Category: Reviews

Reviews

MXR Bass Chorus Deluxe: Pedal Review (2026)

Lush Modulation, Low-End Clarity, and Stereo Depth in One Compact Pedal For many bass players like myself, chorus isn’t just an effect — it’s a necessity! From shimmering ’80s fretless tones to subtle modern width in ambient and worship settings, chorus has long been a way to add motion without sacrificing groove and sound consisteny. The MXR Bass Chorus Deluxe was built specifically to solve a common problem: traditional chorus pedals often thin out the low end. MXR addressed that head-on by designing a bass-focused analog modulation pedal that preserves fundamental frequencies while adding dimension, shimmer, and even flanger textures. While some modulation pedals feel like guitar units repurposed for bass, the Bass Chorus Deluxe feels purpose-built. It delivers everything from subtle widening to dramatic swirl — all while keeping the bottom end intact. Whether you’re after classic fretless warmth, synth-like movement, or stereo depth for modern rigs, it offers a wide palette in a rugged, pedalboard-friendly format. TL;DR The MXR Bass Chorus Deluxe is an analog chorus/flanger pedal designed specifically for bass. It delivers lush, musical modulation without sacrificing low-end punch thanks to its crossover function. It can function as a subtle thickener, a stereo width enhancer, or a dramatic flanger. Players looking for transparent modulation with strong fundamental retention will love it; those wanting hyper-digital shimmer or extreme detune textures may want something more modern and hi-fi. Check the price on Amazon –> Build & Controls The control layout is intuitive and stage-friendly: Two additional switches expand functionality: The enclosure follows MXR’s standard compact housing — durable, road-ready, and pedalboard efficient. Performance Subtle Thickening With conservative Width and Intensity settings, the pedal acts almost like a dimensional enhancer. Notes feel wider and more present without obvious “swirl.” This works especially well in trio settings where bass must occupy more sonic space. Passive basses benefit from the organic analog warmth, while active basses retain clarity thanks to the onboard Bass and Treble shaping. Classic Chorus Character Increasing Width and Intensity produces the lush, liquid chorus tones associated with fretless bass and ’80s pop/rock. The modulation is smooth and musical — not sterile or overly bright. Unlike many guitar chorus pedals, your low B (if you play five-string) remains tight rather than warbly. The X-Over function is key here. By reducing modulation on the deepest frequencies, your fundamental stays anchored while upper harmonics shimmer above it. Flanger Engaging Flanger introduces a more pronounced, swooping character. It’s tighter and more controlled than many standalone flangers, making it usable for bass riffs without overwhelming the mix. With careful Rate settings, it can add movement without sounding gimmicky. Stereo Potential Using the stereo output (via TRS configuration) opens up a surprisingly immersive field. In studio or dual-amp rigs, the modulation spreads beautifully across left and right channels, adding dimension without mud. EQ Functionality The Bass control adjusts how much low-frequency content is present in the modulated signal. This is crucial — it prevents the chorus from hollowing out your tone. The Treble knob allows you to tame brightness or restore clarity depending on your amp and string type. Roundwounds can shimmer; flatwounds can stay warm and controlled. Together, these controls make the pedal far more adaptable than traditional two-knob chorus units. The Bass Chorus Deluxe excels as: It won’t replace high-end digital modulation units for ultra-modern shimmer or pitch-detune textures. Instead, it shines in analog warmth and musical movement. Pros & Cons Pros Cons Q&A Q: Does it thin out the low end like guitar chorus pedals?A: No — the X-Over switch specifically protects low frequencies from heavy modulation. Q: Can it handle five-string basses?A: Yes. The crossover function keeps low B notes defined and tight. Q: Is it subtle or dramatic?A: Both. It ranges from gentle widening to pronounced swirl, depending on settings. Q: Does it work with active basses?A: Absolutely. The EQ controls help tailor brightness and depth to higher-output instruments. Q: Is it good for recording?A: Yes. Especially in stereo — it adds width and movement without cluttering the mix. Conclusion The MXR Bass Chorus Deluxe isn’t about flashy, exaggerated modulation — it’s about musical movement that respects the role of the bass. Its analog circuitry delivers warmth and depth, while the crossover and EQ controls ensure your foundation remains solid. If you’re chasing vintage fretless shimmer, subtle spatial widening, or tasteful flanger motion without sacrificing low-end authority, this pedal delivers in a focused and practical way. It may not be the most experimental chorus on the market, but for bass players who value tone integrity and analog character, it’s a standout choice. Get Your MXR Bass Chorus Deluxe on Amazon Now! Other MXR Gear You Might Like If you enjoyed checking out this MXR pedal, here are more MXR products worth exploring — all tested and reviewed here on BassGearReviews: – MXR Bass Synth: Powerfull Bass Synth Pedal – MXR M87 Bass Compressor: Transparent and Versatile Compression for Bass

