I don't see this being discussed very often, but the Boss CEB-3 can be used to split your bass signal so that you send (uneffected) B output to your bass pedals/amp as normal, and the effected A output is sent to a separate guitar amp/pedals. The CEB-3 will roll off bass frequencies to taste (protecting your guitar amp, and sounding more guitar-like), and the chorus effect can be used to slightly offset (delay) the "guitar" signal so that the two signals don't sound totally identical (which sounds more realistic, like two different people are playing notes in unison).
I did find a used Akai Unibass at one point, and I thought the "Uniboss" method sounded a lot better. For one thing, the built in distortion circuit on the Akai sounded terrible. Overall, the Akai pedal sounded artificial, compared to the Uniboss method.
The CEB-3 "Low Filter" knob is a high pass filer. So if you turn it up just slightly, at 8:00 or 9:00, it removes the low bass from the A output.
Note, when you stomp the CEB-3 pedal off, you are now sending bass frequencies to your guitar amp (!!!) So in order to kill the guitar signal, you'll need a kill switch of some type in that line (you can use a stompbox that has the volume at zero).
https://www.talkbass.com/threads/ceb-3- ... ss.190134/The trick is that filter control. It provides a low-cut at the output (the "A"-output, that is - the 'straight' output to your main bass amp is completely un-effected), so you don't have to send low-end to the guitar amp; because of this you don't need much POWER from the guitar amp in order to match-up volume-wise to a whole bunch'a main bass amp power. This little 'Roland Blue Cube' amp hardly had to be putting out much volume at all to REALLY fatten-up the harmonics in my bass sound. Also, if you want more distortion (or a different flavor) than what the amp will do (the little Roland I used had a good-sounding distortion channel), you can use GUITAR pedals on the way to the guitar amp, because you don't put any lows through it!
So this thing doesn't have to even be thought of as a 'chorus pedal'; it can be thought of as a UNI-BOSS. But the little pitch-shift that's available really makes it sound all-the-more like a seperate instrument. I know that Akai's box has octaving and fifths and all, but the high-pass filtered output alone - when guitar-distorted - majorly SOUNDS like an octave-up; between that and the pitch-shifting, it sounds great.
I found the best filter setting to be between 8:00 and about 9:30. If you don't want any 'chorusing' to speak of (it really doesn't sound like chorus per-se anyway when used this way), then it sounds just fine to run the depth control down all the way - but I was doing something like 10:00 and 2:00 on the speed and depth, respectively.
I even tried putting my ODB-3 in the line to the guitar amp. It was noisy, but Man!.. I'm talkin' singing feedback and rawcous fret noise (remember: NONE of this at all from the main bass amp; just straight, un-effected signal there).
The only thing that I wish were different is that when you step on the pedal to bypass it, it sends straight, un-effected bass to the guitar amp. It would be much better for this purpose, of course, if it were to MUTE all output to the guitar amp.
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It's strange to me that the boss seems to have no 'regeneration' in its operation. When I run the effect-only output with the E.Level at 3:00, filter on flat (CW), and depth and rate at min (CCW) - there's NO appreceable difference in tone between 'on' and 'bypass'. There's no 'effect' at all - it doesn't sound 'chorused' in the least; just a straight, flat, dry bass signal. When I mess with the modulation controls, I get a single, flat, dry, pitch-shifted bass. When I mess with the filter control, it simply but distinctively rolls-off the low end (the true original dry signal is not touched by this filter at all - it's only the delayed and modulated signal).
The second, distorted signal is so much like a seperate instrument playing in-unison - it's 'played' at a slightly-different yet varying time; it's at a slightly (or NOT-slightly!) different and varying pitch, AND it has a steep low-cut on the tone, as compared with the original.
