Disclaimer: This pedal was kindly provided by Origin Effects for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.

There’s a certain kind of bass tone that doesn’t shout for attention, yet somehow defines the entire track. You hear it on records where everything just sits, where the low end feels effortless, supportive, and impossibly musical. It’s rarely about aggression. More often, it’s about control, warmth, and a sense that the instrument is breathing alongside the band.

That’s the space the BassRig Fifteen occupies.

Origin Effects has built a reputation around precision gear that doesn’t just approximate vintage equipment, but attempts to understand it at a deeper level. With the BassRig Fifteen, they’ve turned their attention to one of the most recorded bass amp sounds in history and distilled it into a compact, all-analogue format.

But this isn’t a nostalgia piece. It’s a tool designed for modern players who need that sound without the complications that usually come with it.

From the first few notes, what stands out isn’t a specific frequency or EQ curve; it’s the way the pedal responds. There’s a softness to the transient, a subtle compression that feels organic rather than imposed. Notes bloom rather than snap, and even simple lines take on a sense of weight and intention.

It doesn’t behave like a typical pedal. In fact, thinking of it as an “effect” feels slightly misleading. The BassRig Fifteen is closer to a front-end, something that reshapes the entire way your instrument interacts with the rest of your signal chain.

Push it gently, and it rewards you with rounded, articulate lows and a smooth top end that never gets brittle. Dig in harder, and the texture thickens, introducing harmonic complexity without tipping into anything that feels overly saturated. It’s a very specific kind of drive, more studio saturation than stage distortion.

One of the most impressive aspects is how easy it is to maintain clarity. Bass players are used to compromise when adding gain, losing low-end definition, or watching their sound disappear in a mix. Here, that trade-off feels largely absent. The core of your tone remains intact, even as the character evolves around it.

This makes the pedal particularly compelling in recording scenarios. Plugging directly into an interface via the built-in DI yields a sound that already feels “finished.” There’s a natural sense of space and balance, as though a cabinet has already been carefully mic’d and placed. It doesn’t require much in the way of corrective EQ or additional processing to sit correctly.

Live, that same consistency becomes a different kind of advantage. Engineers get a predictable, mix-ready signal. Players get the reassurance that their tone isn’t being left to chance night after night.

What’s interesting is how restrained the whole experience feels. In an era where many pedals compete on extremes, more gain, more options, more everything, the BassRig Fifteen takes a narrower path. It focuses on doing one thing exceptionally well, and trusts that players will understand the value in that.

That doesn’t mean it’s limited. There’s enough flexibility to adapt to different instruments, playing styles, and rigs. But the boundaries are intentional. This isn’t about radically transforming your sound; it’s about refining it.

And that distinction matters.

For players chasing vintage-inspired tones, the appeal is obvious. But even outside of that world, there’s something to be said for a piece of gear that prioritises feel over spectacle. The BassRig Fifteen doesn’t demand attention; it earns it over time, through consistency and musicality.

It’s not the kind of pedal that reveals everything in the first five minutes. Instead, it gradually integrates itself into your playing, shaping your touch and subtly influencing how you approach the instrument.

In the end, that might be its greatest strength.

Because while there are plenty of pedals that can impress, far fewer can disappear into your sound in a way that makes you forget they’re even there.

Available online at Amazon.com

MESA/Boogie unveils the new Subway®+ Bass DI Preamp II, a compact, full-featured follow-up to its highly acclaimed first-generation Subway bass preamp pedals. Consolidating the strengths of the original two preamp models into a single, streamlined unit, the Subway+ Bass DI Preamp II adds smart refinements that give bassists all the tone-shaping tools they need to capture the sound, feel, and response that have made the Subway Series market leaders in premium bass tone. The new Subway+ Bass DI Preamp II is now available worldwide at authorized MESA/Boogie dealers, at Gibson Garage locations, and at www.mesaboogie.com.

Building on the foundation laid by the celebrated Subway® D 800™, Subway® D 800+, and Subway® D350 preamps, the new model delivers world-class?class MESA bass tone in a format that is approximately 40% smaller than the previous Subway+ design. The result is a road-ready, studio-savvy preamp that’s equally at home on a tight pedalboard, a desktop, or riding along as a micro-sized gig-bag solution.

Designed for power without complexity, the Subway+ Bass DI Preamp II features an extended-range JFET preamp that plays beautifully with both active and passive instruments, plus an Input Mute footswitch for silent tuning. A Deep switch adds roundness and low-end weight, while a Bright switch lends bite and top-end sparkle. MESA’s award-winning variable Hi-Pass Filter (30 Hz–150 Hz) removes headroom, robbing subsonic content so players can precisely tune their low end to the musical style, ensemble, or venue.