February 17, 2026 No Comments

Reviews

Fender Mustang JMJ Signature: Bass Review

A Bass Player’s Secret weapon The Fender JMJ Mustang is one of those rare instruments that surprises you not with flash, but with feel. When I first picked up my Daphne Blue Justin Meldal-Johnsen Mustang, it didn’t feel like a new bass. It felt like a bass I had already owned for years. The relic wasn’t cosmetic theater — it felt earned. The neck was smooth, the body resonant, the response immediate. It had that elusive “broken-in” quality that most instruments only achieve after years of real playing. And then I noticed it came strung it with flatwounds. Check the Fender JMJ on Amazon Now –> There is something about this instrument with flats that borders on addictive. The tone becomes focused, authoritative, and warm without ever feeling dull. It sits in a mix with a confidence that feels almost disproportionate to its size. In many ways, it behaves like a Precision bass — but lighter, faster, and in my experience, sometimes even more articulate. It’s as if it captures the punch and midrange authority of a P-Bass while shedding the weight and bulk that can make longer sessions physically demanding. To understand why this instrument resonates so deeply with players around the world, you have to look at both its lineage and its intent. The History The Mustang Bass first appeared in 1966 as Fender’s short-scale offering, originally positioned as a more accessible instrument. Yet like many so-called “student” models, it quickly transcended that label. Over decades, the Mustang became a cult favorite for players who valued punch, simplicity, and comfort. Its 30-inch scale length gave it a slightly different string tension and response — tighter and more immediate than many would expect, with a natural midrange focus that allowed it to cut through mixes without overpowering them. Fast forward to 2017, when Fender collaborated with Justin Meldal-Johnsen to create a signature version based on his own 1966 Daphne Blue Mustang. This wasn’t a nostalgic reproduction for collectors. It was an attempt to capture the feel, wear, tone, and spirit of a working musician’s main instrument — a bass that had proven itself on major stages and in countless studio sessions. What makes the JMJ Mustang special is how deliberately restrained it is. It has a single split-coil pickup, simple volume and tone controls, and a short scale neck that immediately feels compact and manageable. There’s no onboard preamp, no tonal complexity for complexity’s sake. Instead, everything is optimized around touch and responsiveness. The 30-inch scale is central to its character. It reduces overall tension slightly, which makes bends smoother and fretting more relaxed. But contrary to the old misconception that short-scale basses lack authority, the JMJ has remarkable low-end solidity. The notes bloom quickly and decay in a controlled way. With flatwounds, the attack softens just enough to create a thick, woody fundamental that feels vintage yet focused. In many contexts, it behaves like a Precision bass that has been distilled down to its most essential qualities. The midrange presence is there. The punch is there. But the physical footprint is smaller, the instrument lighter, and the response quicker. Long rehearsals become easier. Studio sessions feel less fatiguing. The bass almost disappears against your body, leaving only the sound. That is one of the reasons so many players quietly refer to it as a “secret weapon.” It doesn’t scream for attention. It doesn’t dominate visually or sonically. But in a mix — especially with flats — it sits exactly where a bass should sit. It supports without clouding. It anchors without overwhelming. Engineers appreciate how predictably it records. Live sound engineers appreciate how little corrective EQ it demands. Bandmates appreciate how it holds the pocket without stepping on harmonic space. The relic finish plays a psychological role as well. Because it already looks lived-in, you feel less precious with it. You play it. You dig in. You let it resonate. There’s something freeing about not worrying over the first ding or scratch. It feels like an instrument built for music rather than preservation. That said, it is not universally perfect. If you are chasing ultra-modern slap tones with aggressive high-end snap, this may not be your primary choice. If you need extensive tonal sculpting options at your fingertips, the simplicity of its controls could feel limiting. And if you are deeply attached to the full-scale tension and sonic footprint of a traditional Precision, the shorter scale will feel different under your hands. But those are not shortcomings so much as identity markers. The JMJ Mustang knows what it is. It is compact. It is focused. It is responsive. It is built around feel more than spectacle. It favors musicality over versatility for versatility’s sake. For me, it represents an ideal balance between tradition and practicality. It delivers the authority of a classic Fender low end in a body that feels agile and effortless. It rewards nuance. It thrives with flatwounds. It encourages longer playing sessions. And most importantly, it inspires. That is why so many bass players consider it their secret weapon. Not because it is flashy. Not because it is rare. But because when the band starts, it simply works — every time! Check the Mustang JMJ on Amazon!

February 15, 2026 No Comments

Reviews

The Ibanez GWB Series: Bass Review

An Instrument of Discipline, Not Decoration There are basses we admire. There are basses we enjoy. And then there are basses that quietly rewire the way we think about playing. For me, the Ibanez GWB is in that last category. Those who know me know that Gary Willis has been my reference and mentor for a long time — not only musically, but conceptually. His approach to articulation, right-hand economy, and tonal intention reshaped how I understand the instrument. So writing about the GWB is not simply writing about a signature model. It is writing about a philosophy made tangible. But admiration should never cloud clarity. The GWB deserves a deep look — not as a fan piece, but as an honest examination of one of the most coherent signature instruments ever produced. The Origin: A Bass Built from the Inside Out When Ibanez introduced the original GWB1 in 1999, it wasn’t responding to a trend. It was responding to a system. Gary Willis had already refined his floating thumb technique and right-hand mechanics over decades. He didn’t want a bass that simply sounded good. He wanted an instrument that reinforced the discipline of his touch. The GWB1 — built in Japan — established the template: That first generation wasn’t flashy. It was deliberate. And what’s remarkable is how little the core philosophy has changed since. Evolution After the original Japanese-built models (GWB1 and later GWB1005), Ibanez expanded the line to make the concept more accessible. The GWB35, introduced in the early 2000s, became the long-running production model that brought the ramp-and-fretless philosophy to a broader audience. Later, the GWB205 refined the formula further, sitting between affordability and premium build quality, maintaining the ebony board, Bartolini pickup, and ramp system while modernizing aesthetics and construction. Anniversary editions — the GWB20th (2019) and GWB25th (2024) — didn’t reinvent the instrument. They honored it. Upgraded electronics, special finishes, subtle refinements — but always preserving the essential idea: this bass exists to serve a disciplined right hand and an expressive fretless voice. Across more than two decades, the silhouette, the ramp, the fretless identity — all remained intact. That consistency is not accidental. It reflects a rare clarity of design. First Thing First: The Ramp The ramp is still the most controversial feature — and the most honest. It limits finger depth, reduces wasted motion, and forces efficiency. It rewards light touch. It punishes heavy-handed playing. When I first spent serious time with a ramp-equipped bass, it revealed every inefficiency in my right hand. It became clear how much excess movement I had normalized. The GWB does not let you hide behind aggression. It asks for control. And that’s the central theme of the entire instrument. Fretless as Commitment The GWB is not a “versatile” instrument in the commercial sense. It commits to fretless. The ebony fingerboard, subtle position markers, and smooth articulation invite nuance rather than theatrics. This is not a bass built for exaggerated “mwah” or fretless gimmicks. It is built for micro-adjustments of pitch, subtle vibrato, vocal phrasing. But this commitment defines its audience. If you are not willing to invest in intonation discipline, the GWB will not flatter you. Electronics The Bartolini pickup and active EQ system across most generations reflect the same tonal philosophy as the ramp: control over spectacle. The low B integrates naturally. The midrange stays articulate. Fast passages remain defined. In a fusion or jazz context, this balance is invaluable. In a high-gain rock mix, it may feel restrained. Where the GWB Excels More than anything, it excels at consistency. Where It Falls Short These are not design failures. They are boundaries. My Personal Take Because this instrument is tied to someone who has shaped my musical path, it would be easy to romanticize it. But what I respect most about the GWB is that it does not romanticize anything. It is disciplined. It is focused. It does not try to win everyone. Playing it feels less like borrowing Gary Willis’s voice and more like stepping into the framework that shaped it. And that framework demands honesty. It shows you exactly how controlled — or uncontrolled — your touch truly is. In that sense, it functions almost like a teacher. Which feels appropriate! Final Reflection Over more than twenty-five years — from the original GWB1 to the modern GWB205 and the 25th Anniversary edition — the Ibanez GWB has remained conceptually intact. Few signature instruments can say that. It is not driven by nostalgia.It is not driven by market trends.It is driven by a system. For those aligned with that system, it can feel like home. For those who aren’t, it may feel foreign. But perhaps that is the greatest compliment one can give an instrument: It knows exactly what it is. And it refuses to be anything else! If this instrument speaks to your approach as much as it has shaped mine, you can explore the current Ibanez GWB models here.

