My Studio. I have an old Bass Driver D. I've never thought of it as a noisy pedal at all. As a normal D. Footswitch engaged, it sounds great with my old Precision bass. I've wished on many occasions that it had a mid EQ. I've heard people talk about getting some pretty dirty tones out of it. I find that surprising, but maybe it's down to my particular basses, or maybe the tone of it has changed over the years.
Even with the blend and drive full on I get saturation, but it is still very subtle. I love it, use it often, won't part with it.
Hey Bruno Seriouly though, mind elaborating a bit on the reamping? I thought a dedicated impedace box was necessary I have an older one and know one difference for sure from the old to new units. The old ones are designed for the output of a p bass or jazz bass with passive pickups, the are not designed to handle 5 string basses or active pickups.
If you try, it will distort I thought mine had gone bad and sent it back to be told the unit was fine, but not made for my 5 string soundgear bass with active humbuckers The newer version can handle the hotter output of newer basses.
Wish mine had a mid knob on it I personally think their VT Bass is a more versatile and "better" sounding unit. Only things are the lack of blend control I'm sure you can get around that in the studio and lack of built in DI which people tend to say isn't very good anyway. I've had one for nearly 10 years in my live rig.
I can plug into almost any amp and get more or less the same sound assuming my strings arn't dead anyway. Hell, for years my only amp was a solid-state power amp with no controls other than volume. Emi S. I have most of the new Character series, and I love them. Ever since the first Classic Sansamp i've thought they were better tools for bass than for guitars.
I think the new Character series is better again, and gives a lot of good amp flavour. The MXR M80 is also worth a look at for a very different different good range of tones. Character knob on the VT controls upper mids prior to the clipping stage, so if you are driving the pedal it drastically changes the overdrive character. Been a few years but from memory the presence knob on the Bass Driver is high treble prior to the clipping stage, just adds more "clang". I think someone else already mentioned the Para Driver, never tried one but I believe it's like the Bass Driver without the presence knob, but with a semi parametric midrange.
Unsure if it has a similar overdrive character Not particularly useful to me. Caveat: I don't tap and slap skinny stringed basses - I prefer vintage flat wound tones - so some people may have a need for ice-pick eq.
It's very useful. Sansamp have been quite clever with these pedals. They are obviously emulating specific makes of amps, and this mid-range knob effectively selects the types of amp within that maker's range. For example - the Blonde "Fender" pedal gives you everything from a small Fender Champ mid range boost to a Fender Twin or Bassman hyped lows and highs. It also has a big effect on the distortion - everything affects everything else, just like a real amp.
I like them all, what can I say. I have good tube amps too, but these pedals with a solid state power amp stack up well against the real things, with no tubes to worry about and with greater control at lower levels.
With the guitar amp pedals, you probably want to layer the clean DI with them. Depends on your basses, your playing style and the type of tones you want. Thanks for all the posts so far, most helpful and informative. So as discussed above, the difference between the Bass Driver and the Para Driver feature wise is that the BD has the 'presence' control which doesn't seem to be a great deal of use and the PD has the more useful 'Mid' and 'Mid Shift' controls.
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Give it a try - it will be useful to your education either way. Save yourself a lot of heartache and buy a Suhr Reactive Load and cab sims from Ownhammer which can be run with super low latency with a plugin like NadIR , then record with a real tube amp..
Wow, thanks for all the great input and more importantly, insight on this matter! I'm no noob and have been producing for some time, but I have much to learn especially when it comes to recording guitars and bass on a minimal setup.
I still struggle to get great tones - with amp sims alone - that layer well and cut through a mix, so if I can help the cause even one little piece of kit at a time, I'm happy. I'm getting it later today, admittedly getting slightly excited just to try this thing, lol. The XLR output is designed for live use where you would typically run it into a mixer with mic preamps - and the benefit of balanced cables cancelling hum might outweight the extra noise from the circuitry.
It doesn't make a huge amount of sense to drop from instrument level Down to mic level, and then have to boost it up again. Then again - guitar chains are not about hi fi sound - sometimes the extra dirt and noise is just what is needed.
Try both. I'm fairly sure that in a typical digital amp emulation chain, a Sansamp of just about any type will add some of the missing analog mojo. They mainly use FET transistors whch sound very much like tubes.
I have tried both, and lately have not been using Sans Amp at all. Analog solid-state distortion is about as hit-and-miss mostly miss as software distortion emulation.
Definitely a difference, especially when engaging the Active XLR button on the pedal. Disengaging said button there is very audible difference, it all seems to fall a bit flat, which is the sound I was used to.
And there you have it, glad I'm borrowing this little thing for a while, thanks for all your comments! Last edited by rez; 18th January at PM.. Reason: wrote something wrong. Following up on this, I do have a new question. Would it make sense for one to use an amp head as a sort of tone-shaping DI when recording guitars into a DAW? I go buy, say, a small inexpensive Orange amp head to use in between guitar and interface, as I'm doing now but with more controls.
Once in the DAW you still go about using amp sims and what not, but you've perhaps fed a nicer, meatier overdriven tone on the way in and not relied solely on software?
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