Our bass player Richard breaks down his rig.


MusicMan Sub Ray 5 – basswood body, rosewood fretboard, active preamp

Darkglass Microtubes 900 – 900W bass amp head

Boss TU-3 Chromatic Tuner
Mooer Pure Octave
Boss LS-2 Line Selector
Ibanez Mini Tube Screamer
Boss ODB-3 Bass Overdrive
Fowl Sounds The Lifer
Electroharmonix Key9
Mooer Shimverb
Boss DD-3 Digital Delay
Boss RC-1 Loop Station

Gear Talk: Pedals – Richard’s Pedalboard

To wrap up our gear chat for the time being, before we release our debut album next week, we thought we’d talk through Richard and Nick’s pedal set ups that were used for the writing and recording of the record. First up it’s Richard’s fairly chaotic, multi-purpose board used for the bass and even some of the viola…

Caline 5 Power Supply

Boss TU-3

Mooer Pure Octave

Boss LS-2

Ibanez Tube Screamer Mini

Vox Trike

Boss ODB-3

EHX Key9

Mooer Shimverb

Boss DD3

Starting at the start of the chain… I actually picked up the TU-3 very recently, as my old Behringer tuner has always been a bit hit-and-miss with actually picking up my lowest string first time. We used Nick’s TU-3 in the studio and it had no trouble, so I grabbed one second hand post-haste.

The little brown Pure Octave pedal has a lot packed into such a small unit. You can go 1 or 2 octaves in each direction, and a little knob lets you pick any combination of -1, -2, +1 and +2 at the same time. On Ellipsism I just use the standard -1 setting on one of my higher bass lines at the end of ‘Long Live’, but I’ve been messing around with getting some weirder sounds out of the other settings more recently.

I should say at this point that despite the dusty, tangled mess that my board often is, it’s laid out the way that it is for the purely practical reason that I play bass in Ba’al and guitar in another band, and I don’t want to have to keep switching things around every week for practice. This board serves both purposes, and as such some of the pedals were obtained primarily for one band/instrument or the other. However, in many cases I’ve found that something I bought for one ends up getting used extensively for both.

The LS-2 line selector is up next, which has two loops of other pedals hooked into it, which I can switch between, making transitions between sounds a hell of a lot easier on the fly, and meaning that I can switch some things on or off in advance of needing them, without the sound being affected until necessary.

Loop A continues along the chain to the bottom left corner with my overdrives and distortion. As you might expect, the Tubescreamer was bought with guitar in mind, and the ODB-3 for bass. The ODB is the basis of my main heavy sound in Ba’al, and is on almost all of the loud parts of the album. This particular one I’ve actually had since I was a teenager first learning bass. I will sometimes throw the Tubescreamer on top of it to boost the frosty high end and cut through a blasting section, particularly if I’m playing in a higher register. This happens a few times on ‘Long Live’ and also ‘An Orchestra of Flies’.

The big orange pedal is a guitar distortion pedal by Vox – the Trike – which I did actually buy second hand in the early days of Ba’al specifically for bass. It has a + and – octave option, but mainly it just causes absolute filth to happen. It’s got an incredibly nasty, buzzing drone quality to it (particularly with the octave up layered subtly in the mix), and when combined with the ODB it can rumble and disgust people for miles around until you tell it to stop. I tend to deploy this secret weapon only in the slowest, most crushing riffs, as well as if I want to get some nasty feedback going. It’s used on the most funereal of the riffs on ‘Jouska’, the intro and outro drones of ‘Father, the Sea, the Moon’, and the noisy outro of ‘Tarred and Feathered’.

Loop B coming from the line selector contains just one pedal: the Electro-Harmonix Key9. This is part of EHX’s stunning range of organ/keyboard emulating pedals, along with the likes of the B9 and the C9. The Key9 focuses on making your instrument sound like one of various keyboards and electric pianos, like the Wurlitzer and Rhodes, plus some other organs and some wildcards, like a pretty hilarious steel drum setting. This was a prize purchase made for my other band, but some of the more textural settings have found their way onto each of the main Ba’al releases thus far. On Ellipsism, the section in the middle of ‘Long Live’ with the odd time signature has me impersonating an organ. It’s in it’s own loop partially so that I can switch from it straight to my overdrives, but also because it creates it’s very own special brand of weird digital noise when not in use. The scrap of yellow tape in the corner reminds my dumb brain that it is in loop B, which has a yellowish LED on the line selector.

Coming out of the line selector entirely, my chain ends with a Mooer Shimverb reverb pedal and a Boss delay, which are used quite sparingly in this band, pretty much just in the drone/ambient parts. The DD3 is there very sparingly on some of the clean sections throughout the album, and Tom also used it some of his cleans when he needed something more simple than his massive arsenal of more complicated delays would allow. The ‘shimmer’ setting on the Shimverb adds an eerie 7th above the note you’re playing (as well as the reverb), and this feature gets its moment during the drone section of ‘Long Live’.

