Author: Claudio Ribeiro

News

EarthQuaker Devices Introduces the Blumes Jr

A Compact Bass Overdrive with a New Voice EarthQuaker Devices has introduced the Blumes Jr MOSFET Mod, a limited-edition version of its bass-focused Blumes Low Signal Shredder. The new pedal brings the familiar three-mode overdrive circuit into a considerably smaller enclosure while introducing a new MOSFET clipping option designed to deliver additional low-end punch, harmonic richness and a more dynamic response. Based on the original Blumes, the Jr version retains its bass-oriented approach to overdrive, including increased gain and an extended low-frequency response designed to preserve the instrument’s bottom end when pushing into heavier distortion. The most significant change comes from the clipping circuit. While the original Blumes offers symmetrical LED clipping, an unclipped OpAmp mode and asymmetrical silicon diode clipping, the new version replaces the latter with a MOSFET-based alternative. Three Clipping Modes, One New Voice The Blumes Jr MOSFET Mod features a three-position toggle switch, offering three distinct approaches to shaping the overdrive. Mode L uses symmetrical LED clipping, providing the crunchiest option, with a more compressed, mid-focused character and plenty of output. Mode N removes the clipping diodes altogether, leaving the OpAmp circuit to deliver a wide-open, full-frequency drive. With the Gain control below 11 o’clock, this mode can also function as a clean boost. The new Mode M is where things get interesting. EarthQuaker Devices has replaced the original asymmetrical silicon diode arrangement with MOSFET clipping. According to the company, this produces a harmonically rich and focused overdrive, with enhanced low-end response and a dynamic character reminiscent of a modern high-gain tube amplifier. The familiar Level, Gain and Tone controls remain in place. The Tone control sweeps from bass frequencies on the left, through the midrange, and towards treble on the right. A Smaller Footprint for Bass Pedalboards One of the most immediately noticeable changes is the enclosure. The Blumes Jr measures 38 x 95 x 51 mm (1.50 x 3.75 x 2.00 inches), including knobs, making it considerably more pedalboard-friendly than the original Blumes. Despite its smaller dimensions, the pedal retains its three-mode switching and familiar control layout. Other specifications include a 25 mA current draw, 10 MΩ input impedance and 100 Ω output impedance. It runs on a standard 9V DC centre-negative power supply and features mechanical true bypass switching. As with the company’s other pedals, the Blumes Jr is handcrafted in Akron, Ohio, and comes with EarthQuaker Devices’ limited lifetime warranty. The artwork is by company founder Jamie Stillman. Availability and Pricing The EarthQuaker Devices Blumes Jr MOSFET Mod is a limited-edition release, with production restricted to just 1,000 units worldwide. The pedal is priced at $129 USD. Importantly, this is not a replacement for the original Blumes. Both versions offer different approaches to bass overdrive, with the Jr introducing a more compact format and a new clipping voice for players looking for additional low-end crunch and sustain. For bassists interested in exploring the new MOSFET mode, EarthQuaker Devices has also published dedicated audio samples on its official product page.

