Video summary

The MXR Bass Synth | Featuring Ian Martin Allison

Main summary

Key takeaways

Product Review

Product reviewed

MXR Bass Synth (bass-focused synth pedal) co-developed/collaborated with Ian Martin Allison.

Key features mentioned

  • Immediate playability: designed to feel “immediate” with very low latency and excellent tracking, including ghost notes (it does not turn them into random pitch).
  • Human playing articulation response: recognizes hammer-ons / articulations without rearticulating oddly, maintaining a more “human” feel.
  • Easy layout:
    • 6 knobs, 2 buttons, preset button, footswitch, in/out
    • Side control for expression pedal control or stereo operation
  • No computer/phone required: all controls are on the pedal; secondary settings are accessible without external editing.
  • Oscillator + synthesis controls:
    • Mix (clean bass + first synth oscillator/unison)
    • Submix (adds sub oscillator)
    • Cutoff and Resonance (filter character; described as Moog/ARP Odyssey-style)
    • Envelope (dual-purpose—affects how the filter behaves; described as “dropping/opening” depending on position)
    • Mod knob (default chorus; can get extreme; can be switched to LFO behavior via secondary functions)
    • Shape button: triangle / saw / square
    • Voice control: adds upper harmonics (more brightness/content when cutoff is up)
  • Expression pedal support: TRS control jack lets you control parameters with an expression pedal (heel vs toe can switch/commit parameter changes).
  • Noise generator + noise mix: for synth textures; the noise oscillator contributes notably in presets.
  • String modes (secondary functions): 4-string / 5-string / guitar tracking modes.
  • Extra secondary parameters (via button + knob): glide/portamento, amp/envelope modulation, chorus vs LFO blend, compression, output gain, noise mix, dry-through options, plus tracking-mode-related controls.

Factory presets (8 total; highlights)

The reviewer programmed/polished presets to emulate classic synth-bass “baselines”:

  1. Green 1 – “Thriller” homage

    • (Greg Phillinganes / Anthony Marinelli influence)
    • Short envelope + octave oscillator + chorus + noise blend
    • Described as minimoog/ARP Odyssey-style, tied to early pop/jam references (e.g., PYT) and retro-future nostalgia.

  2. Green 2 – “Stevie Wonder - Tonto” vibe

    • Similar feel but no sub oscillator
    • More upper harmonic/voice content; more resonant.

  3. Green 3 – Herbie Hancock ARP sound homage

    • Responsive to both legato and short playing, including ghost notes.

  4. Green 4 – Bernie Worrell / “Parliament’s Flashlight” homage

    • Funky synth-bass approach described as very resonant/peaky.

  5. Red 1 – Tony Levin “Sledgehammer”-style tone

    • Electric/fretless vibe emulation
    • Triangle wave through octave-like setup + modulation/chorus + heavy compression
    • “One of my favorite electric bass sounds.”

  6. Red 2 – Björk “Army of Me” homage

    • Amp envelope sound, slow mover
    • Includes slight portamento/glide.

  7. Red 3 – Nine Inch Nails classic vibe (5-string use)

    • Uses noise generator/voice selection
    • Claims it tracks low D on 5-string and handles pull-offs on low E well.

  8. Red 4 – EDM sidechain-style effect

    • “Sidechain effect” created by playing on the downbeat so the synth rises in rather than instantly hitting attack
    • Produces a kick-drum “smash” feel without actual sidechain routing.

Pros (as stated)

  • Near-zero latency and excellent tracking, including ghost notes and difficult articulations (hammer-ons/pull-offs).
  • Feels immediate; easy hands-on sound design (“plug in and start turning knobs”).
  • Great tonal character: filter/resonance described as fat and “Moog/ARP Odyssey”-like; wide/modulated sounds feel “modern” while staying retro.
  • Expressive performance: responds to technique (legato vs staccato) and supports 4/5-string/guitar contexts.
  • Practical workflow: no phone/laptop needed; full control on the pedal with presets + manual mode.
  • Fun factor: described as “the most fun” the reviewer has had with a pedal.

Cons / limitations mentioned (or implied)

  • No explicit “deal-breaker” negatives were stated.
  • Minor caveat: 4-string mode is described as fastest/least latent, but tracking beyond the intended range “could get a little squirly,” implying correct mode selection matters.
  • Pitch tracking/latency issues are repeatedly framed as problems other synth pedals commonly have—this one is presented as avoiding those flaws.

Comparisons made

  • Versus the reviewer’s past synth-bass pedals: many either feel latent or have poor tracking, sometimes requiring phone/laptop editing.
  • Versus a keys synth rig: the pedal is claimed to be so good it could “dethrone your keys rig” and replace carrying a synth setup.
  • Preset inspirations: compared to classic synth/key sounds like Minimoog/ARP Odyssey, Tony Levin / OC2-era sounds, Herbie Hancock ARP tone, etc.

User experience / usability notes

  • Quick-start: in/out + footswitch + preset + 6 knobs; described as “delightfully easy to use.”
  • Manual mode: turn off presets and program/shape directly.
  • Expression workflow: heel/toe transitions can morph parameters in real time (e.g., envelope/cutoff/mod) to push into a different intensity.

Overall verdict (concise recommendation)

Highly recommended if you want synth-bass sounds from a pedal with performance-grade tracking and low latency, plus rich filter/mod/noise tones and easy hands-on control. The review frames it as a major improvement over typical bass synth pedals and a practical alternative to carrying a full synth rig.

Unique points mentioned (consolidated)

  • Low latency + excellent tracking (including ghost notes)
  • Natural articulation handling (hammer-ons, slides without unwanted rearticulation)
  • Simple controls: 6 knobs, 2 buttons, preset + footswitch, in/out
  • Side control: expression or stereo
  • No phone/laptop required
  • 8 factory presets (Greg Phillinganes/Anthony Marinelli, Stevie Wonder/Tonto, Herbie Hancock, Bernie Worrell/Parliament, Tony Levin, Björk, Nine Inch Nails, EDM sidechain-style)
  • Manual mode for custom sounds
  • Deep controls: mix, sub, cutoff/resonance, envelope dual-purpose behavior, mod (chorus/LFO)
  • Shape selection: triangle/saw/square; Voice adds upper harmonics
  • Noise generator present
  • Secondary functions for extended parameters and tracking modes (4/5-string/guitar)
  • Expression pedal TRS jack enables heel/toe parameter morphing
  • 4-string mode faster; 5-string mode supports low B cleanly; pull-offs handled well
  • Suggested target users: wedding/church/session/touring players, and anyone looking to avoid carrying a keys rig

Speaker views

  • Ian Martin Allison (main speaker): developer/collaborator perspective emphasizing tracking/latency, ease of use, preset creation, and performance responsiveness; also provides tone comparisons and preset inspirations.

Original video