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Disclaimer: This pedal was kindly provided by Donner 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. Overview The CELESTIA Chorus is a dual-voice modulation pedal from Donner, developed in collaboration with Ruben Wan, a guitarist and producer known for ambient and modern modulation-focused tones. It features two selectable voicings—Classic and Dream—alongside a simplified Rate/Depth control layout. The design centers on immediate access to two distinct chorus textures rather than offering a highly adjustable modulation platform. From a bass perspective, the key consideration is not flexibility, but how the pedal manages low-frequency content under modulation. Core Tone on Bass The CELESTIA applies a voiced modulation layer that blends into the dry signal rather than sitting distinctly on top of it. On bass, the chorus effect tends toward smooth integration. The modulation is rounded rather than sharply defined, with a slight emphasis in the upper mids of the wet signal. The result is a chorus that thickens the note body more than it separates it. The effect feels cohesive, but not highly articulated. Low-End Retention Low-frequency handling is central to how this pedal performs on bass. The CELESTIA preserves the fundamental frequency but introduces low-mid diffusion as modulation depth increases. It does not isolate low frequencies from the effected signal. In practice, the low end remains audible and present, but becomes less tightly focused under heavier settings. There is no crossover or clean blend control to maintain a completely unaffected fundamental, so clarity is progressively reduced as more modulation is applied. Modes Classic mode is the more controlled and mix-compatible voice. On bass, it adds width without excessive smear and maintains note center reasonably well. It works effectively for both fingerstyle and pick playing, behaving as a supporting modulation layer rather than a dominant effect. This makes it suitable for subtle movement in clean passages or light enhancement in ensemble settings. Dream mode expands the modulation field significantly. On bass, it produces a wider and more immersive spread, with increased top-end presence. At the same time, it reduces note edge definition, particularly on sustained notes. At moderate settings, it can be effective for ambient or textural playing. At higher depth levels, the low-mid region becomes increasingly diffuse and bass lines lose precision in a mix. It is better suited to sparse arrangements or melodic work than to rhythmically dense playing. Controls The two controls define the practical usability of the pedal on bass. The Rate control covers a usable range for musical modulation and avoids extreme or overly fast settings that would be less applicable in a bass context. The Depth control has the greatest impact on low-end clarity. Lower settings retain usable definition, while higher settings introduce noticeable smearing in the low mids. Because there is no blend or EQ control, Depth effectively determines how much the chorus interferes with the fundamental. Signal Structure & Mix Placement The CELESTIA operates with a fixed internal wet/dry mix. For bass players, this means the dry signal remains present, preserving the core of the tone, while the modulation layer cannot be independently reduced. At lower settings, the effect sits behind the note and adds width. At higher settings, it pushes the bass further back in the mix and reduces immediacy. As a result, the pedal is more effective as a subtle enhancement tool than as a dominant modulation voice. Dynamic Response The pedal responds consistently across different playing dynamics. There are no significant compression artifacts, and the modulation remains stable regardless of input level. Transients are slightly softened, which contributes to a smoother overall response. This can help even out fingerstyle playing and create a more polished modulation sound, but it reduces percussive attack clarity, particularly for slap or aggressive techniques. Practical Bass Applications The CELESTIA performs well in clean bass passages that require added width and movement, as well as in chordal or melodic playing. Dream mode, used conservatively, can provide useful ambient textures. Its limitations become more apparent in tight, fast passages where precise low-end articulation is required, in slap contexts where transient clarity is critical, and in dense mixes where the bass must remain forward and clearly defined. Limitations The pedal does not provide control over low-frequency isolation and lacks wet/dry blend adjustment. As modulation depth increases, low-end definition is progressively reduced. These limitations are inherent to the design and define its usable range in a bass rig. Conclusion The CELESTIA Chorus functions as a fixed-architecture modulation device that prioritizes cohesion over separation. For bass players, it maintains fundamental presence while introducing controlled low-mid diffusion as modulation increases. It performs most effectively at subtle to moderate settings, where it enhances width without significantly compromising clarity. Classic mode offers the most consistent integration into a bass signal, while Dream mode provides a more expansive texture with corresponding trade-offs in definition. For bass players specifically, the appeal lies in how the pedal adds width and movement without fully undermining the core low end. It works best as a supportive modulation layer—something that enhances the space around your tone rather than redefining it—making it a practical choice for players who want chorus as an extension of their sound rather than the focal point. If you liked this gear, make sure to also check:

