Top-notch analog bass preamp with a 4-band EQ.
The Microtubes B7K takes the powerful dynamic saturation circuit of the B3K and adds a four-band equalizer and a balanced line driver for even greater versatility. Designed for both studio and live...
In the youtube video at 1:58 you can see Joey Black who is the guitar tech of bmth giving us a preview of the pedalboard that Matt Kean is using for his live rig. It's filmed during the Roskilde Festival 2016 and if you look at the bottom left corner you can see the darkglass preamp pedal.more
At 10:57 of this video clip provided by Gear Gods and from their "RIGGED" series, Chris O'Toole, 2016 bassist of Unearth shows off his rig and points out his Darkglass Microtubes B7K Analog Preamp Pedal. "From there, we go into a Shure Wireless GLX unit and that goes into this wireless receiver which is also a tuner, so it saves space on your pedal-board. Radial JDI for pure clean signal to the sound guy. He usually just uses this for sort of, bass. Then I've little pick holders here. ...and then that goes into a Darkglass Microtubes B7K Analog Preamp. This thing is essentially the new Sans Amp but it sounds nicer to me. It's a more modern distortion channel, and that is powered by a COIKS Adam Power Supply. That's basically just the smallest, lightest power supply. The cool thing about that one is there is a voltage selector and you can select between 115 and 230 volts for Europe and Australia which is real handy. Then, we go down to the Amp rig. That goes straight into Mesa M6 Carbine which I use each night. I just got this as well, this Mesa Subway D-800 which is essentially a backup but I've been using it more and more each time and it's a bit more user friendly than this one because this one is just too damn powerful. That's powered by a little Furman Power Conditioner. That works kind of nice with the lights in back, for dark venues. I use Mesa Road Ready cabs wherever I can. These things are totally over engineered but they're super well made and super reliable. I also put super heavy duty rubber casters on it because it's 210 lbs. as it is"more
"I have been using the Darkglass B7K and B3K live since 2012 and now in the studio as well. The B7K and B3K combination give me an aggressive tone that stays true to the natural tone of my basses pickups. Not only do I have the tone that I want but these pedals are road tested and have given me no issues, even after countless overseas trips."more
A visible yet blurry view of Clay's Darkglass B7K pedal appears around 1:20 of the video. The pedal is also mentioned in Polyphia's AMA on Reddit's /r/progmetal subreddit as part of the answer regarding to the band's live setup. (Source: https://www.reddit.com/r/progmetal/comments/49we3j/when_this_post_is_30_minutes_polyphia_will_be/d0vfx1s)more
Top-notch analog bass preamp with a 4-band EQ.
The Microtubes B7K takes the powerful dynamic saturation circuit of the B3K and adds a four-band equalizer and a balanced line driver for even greater versatility. Designed for both studio and live use, it will take your direct sound to a whole new level.
Level: Sets the volume of the overdriven signal.
Drive: Sets the amount of saturation in the overdriven signal.
Blend: Mixes the clean input signal with the overdriven signal. The clean signal remains at unity gain while the volume of the overdriven signal is set by the Level knob, allowing for fine control of the blend ratio.
Grunt Switch: Sets the amount of low frequency content to saturate by selecting between three different bass boost levels before the clipping stage.
Attack Switch: Sets the amount of treble content to saturate: The œBoost setting emphasizes the treble content extra clarity and presence. The œFlat position leaves this register untouched while the œCut position will reduce the amount of high frequencies being saturated. This addition helps to keep the treble portion of the signal under control, specially useful when playing with new strings and/or cabinets with tweeters. (Low: +-12dB @ 100Hz / Low Mid: +-12dB @ 1kHz, Hi Mid: +-12dB @ 2.8kHz / Treble: +-12dB @ 5kHz)
If there was ever one pedal that I would never be without on my signal chain, this would definitely be it!
I've been using this pedal for about a year now and the tone I get from it is unparalleled to any pedal I've ever heard or played through. It respects the fundamental signal coming from your bass while adding a natural-sounding overdrive to the signal, giving a natural, non-synthetic sounding tone without sucking out the low frequencies. It's also rather versatile; you can be subtle with it and dial the drive back to get a warmer, more vintage-style tone. Or you can crank the drive to deliver a brutal assault of grinding distortion that modern rock and metal bassists tend to crave.
Lately I've been recording with the pedal's parallel output so I get a track of the sound of the B7K along with a clean DI track, and the recording sounds amazing. Worth a try, and you cannot even tell they're separate tracks, as the two separate tracks are synonymous with each other.
Either way, I highly recommend this pedal if you're looking for a top-of-the-line modern bass tone that you will be hard-pressed to find anywhere else. It's worth the money.
This is a pedal that has done wonderful things for both my live and studio tone. Its a great pedal to add a lovely subtle 'glassy' overtone to your bass, or full on distortion. It retains all your original tone and allows you to add the distortion on top. Its super for nearly any genre, and if the B7K is too modern for you, the Vintage Microtubes might be more your speed. I'm never getting rid of this pedal. Ever.