Effects pedals

Notes: The EBS Microbass 3. We've all been there. Being forced by circumstances to rely on someone else's gear and left with that uneasy feeling it could turn into a disaster. With the new EBS Microbass 3, you can let go of that feeling and be confident you'll have your sound no matter the situation.

The EBS MicroBass 3 is a 2-channel preamp, built exclusively with premium components. It is engineered by EBS in Sweden with technologies from the famous HD360 and Fafner II amplifier designs. The preamp operates at a signal level equal to a professional mixing console (+/- 15V) which gives you plenty of headroom. The high signal level makes it suitable to use as a preamp in combination with any type of power amp.

Run the Clean and Drive channels in series or parallel. Use the dual balanced XLR-outputs to tap the signal post and pre EQ at the same time. If you run the Effects loop in stereo mode, the balanced outputs become a Left and Right output instead. With 10 Mohms input impedance, it handles any type of bass - passive, active or with piezo pickups.

The built-in tuner makes it easy to tune between songs without the need of an external device. The MicroBass 3 also carries an onboard compressor, similar to the one found on several EBS amplifiers, and several more features.

The analog EBS MicroBass 3 ensures your sound - every time.

Notes: The new EBS Octabass Blue Label pushes the boundaries for what has seen as possible with an analogue octave effect. The quality and character of the octave tone, as well as the precision and speed of the tracking, is outstanding.

The EBS OctaBass was the first effect unit ever made by EBS. It is famous for fast and accurate tracking and a fat, natural sound. When you play your instrument, it "tracks" the note you play and produce a sound one octave below to mix in with the note you play. The 'Blue Label' model has a couple of new features that enhance the tracking range and improves the control of the sound.

Improve the tracking where it matters the most:

A new Range-switch makes possible to move the optimized focus area of the tracking to either higher up or lower down the fretboard. All to match your playing style and needs. This feature makes the tracking speed and range outstanding for an analogue octave pedal. Note: Don't confuse this switch with the Range-switch on previous OctaBass pedals where it changed the character of the tone.

Enhanced tone control:

By adding a seamless tone control you can go from a present, focused octave sound that cuts through the mix all the way to a sub-bass backdrop of lows that discreetly supports the note you play. The tone control enhances the palette of sounds and also makes it easier to achieve a synthesized bass sound.

Power the Blue Label OctaBass with 9-18V DC power. The footprint is reduced by 12% compared to the previous Studio and Black Label editions.

Notes: The Black Haze is an overdrive pedal in the new 'blue label' pedals series, developed for guitar and suitable for bass.

The Black Haze is developed by EBS with input from several Swedish top session guitarists. It is a beautiful drive with some darkness to it to make it interesting and irresistible. The Black Haze features dual drive engines and low-range compensation.

Full control. The pedal feature controls for Drive, Tone and Volume and a switch for Thin, Normal or Deep character.

Brand new design. A new compact housing design include recessed jacks to reduce space between pedals on a pedal board and a comfortable angle that makes switching smoother.

Can I use it with bass? The Black Haze offers a rich and creamy drive sound for your bass with solid bottom-end. Use the Drive, Tone and Volume controls to tweak your sound, and pick your favourite character between Thin, Normal and Deep, where Deep makes it interesting and dark while Thin and Normal makes it stand out more. It adds a new flavour of distortion to EBS existing product portfolio of bass effects.

Notes: The EBS MultiComp is the most popular EBS effects unit ever. Thousands of bass players, guitarists, and other musicians all over the world use it on their pedalboards.

The compressor hits the sweet spot between allowing for dynamic playing and creating a smooth consistency across the fretboard. It can also be used simply to push the gain and beef up the overall sound when desired.

You can't go wrong with the MultiComp:

A compressor can be tricky to dial in. Maybe that is why the super intuitive EBS MultiComp has seen such a long-standing success. It is a compressor that you can't go wrong with, that doesn't require a degree in sound engineering and still does exactly what you want. What more to ask for?

A sensible upgrade:

There is a major addition to the new EBS MultiComp Blue Label. A control on the front panel to adjust the threshold level, or Sensitivity. The more you turn up the control, the higher the sensitivity.

The benefit of this is that you can adjust the sensitivity to match the output level of your instrument or your playing style. A centre click indicates the factory setting value on previous editions of the pedal, to offer a reference to your old MultiComp.

More headroom to handle the extremes:

To handle high-end basses equipped with 18V preamps with very hot output, the new MultiComp Blue Label can operate continuously on up to 18V DC power. This gives the pedal enough headroom to handle even these extreme instruments.

The new version has a reduced footprint by 12% and is lighter to save space and weight on your pedalboard. The recessed jacks keep the space needed between pedals to a minimum.

Notes: The Stanley Clarke Signature Acoustic Preamp is a 2-channel preamp, built exclusively with premium components. It is engineered and designed by EBS together with the legendary bass player and composer Stanley Clarke.

