I retired the Russian Muff from live duty, but there’s no chance I’ll get rid of it anytime soon. I then found an EHX Bass Big Muff for cheap and picked it up because it was smaller and easier to power with a power supply (the Russian only has a nine-volt battery connector). By then, I had the Acoustic 370, and the Big Muff and the 370 loved each other long time, doing plenty of shows together. Thanks to Erik from Turbo Gerbil for giving it to me so many years ago.Īlright, back to the matter at hand, if I loved the ODB-3 so much, why did I get rid of it? I had picked up a black Russian Electro Harmonix Big Muff from a kid in Geneva for $25 on Craigslist, and I fell in love with its sound. It’s a neat pedal if you dial it in just right, and I’ve still got it. That one was cool, and we did record a couple of tunes with that in front of the Nitrobass. I also briefly experimented with a ProCo TurboRat. I kept the DS-1 but sold the Arion a few years back for $15. It was alright, but just not the same as what I’d seen from Lozenge. I had to try it! I picked up my own DS-1, and a $20 Arion bass EQ pedal. I loved their bass sound and saw he was running a Boss DS-1 into an EQ pedal to blast the low frequencies squashed by the Distortion pedal. Somewhere around this time, I saw Lozenge at Speak in Tongues in Cleveland. I would recommend the ODB-3 to anyone looking for a solid, dependable bass friendly overdrive. I wound up trading it to my buddy Dave at Bad Back Studios to pay for some mixing time on one of the latter two records noted above. I loved this pedal! It was used on the Re-Entry EP, the Sacred Order Of The Owl EP, and I think The Forest And The Trees LP. It was key because the highs were rather spitty, if left unchecked (in my opinion). I liked that it had a blend knob to fine tune the overdrive with your clean botttom end, and the adjustable highs/lows split knob was a great feature. It’s a dependable, sturdy stompbox that’s easy to get and affordable – awesome attributes for a touring musician. First and foremost, the ODB-3 is one of the secret weapons on Aaron Dallison’s pedal board since the Keelhaul days. The Zoom went back into it’s box, and was eventually sold at a garage sale in 2012 for $15. I didn’t use half of what the Zoom offered, and the plastic enclosure didn’t instill a lot of confidence, so I decided to simplify and improve in one stroke by grabbing a Boss TU-2 tuner and ODB-3 Bass Overdrive. With the upgrade of my amp situation to the Peavey Nitrobass 400, I felt the need to improve my signal path. The tuner was a godsend I previously had to unplug my bass and snap into a little QuickTune device, and all in all it got me through just fine with that Crate BX100. It did overdrives well enough, but wasn’t so hot at the chorus and flanger/phaser type effects that were included. In all honesty, it was an acceptable pedal. I quickly dialed in the industrial bass overdrive sounds I wanted (think BILE?) and we kept making noise. The Zoom 506II had a plastic enclosure with two footswitch buttons (program up and down, to cycle through banks), a built in tuner (hey, that’s nice!), and – if I recall correctly – a ton of user programmable capability. Where do you go from a Roadkill when you’re 18 and unwise? Why, you go all in on digital multi-effects, that’s what! That’s right, I pivoted from the Roadkill to a Zoom 506II. Eventually, the footswitch failed on my Roadkill, and I believe I sold it “as-is” at a garage sale for $5. Still, I knew deep down that it sucked, and wanted to upgrade as soon as possible. This was not a good pedal, but it made my bass sound distorted, so I guess it was successful at its job. I had to look the dang thing up, and was surprised to see it was made by ProCo. Nah, I wanted the bass to sound blown out and nasty! When I picked up my first true bass amp, I found that I needed a pedal to get dirty, and the very first pedal I ever picked up was a $19.99 distortion pedal called a Roadkill. I had that little amp with me in my college dorm, and I played bass through it with the distortion dimed, quickly leaving the notion of “piano clean” bass behind in the proverbial dust. In my earlier post on bass amps, I mentioned that my first amp was really a guitar amp, complete with a lead channel and a sweet on-board distortion. Alright, we’ve already talked about the bass guitars and bass rigs of supercorrupter, so I suppose that leaves the pedals that have done low-end duty in the band.
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