Speaking of that section, you may or may not be able to pick up a few viola lines layered in there. Those were also run through my pedal board, specifically into the Vox Trike, for a scratchy and unnerving sound.

My power supply is a very cheap one that was recommended by my other band, and it does the job with almost enough supplies for all my pedals; technically I’m one short, but thankfully the Boss LS-2 has an extra power output that I use to supply the Shimverb.

You’ll also notice a few extra loose bits and bobs in the top right of the board. These are my emergency gig supplies: spare patch cables for when things go suddenly dead onstage (let’s be honest, I usually keep them on hand for Nick rather than myself); a pair of shitty rubber earplugs in case I forget my normal, fancy ones; a small pack of hairbands in case I forget to bring one and I need to get my sweaty hair out of my face after a set so I can see where I’m loading my gear to. All essential.


Gear Talk: Amps – Richard’s Darkglass

Continuing our gear talk series, we now turn to some of the amp heads used on the upcoming album Ellipsism, starting with Richard’s Darkglass Microtubes 900, which is still pretty new to the Ba’al family.

As I mentioned in my blog about my bass, I’m the absolute opposite of a gear nerd and know next to nothing about anything technical unless guided by copious online research and advice from knowledgeable friends. So if you’re looking for a spec sheet, this isn’t the place to come I’m afraid…

When I joined Ba’al in 2016, I hadn’t been regularly playing bass for several years (I play guitar in another band), and all I had amp-wise was a Laney RB3 combo. After one practice it was abundantly clear that this was not anywhere close to cutting the mustard in this band, and our then-guitarist helped me out in finding some good deals on something better.

This led me to getting a very cheap 300W Behringer Ultrabass head, which is about the dimensions of a small VCR and about a quarter of the weight. It was incredibly convenient, sounded surprisingly decent, and was so light that we could literally throw it to eachother during loading. Unfortunately, this also meant it was very likely to vibrate it’s way onto the floor during live shows…

As our sound evolved, I found that the beloved Ultrabass was once again not quite providing enough heft, so I next I borrowed an old Ampeg head (I forget the model) from our ex-guitarist Tom, which was definitely a step up in sound. I used this for a good few years (both the Behringer and the Ampeg feature in combination on our first EP), until eventually it developed a fatal fault which was never identified and I went back to the Ultrabass for a while – including our last gig to date in January 2020.

As is often the way I do things, the imminent studio time for the Ellipsism sessions kicked me into gear and got me thinking I should probably up my game again, so I started researching online and taking suggestions from nearby gear heads for a new head. Having tried out a Gallian-Krueger that belongs to the bassist in my other band, their MB500 fusion model was in the running, as was the EBS Reidmar 502. However, with the reputation that Darkglass have been gaining in recent times, and the sound I’d heard coming from them at other bands’ shows (Archelon and Wren being two examples that come to mind), I was mainly drawn to their Microtubes 500 model. Then I was alerted to an alarmingly good second hand deal on Facebook for it’s older brother, the Microtubes 900, and one very awkward trip to the post office later I was sorted.

After my favourable experience with the lighter-than-Nick’s-entire-body Ultrabass, I was keen to stick with something easily portable, and the Microtubes definitely fits that bill, coming in a handy small carry case which also fits all the cables inside. The main thing, though, is that upon switching it on and plugging in, I was immediately about 500% happier with my sound than I had ever been before. The extra headroom and power that I get with 900W immediately fixed niggling issues I’d always had with getting my tone to stay consistent and beefy at the high volumes needed to keep up in this band. I don’t think I’ve needed to go above about 10 o’clock on the master volume yet, and that’s given me a lot more space to play with sounds.

It takes unbelievably well to the various overdrives, distortions and other weird effects I throw at it and, as if that’s not enough, it’s got two of Darkglass’ very own overdrive units (the B3K and the VMT) built into it, with a footswitch to control them, as well as an inbuilt preamp that lots of people have in pedal form. I’ve honestly barely scratched the surface of all the sound possibilities in this little unit.

As you can see from all the knobs, you can really get into the nitty gritty of EQing different frequencies, which I find really helpful in such a bottom-heavy, low tuned environment as Ba’al; cutting through whilst still keeping the aggressive low-end is really important for me, and at long last I have no problems doing so.

Having only got this amp this year (sadly after the one gig we played pre-COVID), it’s only seen use thus far in the practice room – writing and rehearsing the album tracks – and then in the studio, where it truly shone and made my tracking at No Studio an absolute dream. The bass on the album sounds infinitely bigger, clearer and heavier than on any of our other releases, and this amp really carries it. I truly cannot wait to vibrate people with its power when we can finally play live again.