November 5, 2026 No Comments

Reviews

D’Addario XS Nickel Bass Strings Review – XSB45105

Disclosure: D’Addario kindly sent me these strings for review. As always, all opinions expressed in this article are my own and reflect my personal experience with the product. This is the first of several D’Addario string reviews, so keep an eye on Bass Gear Reviews for more coverage of their bass string catalogue in the coming weeks. D’Addario is hardly a name that needs introducing to bass players. Its strings have been a familiar sight in gig bags, studios and rehearsal rooms for decades. However, the company’s XS Nickel Bass range brings something interesting to the table: a coated roundwound string designed to retain the familiar brightness and response of traditional strings while offering a smoother playing experience and improved longevity. I’ve been spending some time with the D’Addario XSB45105 set on my fretless Precision bass, and I have to say that my first impressions have been very positive. The strings have plenty of zing, the coating makes slides feel particularly comfortable, and there’s a growl to the sound that works beautifully with the character of a fretless instrument. Let’s take a closer look. A little history: D’Addario and the art of making strings The D’Addario family’s involvement in string making goes back to the 1670s, when Donato D’Addario worked as a string maker in the Italian town of Salle, in the Abruzzo region. Several generations later, the family business made its way to the United States, eventually establishing the modern D’Addario brand in 1974. Since then, the company has become one of the most recognisable names in the musical instrument accessories industry, with a catalogue covering everything from traditional guitar and bass strings to more specialised products. Bass players have been part of that story for decades. D’Addario strings have been associated with musicians such as Mark Egan, whose fretless playing with the Pat Metheny Group helped establish him as one of the most recognisable voices in jazz fusion. Other notable bassists associated with the brand include Alphonso Johnson, Bryan Beller and Steve Di Giorgio. It’s quite a diverse group of musicians, and that says something about the versatility of the company’s catalogue. From jazz and fusion to progressive metal and alternative rock, D’Addario has managed to establish itself across a remarkably broad spectrum of bass playing. Introducing the XS Nickel Bass Strings The XS series is D’Addario’s answer to one of the longest-standing compromises in the string market: how do you make a coated string that offers extended life without sacrificing the sound and playing characteristics of an uncoated roundwound? The original XS technology was introduced for guitar strings in 2021, bringing an ultra-thin protective film coating designed to protect against corrosion and contamination. The technology eventually made its way into electric guitar strings, and in 2026 D’Addario expanded the range with dedicated XS Bass strings. The XSB45105 is a four-string, long-scale set featuring a 45–105 gauge configuration, described by D’Addario as Light Top / Medium Bottom. The gauges are .045, .065, .085 and .105, providing a familiar configuration for players who prefer a slightly more substantial low end without making the higher strings unnecessarily heavy. The strings use a nickel-plated steel wrap wound around D’Addario’s NY High Carbon Steel hexagonal core. This combination is designed to provide a balanced response, enhanced harmonic content and improved tuning stability. D’Addario uses an ultra-thin film coating on the wound strings, approximately one-tenth the thickness of a human hair. The company also applies a proprietary polymer treatment to the plain steel strings, protecting the entire set against the elements that typically contribute to string degradation. The idea is straightforward: preserve the tone and feel of a fresh set of strings for longer. Check the price of the D’Addario XSB45105 at Amazon First impressions and playing experience I installed the XSB45105 set on my fretless Precision bass, an instrument that has been particularly enjoyable to play since I started experimenting with different roundwound strings. For a while, I’ve been moving away from flatwounds on this bass. Although I appreciate what flats bring to the table, I’ve increasingly felt that they were taking away some of the articulation I wanted. I also found their playing feel a little too resistant for my preferences. The XS strings immediately felt like a good change. The first thing I noticed was their brightness. There’s plenty of zing here, with a clear, lively top end that gives individual notes a nice presence. The strings have a very responsive character, and there’s enough harmonic content to make the instrument sound alive without becoming unpleasantly harsh. I’ve played coated strings before, and one of the things that can sometimes put me off is the feeling that you’re playing something slightly artificial. That hasn’t been my experience with these. The XS coating provides a very smooth playing surface, and sliding between notes feels effortless. Vibrato is comfortable, and moving around the fingerboard doesn’t produce the same sensation of friction I sometimes associate with traditional roundwounds. This is particularly relevant on my fretless Precision, which has an epoxy-coated fingerboard. The combination works very well, allowing me to move around the neck comfortably while retaining the articulation I want from roundwound strings. This is probably my favourite aspect of the whole experience. When you dig into the strings, there’s a lovely growling quality that brings out the character of the fretless bass. Notes have a satisfying presence, and the instrument responds beautifully to changes in playing dynamics. It’s difficult to describe exactly what makes a particular set of strings work so well with an instrument, but these have certainly found a good home on my Precision. Tone and versatility D’Addario describes the XS Nickel Bass strings as having a punchy, balanced tone, with a combination of bright highs and a tighter low end. That description is reasonably accurate based on my experience. The nickel-plated steel wrap gives the strings a familiar roundwound character, with enough brightness to cut through a mix while retaining a balanced overall response. The 45–105 configuration also

October 31, 2026 No Comments

Reviews

Valeton Launches the VDS Series

Three New Pedals for Delay, Modulation and Pitch-Shifting Valeton has just introduced the VDS Series, a new range of three digital effects pedals built around a simple idea: combining two related effects engines in a compact pedal with dedicated footswitch control. The new lineup includes the VDS-1d Delay & Reverb, VDS-2d Dual Mod and VDS-3d Dual Pitch Shifter, each taking a different approach to expanding your sound. For bass players, this is an interesting release. Delay and reverb can add space to an otherwise dry bass signal, modulation can bring movement to everything from subtle chorus tones to more experimental textures, and pitch-shifting opens up possibilities for octave layers, harmonies and alternative tunings. All three pedals feature dual footswitches, stereo input and output, and a compact enclosure designed for use at home, in the studio or on stage. Here’s a closer look at what each model brings to the table. Valeton VDS-1d: Delay & Reverb The VDS-1d combines two of the most useful effects for creating space: delay and reverb. It offers three delay sounds and three reverb modes, with additional features designed to take things beyond conventional echoes and room ambience. Shimmer adds a brighter, higher-pitched layer to the reverb, making it possible to create expansive, atmospheric textures. There’s also a Hold/Freeze function that sustains the reverb tail, which should be particularly useful for building pads underneath a melody or creating transitions between musical sections. Tap tempo and selectable delay subdivisions give players control over rhythmic repeats, making it easier to fit the delay to a song rather than simply dialling in a time by ear. For bass players, the obvious starting point is subtle ambience and rhythmic delay. A little reverb can add depth to a clean tone, while delay can work particularly well for melodic passages, fretless bass, solo arrangements and more atmospheric styles. The Freeze function could also be interesting for players who use looping techniques or build layered soundscapes. Valeton VDS-2d: Dual Mod The VDS-2d takes a different approach, combining two modulation engines that can operate simultaneously. Each engine offers three modulation choices, giving players six effect options to combine. What makes this design particularly interesting is the ability to run the two engines in Series or Parallel. In Series mode, the signal passes through one modulation effect and then the other, creating more layered and potentially complex results. Parallel mode processes both paths separately before blending them, offering a different way to combine effects while retaining more separation between them. The pedal also features MORPH 1 and MORPH 2 controls for performance-oriented adjustments, along with tap-tempo functionality for both modulation engines. When synchronisation is active, either footswitch can update both rates together. For bass, having two modulation effects available in one pedal could be particularly useful. A chorus combined with another modulation effect, for example, could take a familiar sound into more unusual territory without requiring two separate pedals. The same flexibility could appeal to players experimenting with ambient bass, progressive music, post-rock or more heavily processed tones. Valeton VDS-3d: Dual Pitch Shifter The VDS-3d is perhaps the most immediately intriguing model in the lineup. It’s a dual polyphonic pitch shifter with two independently adjustable pitch voices, designed for everything from octave effects and harmony stacking to controlled pitch transitions. PITCH A handles upward intervals, while PITCH B handles downward intervals, with a range of up to two octaves in either direction. The shifted voices can be combined with the original signal, allowing players to build one-, two- or three-voice sounds. That opens up several possibilities for bass. Octave-based settings could add weight or extend the perceived range of a part, while combining upward and downward intervals could create thicker harmonies. Pitch-shifting can also be useful when experimenting with alternate tunings without physically retuning the instrument. The VDS-3d goes further with three transition modes and adjustable RISE and FALL controls, which determine how quickly the effect moves into and out of the selected pitch. Its dedicated CTRL footswitch makes those transitions part of the performance, allowing players to move between pitch settings rather than relying solely on a static shifted tone. For bass players interested in more expressive pitch movement, this could be the standout feature. There is a difference between simply adding an octave and being able to move between pitches as part of a riff or transition. Three pedals, three different approaches The VDS Series covers three distinct areas of effects processing. The VDS-1d is aimed at players looking for delay, reverb and ambient textures. The VDS-2d focuses on combining modulation effects, with routing options that give players more control over how they interact. The VDS-3d takes things into pitch-shifting and harmony, with additional controls for expressive transitions. Their shared dual-footswitch design and stereo connectivity make them interesting options for players who want more control over their effects without necessarily moving to a larger multi-effects unit. Of course, a feature list only tells us so much. Bass players will want to know how the pedals handle the low frequencies, how well they track complex playing, and whether the controls feel practical during a performance. Those are important questions, and they’re best answered by spending time with the pedals rather than relying on the specifications alone. We’ll be putting two of these new releases through their paces very soon. Expect our full reviews of the Valeton VDS-2d Dual Mod and VDS-3d Dual Pitch Shifter on BassGearReviews.com in the coming days, where we’ll take a closer look at what they offer bass players in the real world. For now, the VDS Series looks like an interesting addition to Valeton’s effects lineup, particularly for players who enjoy experimenting with modulation, ambience and pitch-based effects.

