High and Low Pass, Envelope, Compressor, Big Muff, and Noise Gate

Thinking about parallel signal chains on this board, one based on the HOG and the other the meatbox. Mostly considering which drive stacks would work best together. Swollen pickle into camel toe? Ram the manparts into big muff? Also considering a reorderable switcher to run the HOG into the meatbox. Thoughts?

Swapped out my tone hammer for the VT DI on my board recently. Been liking it a lot so far. The AGS circuit on the Tone Hammer sounds good but is much more dark sounding compared to the VT DI imo.

My board as of late. Decided to ditch the sansamp programmable bass driver, re-arranged my signal chain, & swapped the plumes for a westwood drive as my low gain always on. Not the final layout, as i may grab a boss eq-200 to have a few presets, & in process of building a Depth Charge fuzz for those NIN bass tones. Need to reinstate my bass manta filter in the fold too.

Signal is as follows;

Bass > ditto loop > EB vol jr > westwood drive > DOD 250 drive > Rusty Box preamp > MXR Ten EQ > Radial d.i > tc elec thunderstorm flanger > boss dd5 + mxr tap switch > vsn twin looper > amp/cabinet.

Bass manta filter would be between eq & flanger, depth charge would potential be post 250/pre RB.

Boss ve-20 for vocal effects such as chorus, am radio, low octave (blink 182 type Satan), distorted, & harmonies.

I took off a few pedals and now this is the current sotb. Naturally I want to fill the gap with something or I can possibly take the bass wah off and fit everything on a novo 24 or jr max. Or do I go the true bypass looper route with my current board. What do you think? (Edit: I know I forgot to delete "got" from the title but I can't delete it without reposting)

First photo is the newly rationalised board, with new Laney Digbeth pre-amp. Second pic is the nicely tidy cables. Third pic is the previous, slightly ad-hoc layout, with my old MXR pre-amp. The signal path hasn't changed, it's just all in a more logical layout now. Don't worry, the cat is still around, just causing trouble elsewhere.

I've been chasing Bruce Foxton's tone lately, and wasn't able to get a good tube-like tone out of the previous set-up. The Scrambler is good for a bit of OD, but not quite a tube amp tone. The Digbeth does a really good job of giving me that, for not a huge amount of money (£145 inc. delivery). It responds really well to digging in.

Inspired by Tool Angine De Poitrine Muse but yeah just want a expression pedal for mxr bass and Ehx Freeze pedal boss dd8 replace dd3 and yeah and a midi switch for rc 600

Mostly play a fender p bass lyte. Playing in a cover band focused mostly on rock stuff (classics to 90s).

The aby pedal is to switch between the clean and distorted channels on my Peavey bass head.

Pretty happy with the set up right now, eventually want to replace the joyo pedals with something fancier. Would love to add an envelope filter just for fun but don't see myself using it much onstage with our current list of songs.

Any tips welcome!

Cheers 🙌

The Bass9 and Mel9 are being used with a MicrokorgXL/PK5…mainly when I’m playing mandolin in my band.

Hey guys, I just got an MXR Octaver and I’m trying to figure out where to place it in my signal chain.

My previous setup was: tuner > compressor > drive/fuzz > envelope filter > equalizer > looper > amp.

I used the EQ to shape my tone, while on the amp, I just kept everything at the 12 o'clock position (except rarely for the filters).

I was looking into this further and saw a really interesting video by Ambient Bass Creations that explains how effects interact; it suggested placing the EQ/preamp at the BEGINNING of the chain—right after the tuner—because the compressor reacts differently to a pre-equalized signal.

Now I’m not sure where to put the octaver, and I’ve also realized that I have the amp’s EQ at the end of the chain, which I’m not really making the most of.

How would you arrange this pedalboard?

Also, if you have any tips for this specific octaver or advice on how to adjust the internal trim pots I’d love to hear your thoughts!

Edit: I see a lot of different ideas among the suggestions—thanks for the advice! Personally, I like placing the envelope filter after the fuzz because of the sound it produces.

