Best 8-String & Extended Range Basses for Metal

MODO BASS is unique because it doesn't use recordings. It models the physical properties of the string, the pickup, and the wood mathematically. This means you can do things that are impossible with samples, like moving the pickup position in real-time or changing the age of the strings from "New" to "Broken In." I love using this for prototyping basslines because the file size is tiny and it loads instantly, unlike the massive sample libraries that take minutes to purge. It is the ultimate tool for rapid prototyping when inspiration strikes.

For metal, the "Metal" model (based on a Dingwall Combustion) is surprisingly convincing, especially in the context of a dense mix. Because it is synthesized, you never get that "machine gun" effect on fast repeat notes, which plagues even the best sample libraries. It is fluid and alive. I recently used it on a speed metal track where I needed 16th notes at 200 BPM, and the alternate picking engine handled the velocity changes perfectly without sounding robotic. The physical modeling engine handles rapid-fire notes better than any sample library I've tried.

UJAM creates tools for deadlines, not for tweakers. IRON 2 is not for the bass purist who wants to adjust the virtual microphone angle on the cabinet. It is for the producer who needs a polished, heavy bass track nicely done in five minutes. The tone is aggressive, scooped, and sits perfectly under distorted guitars without any processing. I used the "Drop D" mode on a recent commercial rock pitch, and the client commented on how "tight" the rhythm section felt, not realizing it was programmed in one take. It delivers that polished, radio-ready rock bass sound instantly.

The "Player" mode allows you to trigger complex, drummer-synced riffs with a single key, which is a lifesaver for non-bassists like me who struggle with fast picking consistency. While it isn't the most flexible tool-you can't really perform intricate solo lines-it is the most reliable workhorse for laying down a solid foundation quickly. It allows me to focus on the songwriting rather than the performance nuances of the bass track. If you need a "wall of sound" low end that just works, this is it.

Ample Sound usually focuses on acoustic guitars, but their bass engine is criminally underrated for heavy music. The Metal Ray5 captures that specific mid-range growl of a MusicMan Stingray perfectly. Unlike the ultra-scooped Dingwall libraries that everyone uses, this has a throaty midrange that cuts through a mix aggressively. I used it on a thrash metal project where the guitars were very scooped, and the Ray5 filled that frequency hole perfectly without clashing. It occupies a unique sonic space that more modern basses often miss.

The "Riffer" feature is a great way to generate ideas, randomizing grooves based on your harmonic input while keeping them idiomatic to the bass guitar. It feels distinct from the modern "tech-metal" crowd. The library handles drop tunings well, though it shines brightest in standard or drop-D where the string tension feels tight and punchy. It provides that classic, aggressive finger-style growl that metal was built on. It’s a great alternative flavor to have in your arsenal.

Toontrack revolutionized drums with Superior Drummer, and they are doing the same for bass with EZbass. The Metal EBX expansion captures the modern, clanky Dingwall sound that essentially defines the Djent genre. The engine is brilliant-it understands musical context, automatically adjusting string selection and alternating picking to sound like a human player would. I was skeptical at first, but after dragging a MIDI chord progression onto it, the bass line it generated was essentially release-ready. It understands the nuances of a bassist in a way that standard MIDI does not.

The "Grid Editor" is the killer feature here. You can program complex riffs with articulations like slides, dead notes, and slapping without needing any PhD in MIDI programming. It just sounds right. On a recent progressive metal track, I needed a unison riff with the guitars, and EZbass tracked the guitar audio file and converted it to bass MIDI with shocking accuracy. It is a workflow miracle. It saves me hours of manual transcription and programming time.

Shreddage has been the go-to name for virtual guitars for a decade, and Abyss brings that same level of deep sampling to the low end. It is recorded DI (Direct Injection) through high-end analog gear, meaning you get a pristine, clean signal to re-amp however you want. I love this because I can run it through my own Neural DSP plugins to match the exact distortion tone of my guitars. It tracks down to a low G, which is subterranean. This extended range is essential for modern metal genres that tune lower than a standard bass.

The "Console" scripts allow you to build a pedalboard chain inside the plugin with EQ, compression, and cabinets, but honestly, its strength is as a raw source. If you need weight and clarity in the sub-bass frequencies, this is it. I used Abyss on a deathcore breakdown recently, and the low G notes held their pitch and fundamental frequency perfectly without flapping or becoming muddy, which is rare for sampled instruments. It provides a solid, unwavering foundation for even the heaviest breakdowns.

Submission Audio changed the virtual bass game forever. Before Eurobass, bass VSTs sounded like MIDI keyboards trying to be guitars. Eurobass sounds like a guy hitting a Spector Euro 5 LX very hard with a thick pick. It is aggressive, bright, and cuts through any mix with zero processing required. It provides that instant "Nolly" Getgood percussive clank that defines modern metalcore. It hits the compressor in a way that makes the whole mix jump.

There isn't much to tweak, which is actually a blessing. You get a DI signal and a few pre-processed tones that sound fantastic out of the box. I used this on a mix where the live bass recording was muddy and unusable. I simply replaced it with Eurobass, and the track instantly got 50% heavier and tighter. It’s a one-trick pony, but it performs that trick better than anyone else in the world. If you want that specific modern metal sound, this is the only plugin you need.

While many modern libraries focus on the ultra-modern Dingwall sound, the Rickenbacker 4003 remains the king of character and mid-range bite. Native Instruments captured it perfectly in this collaboration with Scarbee. It has that distinct, hollow "clank" that sits beautifully in a mix without needing tons of EQ to carve out space. It instantly evokes that classic rock or early progressive metal vibe-think Rush or Yes, but heavier. It brings a vintage weight that modern 'djent' basses simply lack.

For progressive metal or classic rock, it adds a texture that purely synthetic or modern basses cannot match. It isn't as sub-heavy as the modern options-you might need to layer a sub-sine underneath-but for mid-range definition, it is unbeatable. I used it on a track that needed to sound "vintage but heavy," and running this through a saturation plugin gave it a gnarly, aggressive tone that felt completely unique and organic. It proves that you don't always need a modern dingwall to sound heavy.