To get a straight up bass sound, you need to drop your guitar signal an octave. The easiest way to do that is to plug into the Bass Octave Deluxe. It has three knobs—one that controls an aggressive, growling sub-octave signal, one that controls a thick, beefy sub octave signal, and one that controls your dry signal. You can choose to go with one of the octave signals or blend the two together to your taste. Guitar players can use their dry signal to great effect with this pedal for other applications, but since you’re going for a pure bass sound, roll the Dry knob all the way off. Now you’re ready to groove.

If you want more of a glitchy dub-style sound, get yourself an MXR Blue Box Fuzz. It splits your signal into a synthy square-wave fuzz on one hand and two-octaves-down signal on the other. Blend the two to your liking—there’s a huge range of possibilities for such a simple-to-use pedal, allowing guitar players to cover a lot of bottom end.

If you’re feeling adventurous, you could string up your two lowest strings with Dunlop Nickel Wound Bass Strings—105 and 85 gauge, to be precise. The great Chet Atkins did so on his famous Octabass Guitar to great effect, creating fat, thumping bass lines to play over. This is a bit more involved than just using pedals, and may require some adjustments to work correctly, so talk to your guitar repair tech before making any modifications on your own. We think this setup would sound absolutely killer with a downtuned garage/doom duo.

*****

Now, go forth, and make thunder. And maybe let your bass player buddies know that you’re not trying to replace them.

CRY BABY^® MINI BASS WAH

The Cry Baby Mini Bass Wah captures thick, throaty envelope filter tones in a mini housing with auto-return switching and Q and Boost controls for simple but responsive tweakability. Accentuating the lower midrange of the frequency spectrum, it sounds full and meaty when used on guitar—perfect for wah users who want to beef up their sound. And if you tune down, the Cry Baby Mini Bass Wah is an excellent choice for emphasizing the depth of those lower notes.

MXR^® DYNA COMP^® BASS COMPRESSOR

The Dyna Comp Bass Compressor comes equipped with the classic CA3080 “metal can” integrated circuit that guitar players know and love for its quiet operation, excellent transparency, and superior dynamic range. This pedal’s Clean control allows you to dial in your dry signal alongside the compressed signal, and for guitar players, that means retaining the sound of your pick attack. Also, thanks to the way that this particular version of the Dyna Comp Compressor is tuned, it works extremely well with guitars that have single-coil pickups.

MXR^® BASS OCTAVE DELUXE

The Bass Octave Deluxe provides two differently tuned sub-octave signals that sound just as great on guitar as they do on bass, and you can dial in your clean signal with one or both to thicken up a chorus or bridge passage. Try running this into a fuzz pedal for over-the-top sub saturation.

MXR^® BASS CHORUS DELUXE

The Bass Chorus Deluxe combines chorus and flanger effects into a single pedal, and the sound of the circuit offers a nice change of pace from the most common modulation tones that guitar players tend to use. It also has a stereo out for splitting the signal to two separate outputs to get rad panning effects.

MXR^® BASS PREAMP

The Bass Preamp is a killer option for acoustic guitar players. Its EQ interface is simple to use while offering a wide range of tonal flexibility that perfectly complements the instrument. With both 1/4” and XLR outputs, you can send your signal to an amp and the front of house at the same time, so you can play an acoustic gig with the ability to shape your tone and go direct without needing to carry anything more than your gig bag.

WAY HUGE^® SMALLS^™ PORK ’N’ PICKLE OVERDRIVE & FUZZ

The Pork ’N’ Pickle OD & Fuzz combines two different types of dirt in a single pedal with a ton of tweakability, including the option to dial in a clean signal. What’s that mean for guitar players? You can go all out with the overdrive or fuzz and then dial in come clean tones—seasoned to your liking—to make sure the mix has the clarity you need.

The moral of this story? Don’t limit yourself. A great effect is a great effect, and a lot of bass pedals are the result of an extra step or three of engineering and design thanks to the more demanding frequency range. Don’t be afraid to reap the benefits.

HOW DO YOU WANT TO SOUND?

The ultimate question for any musician. Strings are as important as any other part of your signal chain when it comes to your overall sound, and once you figure out what you want to sound like, they should be part of your mission to craft your perfect tone. Do you want to sound like Eddie Van Halen or Joe Bonamassa? Do you want to accentuate the tone of your Telecaster or balance out the tone of your Les Paul?