October 28, 2026 No Comments

News

MXR launches the New Turbo Tuner M400

MXR Enters the Tuner Market with the New Turbo Tuner M400 Built around Sonic Research’s precision strobe technology, MXR’s first-ever tuner pedal promises extreme accuracy, extensive tuning customisation, and flexible signal routing. MXR is stepping into new territory with the launch of the Turbo Tuner M400, the brand’s first-ever tuner pedal. Developed in collaboration with Sonic Research, the new stompbox brings the company’s renowned Turbo Tuner technology into a compact MXR enclosure, combining professional-grade tuning accuracy with a feature set designed for both guitarists and bass players. At the heart of the M400 is a true strobe tuning system rated at ±0.02 cents of accuracy. Alongside its high-precision tuning capabilities, the pedal offers programmable presets, alternate temperaments, adjustable display brightness, and a choice between true bypass and buffered operation. Precision Tuning with a True Strobe Display The M400 uses a genuine strobe display rather than a simulated needle or conventional moving indicator. Its LED ring responds to pitch variations, rotating in one direction when a note is sharp and the opposite direction when it is flat. As the instrument approaches the correct pitch, the movement slows until the display settles. MXR rates the tuner’s accuracy at ±0.02 cents across a range from C0 to C8, making it an exceptionally precise option for players who demand fine adjustments when tuning their instruments. For bass players, that precision is particularly relevant when setting up an instrument, matching tuning across multiple basses, or working with extended-range instruments where consistent intonation and tuning stability are essential. The display also features four brightness settings, allowing players to adjust visibility for different environments, from dim rehearsal rooms to brightly lit stages and outdoor performances. Designed for Everyone The Turbo Tuner M400 includes chromatic mode, which tracks all twelve notes, alongside dedicated guitar and bass modes that identify strings by number rather than note name. It also provides five programmable instrument presets, including three additional slots initially configured for standard guitar, Drop D, and six-string bass tunings. These presets can be customised for instruments with up to 12 strings, with tuning offsets adjustable in 0.1-cent increments across a range of ±50 cents. The pedal also supports alternate temperaments, giving players the ability to move beyond standard equal temperament and customise tuning for particular musical requirements. For bass players experimenting with alternate tunings, extended-range instruments, or non-standard musical systems, this level of flexibility makes the M400 more than a conventional plug-in-and-tune pedal. True Bypass or Buffered Operation The M400 offers a choice between true bypass and buffered operation, allowing players to configure it according to their signal chain. In true-bypass mode, the pedal mutes the output while tuning and removes itself from the signal path when switched off. Buffered operation provides three selectable configurations: muting the output while tuning, keeping the instrument signal active while the tuner runs, or leaving the tuner active and using the footswitch as a mute. The buffer option is particularly useful for players running long cable lengths or larger pedalboards, where maintaining high-frequency response can become a consideration. Compact Design and Practical Connectivity The Turbo Tuner M400 follows the familiar MXR stompbox format, with a die-cast aluminium enclosure designed to integrate easily into an existing pedalboard. Its connectivity includes standard instrument input and output connections, a 9V DC power input, and a dedicated output for passing power to another pedal. A USB-C connection supports firmware updates and access to the tuner’s editing software. The pedal can also run from a 9V battery, providing an alternative for players who prefer not to rely exclusively on an external power supply. Pricing and Availability The MXR Turbo Tuner M400 has a US suggested retail price of $149.99 and is beginning its rollout through retailers. European pricing and availability may vary by market. By combining Sonic Research’s established strobe tuning technology with MXR’s familiar pedal format, the M400 represents a significant addition to the brand’s catalogue. For bass players looking for a compact tuner with extremely fine accuracy, extensive preset customisation, and flexible signal-routing options, MXR’s first entry into the tuner market is certainly one to watch.

