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Joyo Narcisus Chorus
Reviews

Joyo Narcissus Chorus – Vintage Warmth/Modern Madness: Pedal Review (2025)

Vintage Warmth Meets Modern Madness Disclaimer: This pedal was kindly provided by Joyo for the purpose of this review. However, this does not influence our opinion or the content of our review. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information. Vintage Vibes in a Compact Box Chorus effects have shaped bass tones since the late 1970s, adding movement, shimmer, and a dreamlike depth to otherwise dry signals. From Peter Hook’s moody washes to the neon-soaked pop of the ‘80s, the effect has been both a subtle sweetener and a bold statement. The Joyo Narcissus (R-22) takes this legacy and offers a streamlined version: three knobs, one mode switch, and a whole lot of range—from gentle swirl to total seasick craziness. Verdict – Joyo Narcissus Pedal Pros: Vintage mode keeps bass lows intact, versatile tone range, tough build, great value.Cons: Modern mode can overpower, not fully bass-specific.Best for: Bassists after an affordable chorus that goes from subtle warmth to wild modulation.Price Range: ~$50–$60 (check latest price below). Check Price on Amazon –> Build & Specs: Solid, Smart, and Stage-Ready Controls Explained: Dial in Your Mood On Bass: Performance & Tone The Narcissus shines in three main bass applications: The important takeaway: even at strong settings, the Vintage mode keeps your lows intact, making it usable for both fingerstyle and pick players without your sound falling apart. Pros & Cons Pros: Cons: FAQ Q: Is the Joyo Narcissus truly bass-friendly?A: Yes—especially in Vintage mode, which retains more low end. Modern mode thins out the lows slightly. Q: Does it work well in a band mix?A: In Vintage mode, yes—it sits nicely under guitars and keys. Modern mode is more of a spotlight effect. Q: Can it do subtle chorus, or is it always extreme?A: It can absolutely do subtle—keep Depth and Rate low, Width moderate, and use Vintage mode. Q: Is the pedal analog or digital?A: It uses a semi-analog circuit, giving you analog warmth with modern reliability. Q: How’s the build quality?A: Solid. Metal chassis, firm switch, smooth controls, and sturdy jacks. Verdict: Simple, Versatile, and Bass-Friendly The Joyo Narcissus (R-22) offers an impressive range of chorus tones for bassists, from refined shimmer to head-spinning modulation. Vintage mode is your go-to for warmth and low-end preservation, while Modern mode is a creative playground. It’s built tough, sounds good, and costs far less than many competitors. For bassists wanting versatility without complexity—or price shock—it’s an easy recommendation. Get the Joyo Narcissus at the best price –> Other Joyo Gear You Might Like If you enjoyed checking out this Joyo pedal, here are more Joyo products worth exploring — all tested and reviewed here on BassGearReviews:

August 14, 2025 No Comments
Reviews

Joyo BA-30 Vibe Cube – Compact and Loud: Amp Review (2025)