February 13, 2026 No Comments

Reviews

JHS Loud Is More Good Collection: Plugin review

JHS Plugin Suite on Bass: A Practical Review The JHS Loud Is More Good Collection brings some of JHS’s most recognizable pedal designs, along with an amplifier model, into the digital realm for use in DAWs or standalone environments. The suite includes overdrive, distortion, compression, delay, reverb, and amp simulation, all modeled to capture the behavior and character of their analog counterparts. As a bass player who regularly tracks and shapes bass tones in the box, I spent time using these plugins with real bass performances in practical recording and production scenarios. This review reflects hands-on use with direct-in bass tracks, parallel processing, and creative sound design, with a focus on how well these tools translate to bass despite their guitar-centric origins. TL;DR The JHS Plugin Suite offers musical, character-driven effects that can work very well on bass when used thoughtfully. It excels at adding grit, compression, depth, and ambience, but it is not a bass-specific plugin collection. Preserving low-end fundamentals often requires careful gain staging, EQ, or parallel blending. As a creative tone-shaping toolkit rather than a complete bass solution, it performs admirably. The Review: A Bass Player’s Perspective What’s Included The Loud Is More Good Collection includes the following plugins: Together, these plugins represent a full signal chain that mirrors a traditional pedalboard plus amplifier setup, now adapted for modern production workflows. Bass Compatibility and Signal Shaping None of the plugins are marketed as bass-specific, and there are no dedicated low-frequency compensation controls. Because of this, successful bass use depends on intentional signal routing and, in many cases, parallel processing. When approached this way, the plugins can complement bass tracks rather than compromise them. Compression and Clean Tone Shaping The Pulp ’N’ Peel compressor stands out as one of the most immediately useful tools for bass. In practice, it provides smooth dynamic control and a subtle sense of glue that works well on DI tracks. It adds presence without flattening the instrument’s natural dynamics and responds musically to variations in playing style. Used either directly on a track or blended in parallel, it helps bass parts sit more confidently in a mix. Overdrive and Distortion The Morning Glory and Hard Drive plugins offer two very different flavors of drive. Morning Glory is more transparent, adding harmonic richness and edge while largely preserving the core bass tone. It works well for subtle grit, especially in rock, indie, and pop contexts. Hard Drive is more aggressive and better suited to heavier tones. It can generate dense harmonic content that helps bass cut through a mix, but it requires more careful dialing to avoid masking low-end fundamentals. In my experience, blending it in parallel with a clean signal yields the most usable results. Delay and Time-Based Effects: Panther Cub The Panther Cub delay brings analog-style bucket brigade delay into the suite, complete with tempo sync, modulation, and tone shaping controls. On bass, subtle delay settings add depth and rhythmic interest without cluttering the low end. Used