Independent Gain, Boost (footswitchable with dedicated level control), and Master Volume controls unlock a wide palette—from warm, rounded cleans to mix-ready drive. The Variable Voicing control sweeps the overall character from a flatter, modern response to a more vintage-inspired contour by intelligently adjusting multiple frequency regions with a single knob. For deeper sculpting, a fully active 4-band Baxandall EQ provides ±12 dB of Bass, Low Mid, High Mid, and Treble, with sweepable Low-Mid (150 Hz–1.8 kHz) and High-Mid (300 Hz–5 kHz) frequency controls for surgical precision.

Flexible connectivity makes the Subway+ Bass DI Preamp II a natural fit for practice, stage, and studio. Aux In and Headphone Out allow players to blend a media source with their bass for quiet, on-the-go rehearsal. The Preamp Output supports ¼” (6.35 mm) TS unbalanced or ¼” (6.35 mm) TRS fully balanced connections and delivers ample level to drive any pro audio power amp. A mic-level balanced XLR DI with Pre/Post EQ and Ground Lift routes iconic MESA tone directly to front-of-house, monitors, or recording interfaces with ease.

With its ideal mix of compact size—just 2.25” (57 mm) H × 6” (152 mm) W × 4.25” (108 mm) D—light weight, 9–18 VDC (either polarity) power flexibility, and stellar tonal control, the Subway+ Bass DI Preamp II is a powerful solution for silent or live practice, studio sessions, and touring. Whether feeding PA and/or backline in small to midsize venues or standing by as a trusted emergency rig, it brings unmistakable MESA authority to any bass setup.

Trace Elliot® debuts the new Transformer DI. Designed for all musical instrument applications, using a new proprietary transformer design, the DI converts between balanced and unbalanced signals at a perfect 1-to-1 ratio with audiophile quality and total transparency. With a frequency response between 14Hz and 80kHz, this unit is essential for five-string bassists, other drop-tuned instruments, and artists wanting the sound of their instruments uncolored by the PA interface. The new transformer DI is now available worldwide via online and local retailers.

A transformer DI (direct-interface) box is a 100% passive impedance conversion device that converts unbalanced signals into balanced signals for direct connection to mixing consoles and recording devices. The Trace Elliot Transformer DI sets itself apart from active DI boxes by providing a pristine signal path that will never suffer clipping or distortion between the source and the balanced input. Furthermore, it outperforms other passive DI boxes by its ability to do so far beyond the range of human hearing. By balancing the signal, the transformer DI reduces noise and interference while keeping signal integrity. Its durable die-cast enclosure and high-quality parts provide steady signal performance for both live and studio environments.

With individual ¼” and XLR jacks for both inputs and outputs, and a recessed GROUND LIFT button, this unit is an essential must-have for any professional musician or audio engineer.

For more information, please visit www.traceelliot.com

Retail: $229.99 USD

Fender Musical Instruments Corporation (FMIC) today announced the launch of the Vintera III Series, the next evolution of its acclaimed vintage-inspired lineup. Reimagined from the ground up, the highly anticipated range delivers meticulously crafted instruments that capture the defining sounds, aesthetics and feel of the early, mid and late ’50s, ’60s and ’70s.

Designed for players seeking true vintage character, the Vintera III series introduces an all-new philosophy: a targeted focus on iconic moments in Fender history. This “greatest hits” approach highlights some of the most celebrated specifications from the company’s golden eras, giving musicians access to some of the most revered tones ever produced.

This refined direction marks a significant evolution from previous Vintera collections – while earlier generations drew broadly from generations of production, the Vintera III Series narrows its focus to distinct, era-defining designs, allowing Fender to achieve a new level of historical accuracy and authenticity. Every instrument in the range reflects painstaking attention to detail – from period-correct aesthetics and colours, to carefully recreated neck construction and pickups – faithfully capturing the look, feel and sonic character of legendary vintage Fender models.

“With the Vintera III Series, we set out to capture the defining moments that shaped Fender’s legacy,” said Max Gutnik, Chief Product Officer at Fender. “Rather than broadly representing entire decades, we focused on the most iconic specifications that players continue to seek out today. By zeroing in on these historic designs – from era-correct pickups and neck profiles to period-accurate aesthetics – we’re giving today’s musicians an authentic connection to the instruments that helped define modern music.”

To ensure era-accurate tone, Fender’s engineers revisited the company’s original archives, developing vintage-style pickups matched to each period. Players will experience the warm, rounded character of Alnico II and the punch and clarity of Alnico V designs.

The Vintera III Series also faithfully recreates Fender’s historic neck profiles, from the substantial V and D shapes of the mid and late ’50s to the comfortable medium C profiles of the early ’60s and the slimmer C shapes that defined the late ’60s and early ’70s. Each model is completed with era-specific headstocks, decals, fingerboard inlays, stamps and finishes, delivering an instrument that feels as authentic as it sounds.

With Vintera III, Fender brings the spirit of its most influential eras to a new generation of players – offering a lineup that celebrates the instruments, tones and innovations that helped shape modern music.