October 20, 2026 No Comments

Reviews

Joyo R-12 Band Controller: Pedal Review

A practical guide to shaping your bass tone, cutting through the mix, and understanding what EQ with the Joyo R-12 Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information. I’ve always considered EQ pedals among the most useful pieces of equipment a bass player can own, although they’re also among the least understood. Most of us can pick up a distortion pedal and work out fairly quickly how it affects our sound, even if we don’t know much about the electronics behind it. Equalisation is a different story. Moving a slider can make a bass sound fuller, clearer or more aggressive, but understanding why a particular adjustment works is what allows you to get consistent results rather than relying on trial and error. That’s one of the reasons I was particularly interested when Joyo sent me the R-12 Band Controller. Over the years, Joyo has become a friend of Bass Gear Reviews, partly thanks to the success of my original review of the Scylla compressor, which eventually became the most successful article on the website. That led to further collaborations, including the Avallon compressor, and now the R-12. Before discussing what this pedal can do for your sound, though, it’s worth understanding what those ten sliders actually control. The R-12 is a ten-band graphic equaliser covering frequencies from 31.25 Hz to 16 kHz, with up to 12 dB of boost or cut available on each band. Those numbers might look rather abstract at first, but once you understand how different frequency ranges contribute to the sound of a bass guitar, the layout becomes considerably more intuitive. Joyo R-12 Band Controller on Amazon → What exactly is an EQ pedal doing? An equaliser changes the balance of frequencies within an audio signal, allowing you to emphasise certain parts of the sound while reducing others. This matters because the character of a bass depends on considerably more than the low frequencies that give it its weight. Every note contains a fundamental frequency alongside a series of harmonics that contribute to its overall timbre. A low E on a standard four-string bass has a fundamental of approximately 41 Hz, while the low B on a five-string sits around 31 Hz. However, the sound of those notes extends much higher into the spectrum, with the upper harmonics contributing to the attack, articulation and character that help the bass remain audible in a mix. This is why the R-12’s range is useful even though the bass is traditionally associated with low frequencies. Its ten sliders let you shape everything from the deepest lows to the upper harmonics, giving you considerably more control than the basic bass, middle and treble knobs found on many amplifiers. Understanding the R-12’s frequency bands The ten bands are centred at 31.25 Hz, 62.5 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz and 16 kHz. Each slider affects a region around its centre frequency rather than one isolated point, so the results will depend on the surrounding bands, your instrument and the rest of your signal chain. You don’t need to memorise the frequency spectrum to use the pedal effectively, but knowing what each region generally contributes makes it easier to identify the adjustments worth trying. 31.25 Hz: the very bottom This is particularly relevant to five-string players because the frequency sits close to the fundamental of a low B string. Boosting it can add deep low-end weight, provided your amplifier and speakers can reproduce those frequencies effectively. Too much sub-bass, however, can consume headroom without making the instrument any clearer, so I’d approach this slider conservatively. 62.5 Hz: weight and fundamental This region contributes to the solid, powerful low end that gives a bass line its foundation. A modest boost can help a thin-sounding instrument feel fuller, but excessive energy here can quickly make the sound boomy, particularly in rooms that already emphasise low frequencies. The aim is to give the bass weight without overwhelming the rest of the mix. 125 Hz: warmth and fullness At 125 Hz, the emphasis is on warmth and body. Boosting this band can help a lean-sounding bass feel fuller, while cutting it slightly can tame an instrument that already has a thick low end. It’s also a useful frequency to experiment with when switching between basses with noticeably different tonal characteristics. 250 Hz: warmth versus muddiness The 250 Hz region contributes to body, but too much energy here can make a bass sound woolly or indistinct. If your instrument sounds huge when practising alone but disappears into a muddy mix with the full band, try reducing this area before reaching for the treble control. A small cut can often improve definition without sacrificing the low end. 500 Hz: body and definition This part of the midrange helps preserve the character of the bass in a mix. Too much can produce a boxy or congested sound, while cutting it excessively can leave the instrument feeling hollow. Adjusting 500 Hz independently is one of the advantages of a ten-band graphic EQ over the broader controls found on most amplifiers. 1 kHz: presence Around 1 kHz, the midrange becomes particularly important to the perceived presence of the bass. A small boost can help notes remain audible among guitars, keyboards and vocals without adding more low end. Too much, however, can make the instrument sound nasal or honky, so the best setting depends on the arrangement and the character you’re after. 2 kHz: articulation This band contributes to the definition of individual notes, making it useful for players who want their bass lines to cut through a dense mix. Pick players may appreciate the extra attack, while fingerstyle players can use it to bring out more articulation. Be careful with excessive boosts, though, as

October 16, 2026 No Comments

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