A Review From a Bass Player’s Perspective Disclaimer: This pedal was kindly provided by Donner 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. When a pedal comes out with Jack White’s name attached to it, you can usually expect something a little unconventional. The Donner Triple Threat Pedal definitely fits that description. It’s a compact, affordable box that combines distortion, phaser, and delay into one unit — clearly aimed at guitar players, but intriguing enough that a lot of bassists have started asking: is this thing actually usable on bass? TL;DR If you just want the short version: the Triple Threat is a fun, compact, and affordable multi-effects pedal that can work on bass, especially for delay and light modulation. The distortion is usable but limited, and the lack of a blend control means it won’t suit players who need to preserve a strong low end. Think of it as a creative add-on rather than the core of your sound. Check the price on Amazon –> First impressions and design The Triple Threat feels like it was designed with a very specific mindset: keep things simple, keep things fun, and don’t overcomplicate anything. You get three effects, each with its own footswitch, and a straightforward set of controls. No menus, no presets, no hidden features. From a bass player’s perspective, that simplicity is actually refreshing. You can throw it on a small board (or even go without a board entirely), plug in, and immediately start experimenting. It’s very much a “plug in and make noise” kind of pedal, which fits the whole Third Man aesthetic. That said, the compact format does come with a tradeoff. The knobs are quite small, and if you’re someone who likes to tweak settings on the fly during a gig, it might feel a bit cramped. How it actually sounds on bass This is where things get interesting. Even though the pedal isn’t designed specifically for bass, parts of it translate surprisingly well. The distortion section is probably the most divisive. It has a gritty, garage-rock character that sounds great in the right context, but it’s clearly voiced for guitar. Push the gain too far and you’ll notice your low end starting to thin out. Since there’s no clean blend control, you can’t easily mix your dry signal back in — something many bass players rely on to keep their fundamental intact. Used more conservatively, though, it can add a nice layer of bite and attitude, especially for indie, garage, or lo-fi styles. The phaser is easier to get along with. If you keep the rate slow and the depth under control, it adds movement without stepping all over your low frequencies. It’s not an effect most bassists use all the time, but when you want that subtle swirl, it does the job nicely. The real standout here is the delay. The echo circuit has that warm, slightly dark analog character that sits behind your dry signal instead of competing with it. For ambient parts, dub-inspired lines, or just adding space to a sparse arrangement, it works remarkably well on bass. Where it shows up in real rigs Part of the buzz around this pedal comes from the fact that it’s been spotted on the board of Dominic John Davis, who plays bass for Jack White. That naturally raises expectations a bit. Looking at his broader setup, though, gives some useful context. He typically runs a mix of pedals like the Boss TU-3 Chromatic Tuner, MXR M108 Ten Band Graphic EQ, and boutique effects such as the Mantic Effects Vitriol and Mantic Effects Isaiah Delay. In that kind of rig, the Triple Threat isn’t the foundation of his tone. It’s more like a utility piece — something that can be kicked on for a specific texture or moment. That’s an important distinction, and it lines up pretty well with how most bass players will end up using it. Q&A Is the Triple Threat a good primary pedal for bass?Not really. It works better as a secondary or “color” pedal rather than the foundation of your tone. Which effect is most useful for bass?The delay, easily. It sits well in the mix and adds space without muddying your low end. Can the distortion work in a band setting?Yes, but you’ll want to keep the gain in check. Too much and you risk losing low-frequency presence. Does it replace a bass-specific pedalboard?No. It’s more of a compact, creative tool than a full solution for shaping your bass tone. Why would a pro like Dominic Davis use it?Most likely for convenience and specific textures. In a larger rig, it’s a flexible extra rather than a main component. Final thoughts The Donner Triple Threat Pedal isn’t trying to be the ultimate bass effects unit, and it doesn’t need to be. What it offers instead is a straightforward, characterful set of sounds that invite experimentation. For bass players who like to keep things minimal, or who want a single pedal that can add a bit of grit, movement, and space, it’s a surprisingly compelling option. Just don’t expect it to replace your core tone tools. Treat it as a creative companion, and it starts to make a lot more sense. Make sure to get yours on Amazon Now! If you liked this gear, make sure to also check: