Aug 20 2014

Jónsi – Sigur Ros – Pedalboard Break Down

I can’t believe this one slipped by me.. never noticed it before! I wanted to talk about Jónsi of Sigur Ros. I’ve been a fan of Sigur Ros for years. Jónsi’s bowing guitar, the atmospheric vocals and guitar interplay. Good stuff. Re-al good stuff. I’ve analyzed Jónsi’s pedals in the past, but it was great to see a Rig Rundown by Premier Guitar go into detail about the guitars, etc.

A couple of things. I thought it was interesting that he doesn’t like new strings, and only replaces broken strings. That’s like nails on the chalk board for me. I personally LOVE the feel and sound of new strings. I like to have new strings for every gig when possible. BUT.. one thing that I did relate with him, I like not cleaning my guitar. I have no idea. I’ll wipe my strings, but like the feel of the sweat, grime, etc on my guitars. Especially on those nitro-finish guitars. I thought that was weird of me, but it was interesting that Jónsi was prefers this as well.

Okay, the pedals. Here is the breakdown:

Jónsi - Sigur Ros - Pedalboard Break DownEBS ValveDrive Class A Bass Tube Preamp / Overdrive
Keeley Katana
Ernie Ball Volume Pedal
Boss RC20XL Loop Station
Boss TU-3 Tuner

I have seen a TS9 Tubescreamer in the place of the EBS ValveDrive in the past as well.

Like Jónsi? Like Sigur Ros? Let me know what you think by commenting below!!!

Not familiar with Sigur Ros? Check out this video:


Aug 18 2014

TC Helicon Voice Tone Mic Mechanic Vocal Effects Pedal

TC Helicon Voice Tone Mic Mechanic Vocal Effects PedalI really enjoy listening to indie bands, and I’ve been noticing the use of more and more effects on the vocals.  Effects I classically hear is heavy reverb. If this is part of the sound you’re going for, and you gig, you probably run into issues of sound guys either unwilling to provide you with the reverb, or the board itself can’t do it, or the ‘web signal’ is only to the mains and not in the monitors. As a vocalist/musician, it’s important to consistently hear your ‘sound’. Even if you’re not on the heavy to extreme side of things, the consistency AND the control is great to have.

TC Helicon Voice Tone Mic Mechanic Vocal Effects Pedal is a simple pedal that can give you that control. There are a few vocal processors out there, but like I’ve mentioned in past posts, I’m a huge fan of *simple*.. and the TC Helicon Voice Tone Mic Mechanic is super simple.  Controls include on/off footswitch, Mic gain input level, style selector, dry/wet control and Tone on/off. The tone button provides EQ, de-essing, etc. I don’t think these parameters are adjustable though. Check out this video:

Pretty cool right? Vocalists might be interested in this guy for sure. Today, I found a deal on the TC Helicon Voice Tone Mic Mechanic Vocal Effects Pedal. This pedal lists for $205 and is usually available for $150, but is currently on sale at Amazon for only $125 and includes FREE shipping! At the time of this post, there were 15 units in stock. As usually, when stock count drops, the price may go up. So if you’re interested in this pedal, you better jump on it!

Do you have the TC Helicon Voice Tone Mic Mechanic Vocal Effects Pedal? Let us know what you think about it by commenting below!

 


Aug 15 2014

Pedal Line Friday – 8/15 – Robert Abernathy

Today’s pedal line is from Robert Abernathy. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineateffectsbaydotcom. Every Friday I’ll showcase a pedal line submission. Make sure you include iany links to your band or music page.

Pedal Line Friday - 8/15 - Robert Abernathy

Hey, my name is Robert Abernathy and I have been following Effects Bay for a long long while.  I always enjoy reading how other people have chosen their gear, how they use it and why they chain it together as they do.  I’m always searching for creative and unusual ways to create sound.  I love reading Effects Bay to see how everyone from different genres sets up their gear.  I love playing everything weird and experimental from doom to post rock, surf to noise wave and crusty punk to clean.  My attempt at setting up my board is based on wanting a great sounding clean tone that can be quickly obliterated into the best sounding all-out noise you have ever heard.

I’ve been using Hank’s pedal labels for the past year on different gear and they are great for saving settings.  My board is always evolving, but here is my current setup:

Stanley FX Bluesman  – This overdrive is an original design using FET transistors in a Shunt, Resist, Push, Pull configuration.  This pedal is very unique to my ears and I really like it (and no, I don’t think of myself as a blues musician).  It can go from a light/medium overdrive to gritty fuzz, without losing clarity or the bottom end.  I put this first in my chain so that it will impart its’ sound on other pedals that I stack it with further in the chain.  The Bluesman stacks very nice with fuzz and other overdrives, adding nice lows that give an extra growl while boosting the signal as well if you need it to.