Light gauges offer brightness and clarity with a more focused low end while heavy gauges offer fundamental and resonance with a wider, fuller bottom. Whether you should choose one or the other depends on what sound you’re trying to get and with what equipment. If you want big, thick power chords, using a heavier set such as 11-52 is the way to go. On the other hand, if you’re trying to pull off ripping solos, and you want each and every note to pop, a lighter set such as 9-42 will be a big help. If you want to accentuate the brightness of a guitar or add some clarity to a darker sounding guitar, go with a lighter gauge—and vice versa.

Keep in mind that many variables are at play when it comes to your tone. A thinner string doesn’t necessarily mean a thinner sound depending on how the vibrations respond to the wood of your instrument, its scale length, or the EQ of your rig. Plenty of legends famous for huge tones—from Jimi Hendrix and Billy Gibbons to Tony Iommi and Eddie Van Halen—have made incredible use of light sets. The Rev. Billy once used 13s, but now he uses 7s and 8s, and he sounds as great as ever.

WHAT’S YOUR PLAYING STYLE?

You have an ideal sound that you want to achieve, but for the most rewarding playing experience, you need to achieve it in a way that fits with what feels right for you.

Light gauges are much easier on your hands, especially when hitting those ripping solos with epic bends. Lower tension means that you don’t have to apply as much force, which is really nice during an extended streaming or recording session. We mentioned above that Billy Gibbons switched from 13s to 7s and 8s, and when we asked him why, he said, “Why work so hard?” That said, light gauges require more finesse to play in tune. If you muscle your way across a set of 8s, you’ll be hitting sharp notes all night long, and too heavy of an attack might obliterate your notes all together. If you think this end of the range fits in with your technique, try out our 8-38, 9-42, or 9-46 sets.

Heavy gauges are made to stand up to a sustained barrage of heavy, hard-charging pick strokes. Check out James Hetfield’s monstrous attack and how tight his riffs still sound, and you’ll understand why he needs a thicker set of strings. If you aspire to that level of riff mastery, then start with the heaviest gauge that feels comfortable to play—we recommend 10-52, 11-52, or 11-56.

A fantastic compromise between light and heavy sets is our 9.5-44 set. Lighter treble strings provide the brightness and lower tension you need to pull off killer solos, while the bass strings provide the thicker sound and higher tension that you need to dish out heavy rhythms.

TUNING DOWN

Players who tune below E Standard often reach for higher gauges because the higher tension helps to prevent buzzing and intonation issues, but that doesn’t necessarily mean you should grab the heaviest set you can find and string up. In general, you should try to find the lightest heavy gauge possible that will feel comfortable to play while ensuring that the lowest notes sound clear and defined.

There are reasons you might stick with super light gauges when tuning down, though. As mentioned above, Tony Iommi used light gauges—8s and 9s—throughout his career, and he’s tuned as low as C#. He’s famous for his stoic stage presence, but part of that is because both his fretwork and his pick attack are are very light and controlled. He was able to create his own sound and feel just by working within his personal playing style and choosing the right gear make it pop.

The Performance + line features several sets designed specifically for players who tune down, including all-new sets for the downright doomy Drop B and Drop C. The Dunlop Strings team put these sets together based on what our own artists are using, featuring the same gauge range but with different gauges in between that have been specifically chosen to provide the best tone and feel at those particular tunings.

We know what you’re thinking—what the heck is this thing? How are you even supposed to hold it? Well, now, there lies the method amongst the madness. You can hold the Fin Pick any way you darn well please—its three different sides each provide a different tonal and tactile experience, and they all work for both acoustic and electric guitars. The sharp point will make your solos more articulate and brighten up strummed chords, while the rounded edge provides a warmer, fatter tone—perfect for singer-songwriters who want their voice to stand out over a rich backing guitar sound. The serrated edge adds an aggressive texture to your attack and allows you to pull off an absolutely monstrous pick scrape down the length of your strings. Throw in some reverb or delay into the mix, and you’ll have a heck of a sound.

Stubby Picks are on the heavier side of the gauge range, providing a nice heft and excellent control over both your strings and your tone, while their sharp tips give you a bright clarity usually found in thinner picks. It’s pretty much the best of both worlds. They’re made from polycarbonate, which balances out the top end for a soft, forgiving attack that sounds like it has just a touch of compression.