sparingly or on an auxiliary track, Panther Cub creates movement and space behind the fundamental rather than competing with it. More extreme settings open the door to creative and ambient bass textures, particularly useful in experimental, ambient, or post-rock contexts. The modulation controls help the repeats feel organic rather than static, which suits bass particularly well when used for texture rather than clarity. Reverb and Space: NÖTASPRING The NÖTASPRING reverb emulates classic spring reverb behavior while offering modern control over tone and mix. For bass, it is best used with restraint. Low wet/dry settings or parallel routing allow the bass to retain definition while gaining a sense of depth and space. NÖTASPRING works especially well for atmospheric passages, dub-inspired lines, or sparse arrangements where bass occupies more sonic real estate. It is less about subtle room ambience and more about character and texture. Amp and Cabinet Modeling The Loud Is More Good Amp provides amp and cabinet modeling with mic placement options. While clearly modeled after a guitar amplifier, it can still be used creatively on bass. Gentle settings add color and midrange presence, while heavier drive settings function better as effect tones than as primary bass amp replacements. As with the drive pedals, using this amp model in parallel with a clean DI track helps retain low-end solidity while benefiting from the amp’s character. Workflow and Integration The suite integrates smoothly into standard DAW workflows and can also be used in standalone mode. Signal chain order is flexible, tempo-based effects sync easily to sessions, and the interface design encourages experimentation. For bass players working primarily in the box, the plugins feel responsive and musically engaging rather than clinical. Pros Cons FAQs Can the JHS Plugin Suite be used effectively on bass?Yes. While not bass-specific, the plugins can be very effective when used intentionally, particularly with parallel processing. Which plugins are most useful for bass?Pulp ’N’ Peel is immediately useful for compression and tone shaping, while Morning Glory, Panther Cub, and NÖTASPRING excel at adding character and space. Do these plugins replace dedicated bass amp sims?Not entirely. They work best as creative tools alongside clean DI tracks or bass-focused amp simulations. Are these plugins suitable for modern production styles?Yes. They lend themselves well to rock, indie, experimental, ambient, and pop bass tones, especially where character is valued over pristine cleanliness. Conclusion The JHS Plugin Suite is not a purpose-built bass toolkit, but it doesn’t need to be to earn a place in a bassist’s plugin arsenal. When approached with intention, it offers rich character, musical response, and creative flexibility that translate well to bass recording and production. With careful routing and a respect for low-end fundamentals, these plugins can add personality and depth that goes beyond clean DI tones, making them a valuable complement to more bass-focused tools. If you enjoyed checking out this JHS product, here are more JHS products worth exploring — all tested and reviewed here on BassGearReviews: – JHS Colour Box V2 – Neve Style Preamp Pedal – JHS 424 Gain Stage – preamp/fuzz pedal