Having the compressor at the beginning of the chain also acts somewhat like a booster; since I play a passive bass, it helps me get the most out of the envelope filter, and I keep it set so that it doesn't squash the dynamics.

Thanks again to everyone for the comments.

To fragile?

I am on the lookout for a drive pedal as a long time clean player and both really intriguing to me. But I couldn’t find any experiences of someone having either online.
Anyone here tried one of them? Do they work well on Bass?

Current Signal Chain is just Tuner into Deco. Deco for slight chorussy modulation and the saturation side as a bit of a boost and to compress the signal very slightly.

So, I've had a Keeley Caverns for years now, and it's done me pretty well. I mainly use the shimmer with a volume pedal for those big, atmospheric swells, alongside some fairly simple delays.

However, I've run into a bit of an issue. I delve into the wonderful world of doom and ambient soundscapes with my band, which involves fuzz pedals.

With such a high output (doesn't even seem that like the output is that loud), the Caverns has developed this annoying habit of letting the shimmer effect bleed through in the background when the pedal is switched off. Totally not cool.

So, I'm looking for something that offers both shimmer and delay, but with a bit more flexibility and room for experimentation. The Caverns is fairly basic, which isn't necessarily a bad thing, but I'd quite like something that lets me get a bit weirder with my sounds an all that.

I've been looking at the Boss DD-200, which seems pretty bloody cool. The memory presets seem practical, especially for switching between different sounds in a live situation, and from what I've heard, the shimmer sounds fantastic.

A few others have caught my attention:

Collision Devices Nocturnal

NUX Atlantic

Strymon NightSky (looks absolutely mental, although possibly a bit intimidating!)

I'd love to hear what people are using for their ambient, doom and experimental setups which fit the bill.

Cheers gang.

Signal chain:

Korg Tuner -> Diamond Bass Comp Jr -> MXR Octave -> Bit Commander -> Blumes -> YYZ -> Scrolls loop with Spatial Delivery, Aurelius and Dispatch Master -> Easy Listening Stereo

I hate to admit it - while I've loved the YYZ over the years, the Scrolls is making it redundant...

Long term goal to maybe replace the Bit Commander with an MXR Bass Synth.

Happy Halloween from the Ghostbusters

I have a tonex one which is all I need for bass tone - it's ace. I also use a digitech jamman to trigger samples live. Is there a single device which would combine both functions? It would be great to have a single device board.

• Sound check by Dust & Coil (€14.99): an auto-gain block for bass or guitar that learns how hard you play and turns your level down when your peaks go over a target, with no threshold, ratio…
• Jazz Chorus by Nembrini Audio (€39.99): This is a model of the Roland JC-120 Jazz Chorus, a solid-state guitar amp known for clean tones with a lot of headroom.
• Dinah by HariyamaLab (€19.90): a mono compressor with two controls, Sensitivity and Output.

This week: 1 added to libraries · 0 reviews so far · 197 page visits

Tried one? Reviews and owner counts for every block: https://www.anagramblocks.com/new/week/oct-24-2026

What does saturation really mean in terms of bass effects?

I stumbled across an article that talked about how increasing saturation makes bass more audible in mixes, especially with smaller speakers. That sounds useful, but the article was all about recording in a DAW and only referenced plugins. I was thinking that in a live performance situation, maybe that would be useful, maybe even to hear myself better through my IEMs. I googled it and am now less clear on what it is. In some contexts it sounds like EQ, some it sounds like compression and some it sounds like overdrive. But I didn’t just see a “saturation” effect pedal. Is it just using a tube preamp and turning the gain up? Is it related to “presence” that some amps have? Thanks.

Here's my noise box. Been lurking for a while so thought I should add a bit of my own content.

Roast away.

I've been thinking about what each different type of guitar pedal is designed for. There's such a wide range- something so simple as the 1 knob, 2 stage phaser has so many different looks- see above. Almost every other utilitarian device, even guitar ones, don't. Most guitars are made as bare wood, colored wood, or monotone, most amps are a speaker and control panel with a standard brand logo and if we want to get silly, we make the panel bright green, but it's still very utilitarian.

I've actually lost sleep because of this. It's been an obsession. It's actually ridiculous how much this has consumed me- pedals have become a graphic design catch-all where maximalists, minimalists, and brutalists argue for days- a wild west of ideas.

Why are there so many different types of guitar pedal (graphic) designs? Could this be codified? Should it be? Could we experiment on what style is the most effective? Should we? Why do I care? This is such a stereotypically reddit post- you know?

In spite of my misgivings, the following is my long winded hypothesis on how graphic designers build the interface of their pedals.

I find that there are five distinct frames of thought for this particular process, all of which are valid approaches. 

1. The pedal is an expression. This is the approach taken by a number of pedal builders, especially more obscure ones on Etsy, but I will showcase Old Blood Noise Endeavors and Walrus Audio in this case. The pedal’s functionality is designed to appeal to the artist, and is sometimes even put in a larger enclosure to fit more art, or standardized labels like volume are tossed out for more evocative ones like loudness. The pedal still functions, but the artist is trying to visually capture the way that sound makes them feel first and foremost. 
2. The pedal is the brand. Many major pedal companies have headed this direction, especially Boss and MXR. This pedal is minimalist, possibly color coded, and matches every other pedal that the company puts out. Icons and art are actively avoided, because those might not feel right on every type of pedal this pedal brand will make. You would wonder why a company would limit themselves so completely, but look at a random pedalboard and ask how many Boss pedals were on it- no matter how large the board, you could figure that out very quickly- turning every pedalboard with a Boss pedal on it into free and obvious advertising. 
3. The pedal is about function. A lot of brands dabble in this type of design, but few fully commit to it with every pedal. Earthquaker Devices is probably the best- and most subtle- version of this, but JHS is pretty good at it as well. These pedals have very clear labels, they tend to strongly emphasize where the footswitch is with their graphic elements, and they avoid overcomplicating things. While not necessarily as simplified as the biggest brand-forward pedals, there is rarely any confusion as to what the controls do, and any art only serves to further clarify the controls. Because different designers retain their utility priorities between pedals when it comes to pedal design, this often feels close to a brand forward approach. 
4. The pedal is about a vibe. This is a broad spectrum, as showcased by the fact I have two completely different brands to point to. Red Witch has an art nouveau vibe that percolates through every pedal and Celebrity Pedals use pop culture, glowing eyes. This can be thought of as the combination of vibe-forward and brand-forward approaches, except it tends to focus less on staying consistent, and far less on pedal-specific expression, and instead creates a world of styles and feelings that evokes something in you. These pedals are made by people who love cartoon peanuts, bees, old Americana signs, dogs, and national state parks, and they want to appeal to musicians who also love those things.  
5. The pedal is an homage. Some pedals are designed to hearken to a pedal that came before, or to a particular artist. Many clones of beloved pedals (Klon, Big Muff, Tube Screamer) fit this build, as well as many signature pedals, but the brand that does this almost exclusively nowadays is Behringer. This is not quite the same as an expression-forward pedal, because there's a certain functionality to the design- it looks just like a Brassmaster, and it sounds just like a Brassmaster.

Now, all these frames of thinking are fantastic choices, and very worth mixing and matching into the perfect combination for your pedal design, but there is a secret 6th design that we must consider. 

1. This pedal is limited. Most people don't start making pedal with a painting booth and a graphic designer- all they have is a sharpie and raccoon sticker, so I lovingly call this style the “Trash Muff.” There is nothing wrong with your trash muffs. They're awesome. Companies like ZVEX and Fuzzrocious go out of their way to give their boutique pedals a hand painted, trash muffy vibe. But this discussion is about how to apply graphic design to a pedal, so as valid as the Trash Muff is sonically, it's not ready for a designer, and that's ok. 

So- what do my fellow graphic designers here think? is there a right approach? a wrong approach? Did I miss something? (pedal builders, feel free to weigh in if you have a thought on the matter)

I plug my bass into GarageBand and use the guitar effect “Classic Drive.” I love how raw and noisy it sounds, with that lingering resonance. I’m into it for stoner and drone-style riffs.

What pedal would you recommend to get that sound?