Laney Digbeth Bass Suite

Layout and Interface:

First impressions matter, and the Digbeth Bass Suite doesn’t disappoint. The layout is neat and tidy, reminiscent of what I like to call the “Nokia effect” – you know, back in the day, before smart phones, when it didn’t matter which Nokia phone model you had, the menu system was always exactly where you expected it? That’s the level of intuitive design we’re talking about here, but with high-resolution resizable graphics!

Across the top of the screen, we have a range of menu features. For those using the standalone version, you’ll find audio interface settings, here. There’s also a comprehensive preset menu that allows you to access factory and artist presets, as well as save an unlimited number of your own. I particularly appreciate the inclusion of “Undo” and “Redo” buttons – a small but mighty feature when you’re in the flow of crafting your perfect tone.

In the top right-hand corner, you’ll find MIDI control options for the plugin’s parameters. This is a godsend for those who prefer hands-on (or foot!) control during performances or recording sessions. And let’s not forget the built-in tuner – a must-have for any serious bass plugin. It even allows you to mute the output while tuning and adjust the reference pitch from the standard 440Hz, if needed.

The signal path is clearly visible at the bottom of the screen, giving you a visual indication of your effect arrangement from input to output. This transparency is crucial when you’re dealing with complex signal chains, and it’s a feature I focussed on during testing to keep on top of the virtual equipment layout.

I’ve summarised the key features of the plugin to accompany my video:

1. Crossover:

Aside from a standard serial effects path, the onboard crossover can be activated to split the signal into low and high elements. Laney offers three types of crossover, each with progressively more aggressive degrees of split. This feature opens up a world of possibilities for tone shaping, allowing you to treat different frequency ranges independently. Drive in the treble ranges, bass boost in the lows for example.

2. Filters:

At the input stage, you’ll find both high-pass and low-pass filters. Each filter offers up to 24dB per octave slope, giving you precise control over your frequency range. I found leaving the low cut at around 30Hz at 24dB/Oct to be particularly effective in chopping away unnecessary sub frequencies that can waste energy and sometimes prematurely trigger compressor thresholds.

3. Effects Pedals:

The Digbeth Bass Suite includes models of four effect pedals, each bringing its own flavour to your tone:

   – The “85”: This bass interval pedal is a treat for those who love to experiment with octave effects. It offers independent control of an octave down, plus an additional switchable “Interval” control. This allows for an extra octave up, 2 octaves down, or a perfect 5th above your original note. The Focus control lets you fine-tune the character from classic funky subs to massive synth-like chords.

   – The Custard Factory: Named after the building where Laney began manufacturing in Birmingham’s Digbeth quarter, this is a studio-inspired, triple-mode bass compressor. It’s designed to be transparent and simple to use, delivering consistent musical sound without impairing the fundamental tonal quality of your instrument.

   – The BLACKHEATH: This handcrafted, triple-mode bass distortion pedal is a one-stop-shop for all your distortion needs. It features two different modes of distortion and an overdrive, delivering everything from aggressive distortion to tube-like warmth and subtle coloration for clean sounds.

   – The Gamma Burst: While not currently available as a physical pedal, this Aurora DSP custom distortion offers a different flavour of tone compared to the BLACKHEATH. It provides Gain, Level, and Blend controls, along with an added bass control for low-end depth and a three-way switch for additional tonal adjustment.

*Each effect pedal includes a blend control, an absolute must for us bassists! Oh, and no batteries needed!

4. DB500 Amplifier:

Moving to the heart of the plugin, we have the solid-state DB500 amplifier. It features both FET and “tube” drive sections, along with a flexible and intuitive equaliser. The amp has a very colourful sound, aimed at bassists looking for character rather than neutrality. The Tube Drive and FET “channels” offer a wide range of tones, from clean to full-on grit, all at the twist of a knob. Just remember to watch your levels as you add gain!