Joyo BA-30 Vibe Cube: Compact Format, Full-Scale Control The Joyo BA-30 “Vibe Cube” represents a notable step forward in the micro bass amp category by combining a compact 30W solid-state power section with advanced tone-shaping and integrated modern connectivity. While its physical dimensions place it firmly in the “desktop/practice” class (165 × 183 × 215 mm, 2.7 kg), its feature set is considerably more sophisticated than the typical small-format combo. Verdict – Joyo BA-30 Vibe Cube Check Price on Amazon –> Disclaimer: This amplifier 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. Amplification & SpeakerThe amplifier section delivers 30W RMS into a 4″ full-range driver. While a driver of this size cannot reproduce fundamental low frequencies of a 4- or 5-string bass at stage levels, the enclosure is tuned to maximize low-mid response and perceived bass content. The driver’s voicing appears neutral in the midrange, allowing EQ adjustments to be both audible and predictable. Equalization CircuitryThe BA-30 employs a true 3-band parametric EQ, with continuously variable control over the midrange center frequency. Bass and treble frequencies are fixed (voicing appears to be in the ~80 Hz and ~4 kHz regions, respectively), while the mid control sweeps from approximately 200 Hz to 2 kHz. This allows precise adjustment for either subtractive correction (e.g., removing room boom around 250 Hz) or additive shaping (e.g., emphasizing upper mids for articulation). The circuit topology appears to provide a relatively wide Q, meaning adjustments affect a broader frequency range—useful for musical rather than surgical tone shaping. Compressor ImplementationThe single-knob compressor is a fixed-parameter design controlling multiple variables under the hood. As the knob is advanced, the threshold is lowered and the ratio increased simultaneously, with make-up gain applied post-compression. Attack and release times appear to be preset for bass guitar transient characteristics—fast enough to clamp down on aggressive plucks, yet slow enough to avoid over-damping sustain. The compressor’s benefits here are twofold: first, dynamic range control yields a more even perceived volume and extended sustain; second, peak limiting reduces the likelihood of driver over-excursion, protecting the small speaker from high-energy transients. ConnectivityThe BA-30’s I/O options place it ahead of many competitors in its category. The instrument input is standard 6.3 mm TS, feeding the preamp/EQ/compressor section. Output options include a 3.5 mm stereo headphone jack for silent monitoring, with full signal chain preserved. Bluetooth 5.1 is implemented for high-quality stereo audio streaming with minimal latency, suitable for practice with backing tracks. USB-C OTG connectivity allows direct audio input from compatible devices, enabling playback from smartphones or integration into a simple DAW environment. The power section supports both a standard 19 V DC input and USB-C PD (65 W recommended), allowing battery operation via modern high-capacity power banks. Performance ObservationsWhen measured subjectively, the BA-30 delivers clear, uncolored output with low noise floor, even at maximum gain. Frequency shaping via EQ is highly effective; boosting at ~800 Hz adds significant mid articulation, while cutting at ~250 Hz removes low-mid buildup common in untreated practice rooms. The compressor is musically voiced and remains transparent until the upper range of its control sweep, at which point noticeable sustain enhancement and dynamic leveling occur. Pros Cons FAQs Q: Can I use the BA-30 for gigs?A: It’s best for practice or very small venues; larger spaces require a bigger amp. Q: Is it battery-powered?A: No, it requires mains power. Q: Does it have tone controls?A: Minimal – basic EQ controls, designed for simplicity and portability. ConclusionFrom a technical standpoint, the Joyo BA-30 offers one of the most complete practice-amp platforms in its size and price category. Its EQ implementation and compressor voicing are functional, effective, and above the norm for micro combos, while its connectivity options reflect an understanding of current musician workflows. Although its small driver and limited output preclude stage use, as a personal monitoring, tone-shaping, and mobile practice solution, it is an exceptionally capable device for the serious bass player. Get the Joyo BA-30 Bass Amp here → Other Joyo Gear You Might Like If you enjoyed checking out this Joyo amplifier, here are more Joyo products worth exploring — all tested and reviewed here on BassGearReviews:

August 10, 2025 No Comments
Reviews

JHS Colour Box V2 – Neve-Style Preamp: Pedal Review

The Neve-Inspired Swiss Army Knife for Bass Players Disclaimer: This pedal was kindly provided by JHS Pedals 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. As a bass player with one foot in vintage tone and the other in modern utility, I’m always looking for gear that bridges that gap without compromise. The JHS Colour Box V2 is exactly that: a compact, analog preamp that brings the sonic DNA of a classic Neve 1073 console to your pedalboard — with thoughtful updates that make it even more powerful, particularly for bass. TL’ DR– JHS Colour Box V2 Check Price on Amazon –> To appreciate what the Colour Box V2 is doing, you have to understand what it’s emulating. The Neve 1073, developed in the 1970s by Rupert Neve, is arguably the most iconic preamp/EQ module in recording history. Known for its transformer saturation, wide headroom, and musical EQ curve, it gave everything from vocals to bass guitar a warm, punchy, slightly compressed sound that became the sonic signature of countless classic records. Running a bass DI through a Neve was, and still is, a go-to move in professional studios. The Colour Box V2 is JHS’s meticulous, pedal-format take on that same preamp circuit — transformer-based, Class A, fully analog — with some very smart modern features baked in. The original Colour Box was already impressive, but V2 refines it for practical, performance-minded use. It offers a lower noise floor, additive EQ for more intuitive tone shaping, an onboard high-pass filter with both switch and frequency control, and XLR I/O that makes it equally viable as a live DI or a studio front-end. The footswitch has also been upgraded for silent operation, and the gain structure is cleaner, smoother, and more flexible. For bass players, this means better signal integrity, more precise tonal control, and studio-quality tone in a format that can live on your pedalboard. For bass specifically, the Colour Box V2 is essentially a studio channel strip in stompbox form. Whether you’re recording direct, pushing an amp’s front end, or crafting a live tone, it delivers weighty low end, musical EQ shaping, and transformer-based saturation that enhances your dynamics without overwhelming your clarity. It works equally well with passive 4-strings, active 5-strings, or anything in between. You can go from clean, wide-open warmth to harmonically rich, Neve-style drive with just a few tweaks of the gain staging controls. The EQ is incredibly effective at shaping tone without sounding clinical or harsh, and the addition of the high-pass filter gives you real mix control in both live and studio settings. Of course, it’s not just for bass. The Colour Box V2 works beautifully on vocals, guitars, synths, drum machines, or as a front-end preamp for recording interfaces. With its XLR in and out, high headroom, and flexible gain staging, it effectively turns your pedalboard into a legitimate front-of-house channel strip. For producers, engineers, and multi-instrumentalists, it’s an incredibly versatile tool. To get the most from the Colour Box V2, it’s important to understand its controls: Gain Section These three work together to form a true gain-staging system. You can push the preamp hard while keeping output volume in check, or dial in subtle warmth with plenty of headroom. 3-Band EQ with Shift Controls Each EQ band has two knobs: one for boost/cut, and one “Shift” knob to set the center frequency. This EQ section behaves more like a studio console than a typical pedal, allowing detailed tone sculpting while always sounding musical. High-Pass Filter Hi/Lo Input Switch XLR In & Out The XLR input allows the Colour Box V2 to function as a mic preamp. The XLR output delivers a clean, transformer-colored signal to FOH, an audio interface, or any balanced input. This makes it an ideal DI box, not just a pedal. Pros Cons FAQs Q: Is the Colour Box V2 suitable for bass players?A: Yes—it delivers weighty low-end, smooth saturation, and musical EQ shaping tailored for bass, translating studio console color to your pedalboard. Q: Can I use it as a DI for live or recording setups?A: Absolutely—it features an XLR output, transformer-based DI, and a hi-pass filter, making it perfect for direct recording or live use. Q: What’s new in the V2 model compared to the original?A: V2 adds extended EQ Shift controls, a Hi/Lo gain switch for headroom control, phantom power pass-through, an output transformer—and silent footswitching. Q: Is the Colour Box V2 overly noisy for bass or mic use?A: While versatile, some users note that mic-level signals, particularly with XLR and dynamic mics, may introduce noise—best suited for bass or DI usage. The JHS Colour Box V2 isn’t just another tone shaper — it’s a piece of studio-grade gear for musicians who demand control, character, and versatility. For bass players, it offers the tone-shaping power of a world-class recording console in a rugged, stage-ready enclosure. Whether you’re recording, performing, re-amping, or producing, it gives you the tools to enhance any signal with warmth, detail, and presence. If you’re looking for a pedal that doesn’t just color your tone, but builds it from the ground up — this is it! Grab the JHS Colour Box V2 here → Other JHS Gear You Might Like If you enjoyed checking out this JHS pedal, here are more JHS products worth exploring — all tested and reviewed here on BassGearReviews: – JHS 424 Gain Stage – preamp/fuzz pedal that recreates the TASCAM® Portastudio® 424 

