Synth Bass on Steroids: The Power of EFX Pedals

In this video, Anthony reveals one of his personal favorite trade secrets. He shows us how to transform any synth bass sound into a synth bass on steroids by using various combinations of 5 different guitar efx pedals including the Electro Harmonix Big Muff, MXR MX-134 Stereo Chorus, Musitronics Mu-tron Phasor II, MXR MX-118 Analog Delay and A/DA Flanger. He illustrates the difference and importance between the wet sound (efx only), the dry sound (no efx) and mixing the wet and dry sound together. By running both of these sounds into a mixer, you have the option to add as much special personality from the wet sound without losing the energy and definition of the solid dry bass sound.  You can then add as much of the wet sound as you prefer, much like adding spice to your food. Think of each pedal as a spice from a different part of the world. When you get the spice balance between wet and dry just right, you’ll create a sound with a unique personality.  This is one of the special powers that comes from using EFX pedals with synthesizers and a sure fire way to create synth bass sounds on steroids.

CHAPTER TIME STAMPS
0:00 Intro
0:16 Electro Harmonix Big Muff (silicon fuzz)
1:37 MXR MX-134 Stereo Chorus
2:58 Musitronics Mu-tron Phasor II
4:19 MXR MX-118 Analog Delay
5:32 A/DA Flanger
6:53 Summary

Anthony's musical touch as both composer and performer is connected with some of the most influential creative minds over the last 40 years. He’s composed and conducted original orchestral scores for over 80 feature films including Young Guns, Internal Affairs, The Man From Elysian Fields, 15 Minutes and Planes, Trains & Automobiles, been commissioned by the Los Angeles Philharmonic for his symphonic work "In the Family Way", written over one thousand TV commercials in a myriad of musical styles, co-founded Levels Audio Post (LA's premiere post production facility) and performed and arranged on big-box-office films and influential hit records such as Michael Jackson's Thriller.

His extensive work as a young arranger, orchestrator and performer for Quincy Jones, Jack Nitzsche, Lamont Dozier, Arthur Rubenstein and Giorgio Moroder was vital in launching his own career. His early years pioneering modular analog synthesizers along with his wide-ranging music scholarship positioned Anthony at the center of the music technology revolution. He attended the University of Southern California School of Music as a piano and composition major.

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