Models include: 

• Vintera® III Late ‘50s Stratocaster® 
• Limited Edition Vintera® III Late ‘50s Stratocaster®
• Vintera® III Early ‘60s Stratocaster® 
• Vintera® III Late ‘60s Stratocaster® 
• Limited Edition Vintera® III Early ‘60s Custom Telecaster®
• Vintera® III Late ‘50s Telecaster® 
• Vintera® III Mid ‘60s Telecaster® 
• Vintera® III Mid ‘60s Jazzmaster®
• Vintera® III Mid ‘60s Jaguar® 
• Vintera® III Mid ‘60s Mustang® 
• Vintera® III Early ‘60s Jazz Bass®
• Vintera® III Early ‘70s Jazz Bass®
• Vintera® III Late ‘60s Precision Bass® 
• Vintera® III Early ‘60s Bass VI

For more information, visit fender.com

Disclaimer: This pedal was kindly provided by Donner Music for the purpose of this review. However, this does not influence our opinions or the content of our reviews. We strive to provide honest, unbiased, and accurate assessments to ensure that our readers receive truthful and helpful information.

Triple Threat… A compact burst of analog attitude with unexpected appeal for bass players.

Multi-effects pedals are not usually the first stop for bassists. Most of us build our rigs piece by piece, choosing pedals that preserve low end and offer precise control. The Donner Triple Threat Pedal, created in collaboration with Jack White’s Third Man Hardware, takes a very different approach. It keeps things simple: distortion, phaser, and echo, all in one compact unit, with no menus or deep editing, just knobs and footswitches.

At first glance, it feels like a guitar pedal through and through. But spend a little time with it on bass, and it starts to reveal a different kind of usefulness, less about precision, more about character.

Built around simplicity

The Triple Threat is all about immediacy. Each effect has its own dedicated controls and footswitch, making it easy to dial in sounds quickly without overthinking the process. There’s something refreshing about plugging in and getting straight to experimenting, especially for bass players who are used to more complex signal chains.

The compact enclosure makes it easy to fit onto almost any pedalboard or even use as a standalone unit for rehearsals and smaller gigs. That said, the small size does mean the knobs are quite tight and not the easiest to adjust mid-performance. It’s a minor compromise, but one that becomes noticeable on a dark stage.

Analog character

Rather than aiming for clean, studio-like tones, the Triple Threat leans into a more raw and expressive sound. This becomes particularly apparent in the distortion section. It delivers a gritty, garage-inspired voice that can add real personality to a bass line, especially in indie or lo-fi contexts.

On bass, the key is restraint. Lower gain settings bring out a nice edge without sacrificing too much low end, while higher settings can start to thin things out. Without a blend control, there’s no easy way to bring back the fundamentals once it’s gone, so it rewards a lighter touch.

The phaser is more immediately cooperative. With slower rates and moderate depth, it adds movement without overwhelming the core tone. It’s the kind of effect that works best when you don’t notice it right away, but feel it sitting underneath the groove.

The echo section stands out as the most naturally suited for bass. It’s warm, slightly dark repeats sit comfortably behind the dry signal, adding space without clutter. Whether used subtly or pushed into more ambient territory, it complements the instrument rather than competing with it.

Real-world perspective

The Triple Threat has also found its way onto the pedalboard of Dominic John Davis, bass player for Jack White, which gives some insight into how it functions in a professional setting.

Looking at his broader setup, typically including tools like the Boss TU-3 Chromatic Tuner, MXR M108 Ten Band Graphic EQ, and boutique pedals such as the Mantic Effects Vitriol and Mantic Effects Isaiah Delay, it becomes clear that the Triple Threat isn’t a centerpiece. Instead, it serves as a flexible addition, a way to access a few extra textures without expanding the pedalboard further.

That context is important. For bass players, this isn’t about replacing carefully chosen pedals, but about adding something a little different to the mix.

Versatility in practice

In practical use, the strength of the Triple Threat lies in how quickly it lets you shift between sounds. Having three effects available at your feet without needing multiple pedals can be surprisingly useful, especially in stripped-down setups.

It’s easy to imagine it being used in rehearsals, smaller gigs, or situations where portability matters. It also lends itself well to experimentation, encouraging players to step outside their usual tonal comfort zones.

At the same time, its limitations remain part of the experience. The distortion’s guitar-oriented voicing and the absence of a blend control mean it won’t satisfy players looking for a fully optimized bass overdrive. Instead, it offers something a bit less predictable, and that’s part of its charm.

The Donner Triple Threat Pedal isn’t trying to be a precision tool, and it doesn’t need to be. What it offers is a straightforward, character-driven set of effects that invite exploration.

For bass players willing to approach it on those terms, it can be a surprisingly inspiring addition. It won’t replace a dedicated pedalboard, but it can add texture, movement, and a bit of unpredictability in a way that feels immediate and fun.

For more information, visit online at donnermusic.com