July 23, 2025 No Comments
Reviews

Top 5 Boss Pedals for Bass in 2025

A New Kind of List From the BGR Team ✳️ Editor’s note: This isn’t our usual full-length, hands-on review. It’s an experimental format — a curated list based on our testing history, reader feedback, and the broader bass community pulse. No lab coats this time, just an honest snapshot of five BOSS pedals that still matter in 2025. Let us know at the end if you’d like more of this kind of content! 1. Boss ODB-3 Bass OverDrive The modern classic for aggressive low-end dirt. The ODB-3 has been around since the ’90s and is still going strong — and for good reason. Unlike many overdrive pedals adapted from guitar circuits, the ODB-3 was purpose-built for bass, meaning it retains sub-lows while adding grind. The active EQ section (with ±15 dB cut/boost on high and low bands) allows for sculpting that gritty mid-forward bark or a scooped, distorted thundercloud — depending on your genre. ✅ Best for: Rock, punk, hardcore, metal, slap-heavy funk⚠️ Watch out for: The gain can get harsh fast — dial with care, especially in a mix 🔍 Why it’s still on pedalboards in 2025: It’s aggressive, flexible, and still cheaper than most boutique alternatives. Don’t let the yellow fool you — this thing roars. We’ve written a detailed review of the ODB-3 here! 2. Boss GEB-7 Bass Equalizer The unsung hero of tone control. The GEB-7 gives you 7 bands of precision EQ, from 50 Hz to 10 kHz — which is crucial for bassists who want to fine-tune their presence in a band mix. The 50 Hz slider controls real sub-bass rumble, while the 120–400 Hz range lets you dial in or scoop low-mid mud. The higher bands (especially 4.5 kHz and 10 kHz) let you add snap and articulation — particularly useful for slappers and pick players. ✅ Best for: Session players, live musicians, recording engineers, anyone with a fussy amp⚠️ Tip: Try boosting the 800 Hz band slightly for fingerstyle articulation in busy mixes 🔍 Why it matters: It’s not sexy, but when you’ve got tone problems, this pedal fixes them. Pair it with a compressor or drive pedal and watch your rig come alive. 3. Boss LMB-3 Bass Limiter Enhancer Transparent compression meets subtle enhancement. The LMB-3 is a soft-knee limiter/compressor with a bit of a twist: the “Enhance” control, which adds clarity and brightness — but can get harsh if overused. The Threshold and Ratio knobs give you real control over your dynamics, making it especially useful for live bassists who want to avoid volume spikes or slap-style transients poking out. ✅ Best for: Funk players, live players, session work, clean low-end preservation⚠️ Caution: Don’t turn “Enhance” past 1–2 o’clock unless you want hi-fi hiss 🔍 Why it’s worth your time: It smooths without squashing and adds presence without a full-on EQ. It’s not an “effect” pedal — it’s a tone shaper and protector. 4. Boss CEB-3 Bass Chorus Lush, low-end-safe modulation that sits in the pocket. The CEB-3 is a chorus circuit tuned specifically for bass frequencies, which is rare even in 2025. Its key feature is the “Low Filter” knob, which allows you to apply chorus only to higher frequencies — preserving low-end clarity while adding lush modulation to your mids and highs. Whether you’re playing Jaco-style fretless lines or want subtle movement in clean tones, it handles it without mud. ✅ Best for: Ambient/fretless players, ballads, reggae, new wave, synthwave⚠️ Pro tip: Keep Depth and Rate low for “barely-there” shimmer — a little goes a long way 🔍 Why it survives year after year: It gives you movement without mess, and it’s one of the only chorus pedals that doesn’t choke your low end. 5. Boss SY-1 Synthesizer Pedal No MIDI, no tracking issues — just instant synth fun. The SY-1 is a polyphonic synth pedal that works flawlessly with both passive and active basses. It tracks quickly, without latency, and gives you 121 synth tones across pads, leads, bells, sequences, and even bass synths. Its standout feature is no special pickup or MIDI needed — just plug and play. Want your P-bass to sound like a Blade Runner soundtrack? Here you go. ✅ Best for: Experimental players, synth bass fans, looping artists, ambient or electro-funk⚠️ Heads-up: Some patches can overwhelm live mixes — use the Blend knob wisely 🔍 Why it’s on the list: The SY-1 is pure inspiration in a box. It’s not your everyday pedal, but once you try it, it’s hard to stop. Final Thoughts This was a different kind of article for us — less lab-testing, more community-driven curation. We’ve seen hundreds of pedals come and go, but these five Boss units are still earning their space on bassists’ boards in 2025 — for good reasons. That said, we couldn’t hit every standout. A few honorable mentions deserve a shout: 🎖️ Boss TU-3 Chromatic Tuner – It’s not glamorous, but it’s bulletproof. Tracks low B without flinching and doubles as a mute switch. Still a pedalboard essential in 2025.🎖️ Boss OC-5 Octave – A sleeper hit for modern bassists. The vintage mode nails classic sub tones, while the poly tracking is freakishly clean — even with chords.🎖️ Waza Craft Series (BB-1X, CE-2W, etc.) – Some Waza models offer studio-grade refinement for players who want more transparency or warmth. The BB-1X in particular feels like a DI and preamp in one. 👉 What do you think of this format? Should we keep doing “curated lists” like this — or stick to the full-length breakdowns and deep-dives we’re known for? Tell us in the comments, hit us up on social, or email the team directly. Your feedback shapes what we write next.

