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.