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malekko heavy industry
barker assmaster

price : $255.00




barker assmaster (germanium edition)

price : $285.00



9v "wall wart", 200ma, 2.1 mm neg tip regulated power supply (works with all malekko pedals)

price : $15.00


malekko is a new boutique company founded by good friends josh holley (noteable musician and synth enthusiast) and paul barker (professional studio musician and former bassist / song writer of ministry).

paul barker has relied on the maestro brassmaster for years to give his bass a unique sound not found anywhere else. using his trusted brassmaster as reference, josh and paul have worked hard so that the malekko b:assmaster sounds exactly like the original.

the malekko b:assmaster also includes a number of much needed modern updates : "pop-less" true bypass, uniquely recessed led, smaller sturdy alluminum enclosure, top of the line components, and virtually indestructable lexan graphics.

the controls
as explained by devi ever of effector 13

although the b:assmaster's controls look simple, they yield an amazing amount of tonal variations.

first, the b:assmaster has the unique ability to turn up the fuzz (ass volume) or clean signal (bass volume) seperately. thanks to this design, you can actually use the b:assmaster as a beefy clean boost by turning the fuzz volume (ass) and fuzz intensity (sensitivity) all the way off, and then turning the clean volume (bass) all the way up.

also, as you mix the fuzz and clean signal via the ass and bass knobs, there is no signal or tone loss of either (which is an amazing feat with how intense the fuzz can get).

the fuzz's intensity is controlled via the sensitivity knob, with a sound on guitar ranging from octavia to highly compressed brassy vintage fuzz. using the harm and ass flipswitches you can shape the tone of the fuzz to go from bass heavy, to highs rolled off, to thin.

the rest of the b:assmaster design is simple with the true bypass stomp switch located far away from the controls and standard 1/4" input / output situated on the upper side of the pedal along with a 2.1 mm 9v dc jack (there is also a battery snap inside the pedal).

but how does it sound - on bass
sound samples provide by paul barker. samples played on a 1974 fender precision, volume and tone pots on full, through the barker assmaster, directly into protools hd
the knob settings: 0 is off, 5 is straight up, 10 is max

mp3 ass harm ass vol bass vol sens
clip 01 L L 5 5 5
clip 02 L L 5 0 10
clip 03 L L 5 0 3
clip 04 L L 5 5 3
clip 05 L R 5 5 5
clip 06 R L 5 5 5
clip 07 R R 5 5 5
 
how does it sound - on guitar
sound samples provide by devi ever. the following samples were recorded using : fender stratocaster with stock single coils (bridge position) -> malekko b:assmaster -> roland ua-30 usb audio interface

ass harm ass vol bass vol sens
- - 0 10 0
(switches don't affect the sound on this setting)

b:assmaster as beefy clean boost
riff - bar chords
 
the remaining recordings were done with the clean signal all the way down and the fuzz all the way up. realize that you have the ability to mix as much of your clean signal as you want (which you could affect with other pedals before hand of course) with the fuzz heard below.

ass harm ass vol bass vol sens
* * 10 0 3
*cycling through the following positions : ass left, harm left = bass heavy / ass left, harm right = highs rolled off / ass right, harm right = thin

octavia at 12th fret - riff at 7th fret - open chord arpeggios - bar chords at lower frets

ass harm ass vol bass vol sens
* * 10 0 5
*cycling through the following positions : ass left, harm left = bass heavy / ass left, harm right = highs rolled off / ass right, harm right = thin

bar chords and riff at lower frets : notice as they are hit harder how the fuzz texture is compressed

ass harm ass vol bass vol sens
* * 10 0 10
*cycling through the following positions : ass left, harm left = bass heavy / ass left, harm right = highs rolled off / ass right, harm right = thin

two note riff : listen to the unique interaction, disharmony, and compression between the various notes

bar chords at lower frets : notice as they are hit harder and harderd how the fuzz texture is compressed

ass harm ass vol bass vol sens
* * 10 0 *
*sensitivity at lowest setting the various switch positions, then mid and various tones, high and various tones. cycling through the following tone positions : ass left, harm left = bass heavy / ass left, harm right = highs rolled off / ass right, harm right = thin

disharmonic two note bend : displaying the complex textures available
 
How Does It Sound - On Synth / Drum Machine
sound samples provide by Josh Holley and Jason

TR-606 drum machine : various settings

SH-101 one, two, three

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