July 8, 2025 No Comments
Reviews

MXR Bass Synth – MB301: First Impressions

We take a first look at MXR new release. The announcement of the MXR Bass Synth on July 1, 2025, created an instant buzz among low-end explorers, and after several days of hands-on testing, it’s clear why. Co-designed with bassist and educator Ian Martin Allison, the MB301 aims to occupy the sweet spot between plug-and-play simplicity and deep sonic tinkering. Here’s how it fares once the honeymoon period is over. Design, Build and Power From the first look, the MB301 feels unmistakably MXR: a compact, weighty aluminium chassis that will survive life on a busy pedalboard. Six large, evenly spaced knobs sit up front, flanked by two soft-touch mini buttons (Voice and Shape) and an illuminated Presets switch. Around back, a mono input, TRS output (for stereo or wet/dry operation), and a multi-purpose CTR jack (expression, tap-tempo or right-channel out) keep routing options flexible. Power is via a 9V DC, 330 mA centre-negative supply—no battery option, which makes sense given the current draw. Control Layout and Everyday Workflow At surface level, the pedal is blissfully immediate: Mix balances dry and synth, Sub Mix blends a dedicated sub-oscillator, Cutoff and Resonance form a classic four-pole low-pass filter, while Envelope and Mod govern dynamics and movement. Beneath these are 13 secondary parameters (compression, glide, tracking mode, gate sensitivity, output gain, and more) accessed by holding Voice or Shape while turning the knobs. Everything—even those deeper tweaks—can be stored in eight on-board presets, recalled by a long-press of the footswitch. Preset Suite: A Guided Tour of Classic Lines The factory sounds are more than throwaways: Thrillenganes, Wonderful, Lizard Synth, Synthadelic, Sledge, and Army of Synth emulate the signature timbres of Greg Phillinganes (Thriller), Stevie Wonder, Herbie Hancock, Bernie Worrell, Tony Levin, and Björk respectively. Each patch demonstrates a different corner of the engine—sub-octave punch, resonant quack, slow-sweep pads—and they’re ideal jumping-off points for your own edits. Tone and Performance Tracking and latency: On a standard four-string tuned to E♭, the synth locks on confidently down to open E. Switching tracking mode to “5-String Bass” extends the range to low B with only the occasional wobble on slides. Glide can be set from snappy note-on phrases to syrupy portamento—great for Daft Punk-style slides. Filter character: The Cutoff/Resonance pair feels lifted straight from a classic analogue monosynth. Crank Resonance past 2 o’clock and the pedal will happily self-oscillate, yet it never loses low-end body. Pairing a high Resonance peak with the Noise Mix parameter yields edgy, industrial fizz reminiscent of Nine Inch Nails’ Pretty Hate Machine. Modulation and stereo tricks: Engage Voice to add harmonically tuned oscillators, then flip Output Mode to Stereo to hear those oscillators panned across the field with chorus-enhanced width—perfect for stereo live rigs or ambient studio sessions. Live Ergonomics Studio Notes The synth engine is digital, but the audio path is impressively quiet. The Output Gain control offers ±18 dB of trim to hit recording interfaces cleanly. In mono mode, the pedal uses true bypass; in stereo or wet/dry modes, it switches to a buffered path, which helps preserve signal quality over long cable runs. Where It Sits in the Market While not as feature-dense or programmable as a Source Audio C4 or Panda Audio Future Impact, the MXR Bass Synth offers a far more intuitive and rewarding hands-on experience. It easily surpasses more basic monosynth pedals in terms of tone, tracking, and flexibility. Many users are already calling it the best plug-and-play bass synth pedal for live performance. Price and Value At $269.99, the Bass Synth is priced in line with boutique overdrives or delays. Given its robust build, excellent core tones, deep feature set, and real-world usability, it offers excellent value—especially for players who want analog-style character without diving into menus or external editors. Verdict The MXR Bass Synth might succeed because it respects a bassist’s workflow: instant gratification when you’re on the clock, yet enough depth to keep you experimenting after sound check. Punchy sub-octave heft, articulate filter sweeps, expressive modulation, usable presets, low latency, stereo options, and expression control make this a powerful creative tool. If you want a pedal that turns your bass into a convincing analog-style monosynth in seconds, the MB301 might set a new benchmark.

July 2, 2025 No Comments

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