Since the preamp operates at a signal level equal to professional mixing consoles it provides a huge amount of headroom. The superior signal quality makes it suitable to use as a preamp in combination with any power amp. The headroom and specific features make it ideal for handling the complex sonic characteristics of an upright bass.

The A and B channels both feature an input GAIN control and an EQ strip with BASS, MIDS (pick the frequency range with one knob and cut or boost in that range with another) and TREBLE. They both also have a secret weapon, a control knob that can be used either as a HIGH PASS or NOTCH filter. A switch decides the function, while the control knob picks the frequency range. The notch and high pass filters are excellent tools to prevent unwanted feedback and adjust the sound to the characteristics of the room and your instrument.

With 10 Mohms input impedance for both the A and B channels, it handles any instrument with passive, active, or high impedance piezo pickups. The A channel also provides support for Electret pickups when activating a dedicated switch. The B channel allows you to use a 48V Phantom powered (or passive) dynamic or condenser microphone as the source via an XLR-input. Choose whether to use the XLR or 1/4"-input for the B channel with a switch.

The preamp lets you jump between the A and B channels to allow for different settings when you play with a bow or pizzicato or mix the two if you use two different input sources.

Blending two different sound input sources can sometimes cause a phase issue. If that occurs, a Phase Inverter switch, attached to the A channel, will solve the problem.

Hook up additional effects in serial or parallel through the EFFECTS LOOP (requires a Y-split insert cable). A TUNER OUT lets you plug in an external tuner. A BALANCED XLR-OUTPUT sends a studio-quality line signal to front-of-house or a recording device. Use it in conjunction with a Speaker Simulator and use the Ground Lift to prevent hum. The Aux Input and professional-grade Headphones output makes practicing and learning new songs easy.

Can this pedal be used with other instruments?

Yes, of course. The frequency range of an upright bass is wide and complex, which means most other instruments - acoustic or electric - fits within the range that this pedal covers. Other acoustic instruments benefit from the same specific features that this pedal is equipped with to handle the upright bass. Electric bass players may find the two similar channels an excellent way to make individual EQ settings for two different instruments and make it possible to switch between the two smoothly at a gig.

Input Impedance: 10 Mohms // 22 pF
Gain: Gain Range -oo/+30 dB Gain Peak LED (ch A = RED, B = yellow) +10 dBv Frequency Response +0/-3 dB 20-20.000 Hz
Bass Filter: Type Shelving Gain Range +/- 15 dB @ 40 Hz
Mid Filter: Type Bandpass Filter Gain Range +/- 13 dB Frequency Range 70 - 2500 Hz Q 0.8
Treble Filter: Type Shelving Gain Range +/- 15 dB @ 10 kHz
HP Filter: Type 12 dB/octave High Pass Frequency Range 20(off) - 450 Hz
Notch Filter: Type Bandpass Notch Frequency Range 70 - 2200 Hz Q 7 Attenuation 7 dB (typically)
Electret Power (Channel A): 5V, 2mA

Common Features:
Effects Loop:
Loop Signal Level -10 dBv (nominal)
Gain Unity (1:1)
Output Impedance 2 kohms
Input Impedance 100 kohms
Modes Serial or Parallel

Phones Out: Recommended Imp. 32 - 200 ohms
Aux Input: Input Impedance 20 kohms
Nominal Level -10 dBv
Output: Output Impedance 1 kohms
Signal Level 0 dBv (nominal)
Balanced Output: Output Level -20dBv (nominal)

XLR Connections 1-GND, 2-Hot, 3-Cold Options
Gnd Lift, SPKR Sim
Balanced Input (Channel B): Input Level -30dBv (nominal)
XLR Connections 1-GND, 2-Hot, 3-Cold
48V Phantom Yes
Auxiliary Info: Power Requirements Idle 500mA @9V
max 800mA @9V (with headphones at max output level)

Dimensions (WxDxH): max 168 x 124 x 53 mm / 6.6" x 4.9" x 2.1"
Weight: 660 g (1.5 lbs.)

Notes: The Drive Me Crazy is a high gain distortion pedal in the new 'blue label' pedals series, developed for guitar and suitable for bass.

Drive Me Crazy is developed by EBS with input from several Swedish top session guitarists. It turns any nice clean guitar combo amp into a full force high gain stack. The Drive Me Crazy features dual drive engines and low-range compensation.

Full control. The pedal feature controls for Drive, Tone and Volume and a switch for Thin, Normal or Deep character.

Brand new design. A new compact housing design include recessed jacks to reduce space between pedals on a pedal board and a comfortable angle that makes switching smoother.