The teardrop shape was the pick of choice for jazzers and shredders before the Jazz III hit the scene, and some players still prefer its simple shape and design. In fact, you could say the teardrop occupies the middle ground between the Jazz III and the standard 351 shape—the teardrop is small in profile for easier maneuvering when playing fast and intricate passages, and their tips are narrow without quite coming to a sharp point. The small teardrop has a tip that’s more akin to the Jazz III, but it’s streamlined profile allows you to choke up like no other pick. Add the bright, snappy attack and textured surface of Tortex Picks into the mix, and you’ll get an experience that’s both familiar and unique at the same time.

Poly Picks are as versatile as they are underrated, and they hold their shape for a really long time. They have a nice percussive attack and a beveled edge for easy transitions from note to note, and their textured surface makes it super easy to keep hold when digging in.

At 2mm thick, JD Jazztone Picks bring some serious mass and seriously round, warm tone. Made from polycarbonate with a textured surface, they come in five different shapes, so they’re suited to just about any playing style. JD Jazztone Picks are particularly great for playing fast thanks to their rigid structure and contoured edge. If you’re lucky enough to have a Jazzbox and some flatwound strings, get ready to lose yourself on a tonal trip for hours.

If you want a bright tone and an absolutely cutting, laser-hot attack, then try Stainless Steel Picks. They aren’t for the faint of heart, but many players swear by them because of just how much they make your notes pop. Plus, they’ll just about last forever.

The moral of this story? Don’t be constrained by conventions—checking out that odd piece of gear might just uncover the missing element you’ve been searching for.

Can you tell us about the amplifiers that the Dookie Drive Pedal is based on?

Bryan Kehoe: The Dookie Drive Pedal is based on Billie Joe’s two trusty amplifiers, which he’s christened Pete and Meat. They’re both Marshall 100 Watt Super Lead heads, and each has been heavily modified to have its own voice. Both amps had a master volume control added, while Pete was modified to have a smooth midrange peak, and Meat was modified for higher gain and a scooped midrange.

How did you create the sounds of those amps in pedal form?

Bob Cedro: Once we had Pete and Meat here at the shop, we plugged in and had a great time playing under a number of different conditions to really feel them out. We used our ears and our scopes to measure each amp’s distortion characteristics and tonal response individually and when combined, which is the magic behind the Dookie guitar sound.

From there, we got to work on the circuit design, and created a prototype that we compared with the amplifiers. We all agreed that we wanted this pedal to sound amazing through just about anything you play it through—not just the expensive stuff—so Billie Joe gave the prototype a run-through using a number of popular combo amps.  

He used an outboard EQ to sculpt some final adjustments to the prototype’s sonic profile, and the sound of the album really came to life in pedal form.

This is the second time that you have built a pedal based on the sound of an amplifier. How difficult of a process is that compared to the average overdrive or distortion pedal?

Bob: Both design projects have their particular challenges. With an amp-based pedal, you have the advantage of knowing what the end result is supposed to sound like. The hard work is in achieving it—you either nail the sound, or you don’t. 

In other cases, the way an overdrive or distortion circuit should sound is very subjective by nature. Pleasing everyone is impossible, and if you think that tone-chasing is time-consuming for the average guitar player, just imagine what that’s like for a guitar player who’s also an engineer!

How does this pedal work?

Bryan: Think of it like having the two separate amplifiers—Pete and Meat—like Billie Joe does when recording or when he’s on tour. On the front of the pedal, you can adjust the intensity of the Meat signal, which we call the High Gain signal, and you can also set the ratio of the two signals, adjust the overall output signal and tone, and use the Scoop switch to cut the midrange out for thicker, heavier tones. On the inside of the pedal, you can adjust the intensity and output level of the Pete signal, which we call the Crunch Gain signal.

It’s an incredibly versatile pedal with plenty of tone-chasing options for adding richness, depth, and clarity, but you don’t have to spend a ton of time tweaking to get an amazing sound. This thing will make a little amp scream and sound huge.

My modded Marshall Super Leads have been my live tone since 1994,” Billie Joe says. “The MXR Dookie Drive clones that sound in one pedal.

But the Dookie Drive Pedal isn’t just for Green Day fans—this totally unique pedal provides a full harmonic range of overdriven tones for a playing experience that is full of depth and dimension.