5. Cabinet Simulation:

Aurora DSP has meticulously modelled three Laney Digbeth cabinets: the 2×12, 4×10, and 8×10. These IR (Impulse Response) captures have been collected using different microphones per cabinet, selectable from a drop-down menu. The well-known AKG D112, Royer ribbon R121, Sennheiser (M)D421 and an LDC (Large Diaphragm Condenser) models are always most welcome. This attention to detail means each cabinet and mic combination has its own distinct character, greatly expanding your tonal palette. I liked the R121 with the 2×12 combination.

6. Studio Effects:

For those who love to tinker with studio-grade effects, the Digbeth Bass Suite doesn’t disappoint. It includes models of classic compressors, like the LA-2A and 1176, BBE’s Sonic Maximiser, and an API 500 series EQ known for its rich tones and output transformer richness. There’s even an overall signal limiter in the output block – perfect for catching those sneaky peak levels that might otherwise clip your output.

7. Mammoth Processing:

Taken from Aurora’s own “Mammoth” plugin, this low-end processor adds weight to your tone through maximisation and harmonics in the low end. It’s a secret weapon for achieving that huge, earth-shaking bass tone that thunders through any mix.

8. MIDI Implementation:

The plugin includes some MIDI implementation, allowing for in-app automation or the use of an external foot controller to trigger changes. This is particularly useful for live performances where you might want to switch between different patches quickly or automatically.

Sound and Performance:

The Digbeth Bass Suite is designed to bring out the best of the Digbeth range’s character, and it does so with aplomb. It offers a colourful, tonal identity aimed at bassists looking for a distinctive sound rather than a neutral output. Whether you’re after vintage warmth, gritty rock tones, reggae thump, or punchy modern percussive sounds, this plugin will whisk you away from mediocre blandness.

Usage Tips:

When working with the Digbeth Bass Suite, it’s important to remember that a little goes a long way. Start with the amplifier and cabinet blocks to get your base tone, then gradually introduce effects. This approach helps avoid the “option paralysis” that can come with such a feature-rich plugin.

I’ve found that small adjustments within each block tend to yield the best results. It’s easy to get carried away and end up with a muddy, undefined tone. If you find yourself in this situation, don’t be afraid to bypass all the effects and retrace your footsteps.

The parallel processing capabilities of the plugin are particularly powerful but can take some time to master. Experiment with different crossover points and processing on each path. You might be surprised at how much clarity and punch you can achieve by treating your low and high frequencies separately.

Don’t overlook the importance of the input and output stages, either. The high-pass filter at the input can work wonders for cleaning up your low end, while the limiter at the output is crucial for keeping your levels in check, especially when you’re stacking multiple effects. You don’t have to reach for additional software as your studio signal path is catered for, within.

Conclusion:

The Laney Digbeth Bass Suite is more than just a plugin – it’s a comprehensive bass tone workshop in digital form. It captures the essence of Laney’s hardware (that I have in my studio right now too for future reviews) while adding the flexibility and convenience of software. Whether you’re a studio producer looking for the perfect bass tone for your mix, or a live performer needing a versatile rig in plugin form, the Digbeth Bass Suite has something to offer.

The collaboration between Laney and Aurora DSP has yielded great results. The attention to detail in modelling not just the amplifiers and cabinets, but also the individual pedals and studio effects, is commendable. It’s clear that a lot of thought and effort has gone into making this plugin not just powerful, but also intuitive and enjoyable to use. I didn’t feel I needed a manual to get up and running! I feel that will mean you’ll spend more time creating rather than fussing over unnecessary functionality, something that is a bane for many a composer in the technological realm! It is, however, well worth the effort of spending some time playing with the plug-in before you set to work playing through it!

With its current introductory offer, the Laney Digbeth Bass Suite represents excellent value for money. Whether you’re a seasoned bass player looking to expand your tonal palette, a producer in need of high-quality bass tones, or a beginner wanting to explore the world of bass sounds, this plugin is definitely worth checking out. It may even have you reaching for the credit card for the physical devices too!

I’ll be interested to hear who you are all using software plug-ins for composition and performance!