Can I use it with bass? The Drive Me Crazy offers a dynamic drive sound for bass with a lot of edge to it to cut through the mix. Use the Drive, Tone and Volume controls to tweak your sound, and pick your favourite character setting depending on your needs. The Drive Me Crazy offers some bottom-end compensation, but not as much as the Black Haze. It adds a new flavour of distortion to EBS existing product portfolio of bass effects.

Notes: The Drive is a boost/overdrive pedal in the new 'blue label' pedals series, developed for guitar and suitable for bass.

The Drive is developed by EBS with input from several Swedish top session guitarists. The Drive gives you that extra boost you need to emphasize your tone and make it stand out. The kind of device you might leave on without thinking about it, but miss dearly when you turn it off.

Full control. The pedal feature controls for Drive, Tone and Volume.

Brand new design. A new compact housing design include recessed jacks to reduce space between pedals on a pedal board and a comfortable angle that makes switching smoother.

Can I use it with bass? The Drive helps boost your bass tone when engaged. Use the Drive knob to control how much you'd like it to break up. Crank it up to bring out some really nice vintage style bass tones from your amp or keep it subtle if you prefer a cleaner boost.

Notes: The award-winning original EBS ValveDrive overdrive/preamp pedal was released in 2006. Over the years it has collected high-profile fans like Justin Meldal-Johnsen, Sean Hurley of John Mayer's band and George eGoggii Holm of SIgur Ros for its ability to provide a great classic tube amp bass sound from a pedal. Now it's time for a revival - the EBS ValveDrive DI was introduced at the NAMM Show 2014.

The main update to the ValveDrive DI is the XLR output, offering a balanced floating signal that allows you to plug the pedal straight into the mixing console in the studio or at the gig. Add to that, the former standard passive output is now a low-impedance output so you can use the ValveDrive DI as a stand-alone preamp with an external power amp to give you the pure ValveDrive tone right out of your speakers.

There are plenty of pedals with a tube in them, but few deliver the warm fat tone of a tube amp. The original EBS ValveDrive was powered by a 12V AC power supply converted to high voltage inside to give the tube the push it needs to deliver real tube distortion. EBS has developed the ValveDrive DI to do the same using a standard 9V DC power supply.

The EBS ValveDrive DI comes with a 9V DC power supply included.

Notes: The EBS BassIQ produces sounds ranging from classic auto-wah effects to spaced-out "Funkadelic" and synth-bass sounds. It is for everyone looking for a fun, fat-sounding, and responsive envelope filter that reacts to how you play in a musical way.

Q, Threshold & Attack-controls

The Threshold and Attack control knobs set the sensitivity of how the pedal responds to your playing. The sensitivity is the key to create a great variety of sounds from synth-bass, to wah-effects or sub-bass. A separate control changes the Q value to create even more variation in the sound character. The higher the Q value, the sharper the effect. All sounds are depending on how you set the Q value in conjunction with Threshold and Attack.

Up, Up-R & Down-modes

In the Up mode, the pedal responds with a wah effect. Turn the Q knob all the way up to get distinct 'quacky' wah sounds (like the HiQ mode of the old BassIQ). Turn the Q knob back for a more mellow effect. To get a sub-bass sound, use the UP mode and turn Threshold all the way down and Attack all the way up. In the Down mode, you will achieve various types of synth bass sounds. The UP-R mode works like UP but also interacts with an internal control that changes the range of the envelope effect.

Pass filters

The three different types of pass filters, Full Range, Band Pass, and Low Pass, offer three variations of your sound at any time. Find a sound setting you like, and then try the different pass filter options, and each of them will change the character of the sound.

Internal controls

Trim pots are found inside to set the Gain output level of the pedal, a High Pass mix-in trim pot sets the level of high frequencies from the bypassed tone to mix in with the effect. A third trim pot decides the Range of the envelope effect in the pedals UP-R mode setting. Use these options carefully to tailor the pedal's response to match your personal needs perfectly. The EBS Bass IQ Blue Label replaces the previous Bass IQ model from now on. The new pedal also has a 12% reduced footprint.

EBS BassIQ Blue Label

Nominal Input Level: -10 dBv

Input Impedance: 1.8 Mohms

Output Impedance: 100 ohms

Dry Bandwidth +0/-2 dB: 20 - 20k Hz

Filter:
Range 100 - 2.5k Hz Q 0.7 - 15
Mode Down/Up-Range/Up
Type Low Pass, Band Pass, Full Range

Threshold: -50 - +6 dBv

Attack Time (80%): 50 ms - 2 s

Dimensions: W x H x D 2.6" x 4.5" x 1.9" (67 x 115 x 48 mm)

Weight: 315g (0.7 lb.)

Type: Analogue Effect, Relay type Switching

Power Requirements: 9, 12 or 18 V DC, 55 mA max. Pedal shuts off below 6.0 V

Specifications are subject to change without notice.

* EBS Recommend the use of the EBS AD9 Pro DC adapter.
The adapter can supply up to twenty pedals at the same time.