Unlocking Muse Signature Bass Tone

Written by Howard Head

Muse is a three-piece rock band from Teignmouth, UK, and being a three-piece band means that the bass has more room to shine. Chris Wolstenholme does this not only through his melodic basslines but also through his monstrous tone. Today, we are going to explore how to achieve this sound.

The Core Concept: Layering Signals

The core thing to understand when dissecting Wolstenholme's tone is that there are lots of elements to it, and this is achieved by layering. Many gearheads will tell you that there are, in fact, 3 signals:

1. Clean Signal: The un-effected, fundamental low-end tone. This provides the punch, clarity, and solid rhythmic foundation that prevents the entire sound from turning into a muddy mess.
2. Fuzz Signal (Electro-Harmonix Big Muff): This is the massive, saturated wall of sound that delivers the characteristic "woof" and sustain. It often handles the lower-mid aggression.
3. Distortion Signal (Custom Animato/Fuzz Factory): A sharper, more aggressive distortion or fuzz that focuses on the high-mids and treble. This signal ensures the bass cuts through the densest guitar and drum layers.

In the studio, this is easy to achieve via multi-tracking. To achieve this signature blend live, a bass player must employ parallel signal processing. So instead of bi-amping or tri-amping (using multiple amps), we're instead using a pedal to split the signals, send each one to different effects, and bring them all back into one amp.

You may ask why this is all needed? Can't you just chain a few pedals together? Well, if you've ever used a distortion pedal before on bass, you'll know that you instantly lose bottom end. With layering, you can maintain a nice clean bottom end whilst you add distortion to the top and this results in a much thicker sound.

The Two Approaches to Live Layering

To blend these signals live, you need a device that splits your bass signal into multiple paths and allows you to mix them back together.

1. Parallel Mixing (Signal Copying and Blending)

This is where your single bass signal is copied, routed through individual effects, and then summed back into one output. The mixer allows you to control the volume, phase, and wet/dry mix of each path independently.

• EHX Tri Parallel Mixer: This is the most popular dedicated pedal for this use. It offers three separate, fully blendable effects loops (A, B, and C) and is perfectly suited for the three signals of the Muse tone.
• Multi-FX Units: Modern digital modelers like the Line 6 HX Stomp/Helix or Fractal Audio Axe-FX can easily split the signal into three or more parallel paths and blend them back together, often with built-in EQ/crossover points to perfectly dial in each path.
• The Budget Option (The LS-2 Trick): For a two-signal parallel blend, a pedal like the Boss LS-2 Line Selector (which I use in my own rig!) can be used. It has two loops (A and B), making it an excellent, affordable way to blend a clean tone with a single dirt channel or to blend two different dirt pedals.

2. The Crossover Splitter (Frequency Dividing)

This is arguably the more sophisticated approach because it inherently addresses the common issue of losing low end when using dirt pedals.

• How it Works: Instead of copying the full-range signal, a crossover pedal (like those found in certain Darkglass Microtubes X-Series pedals) splits the signal based on frequency (e.g., everything below 100Hz goes to the clean path, everything above goes to the dirt path).
• Key Advantage: By ensuring only the high frequencies are distorted, this approach guarantees a solid, unflinching low-end foundation, eliminating phase issues and tone warping common with full-range distortion. While some older Wolstenholme rigs used specialised rack gear for this, modern pedals now offer this feature in a compact format.

The Essential Gear

To capture the true Muse tone, you need to target the sound of his three layers. You can choose to copy Chris exactly, or (the more fun way) you can copy his tone principles but choose new/unique pedals that fit the same role. This way, you're not just copying his genius, but creating your own similar sound:

Clean Preamp & Compression

You need a way to shape and sustain your clean sound and get it to the front-of-house (FOH). A great starting point is a preamp with EQ settings and a DI out.

Ampeg SGT-DI

Darkglass Microtubes X Ultra

Compression

A quality compressor is vital for evening out your low-end dynamics and adding sustain to the clean signal.

Aguilar TLC Compressor

Fuzz Layer

This is the woolly, enormous sound. The classic choice is the Electro-Harmonix Big Muff Pi (often a Russian or Green Russian variant), known for its thick sustain and scooped midrange.

Electro-Harmonix Sovtek Deluxe Big Muff Pi

Flattley Bass Poison Ivy Bass Fuzz

Distortion/Grind Layer

This is the high-mid bite that allows the bass to cut through the mix. Chris Wolstenholme famously used the Human Gear Animato (or a ZVex Fuzz Factory), both of which are rare. Any aggressive, mid-focused distortion or fuzz will serve this purpose.

EarthQuaker Devices Blumes

The Wolstenholme Technique: EQ Carving

The secret sauce is not just having the pedals, but how you EQ them:

• Clean Signal: Heavily compressed (or just left alone) with a boosted sub-bass and low-mids.
• Fuzz Signal: Moderate blend. The EQ is set to be very bassy and sustained, but with the top end rolled off slightly to avoid harshness.
• Distortion Signal: Low blend but high volume. The EQ is set to be mid-heavy and trebly, with the bass frequencies completely rolled off. This ensures the grit is heard without competing with the clean path's essential low-end. Some EQs call this presence.

By blending a deep, compressed clean signal with the aggressive mid-range grind of the dirt pedals, you achieve that impossible sound: both crystal clear and ridiculously heavy.

Conclusion

If you want to master how to sound like Chris Wolstenholme from Muse, the secret lies not in any single effect, but in the technique of parallel signal processing.

Ready to build your own behemoth tone? The journey starts now. Head over to our dedicated sections above to find the perfect parallel mixer, a crushing Big Muff alternative, and the distortion pedal that will give you that aggressive high-end bite. 

Author: Howard Head - Professional bassist, educator and lifelong Muse fan. Get more in-depth bass tips here.