX brought out a bass version! Finally! However, the real exciting boxes to come out of New York City were the brand new ideas, and didn’t they have plenty of thoughts?…

So what new pedals have we seen this year? The three that I’m most excited about are the Riddle, Enigma and the POG2. The Riddle and Enigma are envelope filters for guitar and bass respectively and, along with unrivalled tweak-ability, they also feature a built-in distortion circuit. This really helps bring out those sweet, squelchy frequencies emphasised by the filter, and as it’s controllable on a separate switch, these pedals really are like two effects in one. Bargain! The 2nd incarnation of the POG (Polyphonic Octave Generator) also provides a great deal of sonic fun; I was absolutely astounded by the sound of the original POG, and with extra functionality (like an insanely useful method of storing presets), there really isn’t another octaver effect that can touch the POG2. Come on, what other pedal can make your guitar into an organ?!

One more pedal that looks interesting is the 22 Caliber. Although it’s not actually an effect, what guitarist could turn their nose up at the convenience of an amplifier that’s the size of a stompbox?

For more info, visit www.EHX.com

We’ll cover Boss effects pedals, multi-effects pedals, distortion, overdrive, compressor, chorus and delay as well as tube effects and some of the less conventional processors.