February 10, 2026 No Comments

Reviews

Valeton GP-50 Multi-Effects: Pedal Review

A Compact Multi-FX That Finally Breaks Free Disclaimer: This pedal was kindly provided by Valeton 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. Valeton has steadily refined its compact multi-effects lineup, and the GP-50 represents the most mature expression of that philosophy so far. Where the GP-5 proved that serious tone could live in an ultra-small, app-driven pedal, the GP-50 takes that foundation and removes many of the practical limitations that came with extreme minimalism. Rather than reinventing the platform, Valeton focused on expanding control, connectivity, and independence from external devices. The result is a pedal that still feels portable and modern, but far more capable as a standalone unit—especially for players who want flexibility without committing to a full-sized floorboard. TL;DR The Valeton GP-50 is a refined evolution of the GP-5, offering onboard editing, dual footswitch control, expanded I/O, and a rechargeable internal battery. It maintains the strong modeling and IR support Valeton is known for, while dramatically improving usability for rehearsal and live performance. While still compact, it feels far less constrained than its predecessor and works equally well with or without the companion app. For players who liked the GP-5’s sound but wanted more hands-on control, the GP-50 delivers exactly that. Check Price on Amazon –> Design & Portability The GP-50 retains Valeton’s compact design language but feels noticeably more “stage-ready” than the GP-5. The metal chassis is solid and confidence-inspiring, and despite the added controls and connections, the pedal remains lightweight and easy to transport. One of the biggest upgrades is the internal rechargeable battery, which preserves the grab-and-go appeal of the GP-5 while supporting longer sessions and more demanding use cases. Whether you’re practicing, rehearsing, or running a small fly-rig, the GP-50 can operate completely untethered from external power if needed. It still slips easily into a gig bag—but now it feels like something you could rely on as your primary rig, not just a backup or practice tool. Interface & Editing This is where the GP-50 most clearly separates itself from the GP-5. Unlike its predecessor, the GP-50 allows full onboard editing directly from the pedal. Amp parameters, effects, signal chain adjustments, and general patch tweaks can all be handled without reaching for a phone or tablet. The screen and control layout make navigation intuitive, and the editing experience feels fast and practical rather than compromised. The Valeton app is still available and remains useful for deeper organization and visual editing, but it’s no longer mandatory. This change alone dramatically improves the GP-50’s usability for live settings, rehearsals, and quick adjustments on the fly. In short: the GP-50 finally feels self-contained. Tone & Effects Sonically, the GP-50 builds on the same strengths established by the GP-5. Amp models are responsive and musical, drives feel natural, and modulation, delay, and reverb effects all perform at a high level for a compact multi-FX unit. IR loading is once again a standout feature, allowing players to fine-tune cabinet response and tailor the pedal for both guitar and bass applications. With good IRs, the GP-50 delivers polished, mix-ready tones that easily exceed expectations for its size. Overall, the sound quality remains consistent with Valeton’s recent offerings—impressive, flexible, and entirely usable in real-world scenarios. Dual Footswitch Control The addition of a second footswitch fundamentally changes how the GP-50 feels underfoot. Where the GP-5 often required MIDI expansion to unlock its full potential, the GP-50 is far more capable on its own. The dual switches allow for preset navigation, effect toggling, tap tempo, and other assignable functions directly from the pedal. This makes it significantly more practical for live use without any external controllers. MIDI support is still present for players who want even more control, but crucially, it’s no longer a necessity. The GP-50 feels complete right out of the box. Input / Output Options Another major leap forward is connectivity. The GP-50 offers expanded input and output options, making it far more adaptable to different rigs and recording setups. Whether you’re running into an amp, an audio interface, FRFR speakers, or directly to a PA, the GP-50 integrates cleanly and easily. USB audio functionality allows it to double as a recording interface, and combined with IR support, it works well for silent practice and direct recording without additional gear. This flexibility makes the GP-50 suitable for bedroom players, gigging musicians, and content creators alike. Built-In Tools The GP-50 includes a reliable tuner, USB audio interface capabilities, IR loading, and practice-friendly features that round out the package nicely. The internal battery further enhances its usefulness as a self-contained practice and travel solution. While it doesn’t try to replace a full workstation-style processor, the GP-50 strikes a strong balance between compact design and practical feature depth. Q&A Is the GP-50 viable for live use?Yes. The dual footswitches, onboard editing, and expanded I/O make it far more stage-friendly than the GP-5, even without external MIDI controllers. Do I still need the app?No. The app is optional. All essential sound creation and editing can be done directly on the pedal. How does it compare to the GP-5?The GP-50 keeps the GP-5’s tone quality but removes many of its limitations. It offers better control, more connectivity, and greater independence, making it a clear step forward. Conclusion The Valeton GP-50 feels like the pedal the GP-5 was always leading toward. By adding onboard editing, dual footswitches, expanded I/O, and a rechargeable battery, Valeton transformed an excellent compact multi-FX into a genuinely versatile performance tool. It maintains the portability and strong tones that made the GP-5 appealing, while significantly improving usability for rehearsals and live gigs. For players who loved the GP-5 but wanted more control—and for anyone seeking a compact yet capable all-in-one solution—the GP-50 stands out as a smart, well-executed evolution. Get Yours On Amazon Now!!! If you liked this gear, make

February 3, 2026 No Comments

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