Moog MF Boost  – This is a great boost that really helps enhance your tone.  VCA mode is like a clean boost, while OTA Clipped mode is more of a dirty boost.  Either mode will make your guitar sound better as it adds beautiful natural compression.  I keep this on all of the time.  You can even add an expression pedal which increases the signal boost available and can be used to either sweep the gain or act as a volume pedal (!).  I think this is a great under-rated pedal and can’t wait to add the expression pedal.

Devi Ever Synth Mangler – 2 of Devi’s Soda Meisers in 1 pedal – but with 2 sets of glitch switches (Chaos and Noise).  The Chaos switch seems to de-activate parts of the circuit, while the Noise switch seems to slowly choke out the circuit altogether until it gasps its’ last breath and then passes out in a puddle of its’ own urine.  Dense muff tones, gated/ungated,  velcro-fuzz, sputter/creamy zazz – the Synth Mangler is super versatile.   The trick is adjusting the joystick and trying different switch combinations.  And if you love noise, feed this into another fuzz pedal, turn the switches on and off, and you’ll get wild rising sirens.  Feed this into long delays, use the switches on and off, and create electronic drum patterns.  Convert your body into an A.M. radio antennae by just touching the switches with your fingers while it’s on.  I keep finding new ways to use this thing that should not be even possible.  Insane, but dependable every time.

Kinnetone Sagmaster   – This is a dying battery effect made by Brian Kinnaman.  The sounds it gives you when you add it to the pedal’s power supply will vary from pedal to pedal.  I keep this hooked up to the Synth Mangler.  When you dial it all the way down while the Noise and/or Chaos switches are engaged and toggle the joystick, you can get other-worldly octave ring modulator tones, destructive electrical flash grenade sounds, arpeggiator-like tones, and scrambled sirens chock full of upper octave artifacts.  Sometimes, your waveform just wants you to destroy it, so that it can be reborn into something new.  You can check out a video I made of the Sagmaster and the Devi Ever Synth Mangler+MXR Carbon Copy here:  https://www.youtube.com/watch?v=f_AG7o8P3Lk

Blakemore Effects Bi-Polar Octadrive  – This pedal is a Blakemore Effects Mustang Overdrive along with an octave-up fuzz in a single pedal.  The overdrive is based on a modded Way Huge Red Llama overdrive circuit (Tube Sound Fuzz) along with 3 separate tone controls added.  This goes from a nice boost to a hot tweed tone before crossing over into fuzz territory.  The Octave-up side is based on the Foxx Tone Machine’s Octave circuit and it has an amazing wild bloom – as if a ghostly electrical arc was creepy-crawling from your guitar cord to your amp.  Both sides of this pedal sound incredible.  The octave is very present and easily defined with either bridge or neck pickups and on both low and high notes all over the neck.

Devi Ever Aenima  – Nasty high-gain Fuzz, instant thick angry feedback, super loud – Doom on command.  This circuit is an evolutionary mutation from Devi’s Torn’s Peaker design and has a super aggressive and biting raw sound to it.  This silicon fuzz is bright, in your face, down and dirty and sounds great stacked with overdrive.  As nasty as this pedal is, it is easily tamed with a delay and is great for leads.

Übermut   – This is the 1 pedal to rule them all.  The Übermut pedal was designed so that you can change out the clipping components with a military spec. diode clip holder – so you can change out the diode in seconds without a sodering gun and without technical know-how.  This is a great customizable pedal and what it does really depends on what diode you’ve selected.   I am in love with their Vintage Germanium diodes, which at high settings is a great, burley, warm fuzz fountain.  Mosfets sound awesome too.  The left footswitch is a treble booster, which has an internal trim-pot to adjust the gain level.   This is a great great sounding overdrive/fuzz pedal.

Celestial Effects Gemini VTR  -  Independent Vibrato, Tremolo and Reverb 3 in 1 pedal, with the circuit path in that order.  The Vibrato sounds just like the sweet vibrato from a Magnatone amplifier with a toggle switch for Square and Triangle waveforms.  The Tremolo is classic and easily controllable.  Both the Vibrato and Tremolo are optically coupled LFO’s that have Rate, Depth and Duty Cycle controls on the front panel of the pedal.  The Duty Cycle allows you to control the on/off ratio of each pulse of the waveform, allowing you to control the ratio of how long the pulse is on during the time base cycle.  This means that you have incredible flexibility to manipulate the waveform to your liking.  The Reverb section is based on the digital Belton medium spring reverb tank with an analog opamp signal path.  I’m thinking of switching the tank out for the long reverb tank, but the medium tank sounds huge as it is.  Each section of this pedal has its’ own Gain Adjust and Tone controls via internal trimpots.   Everything on this pedal is of the highest professional grade and built like a tank.  It sounds lush and can easily go from beautifully authentic retro sounds to nonstandard noise-athon pulse waves of desolation.

EHX Micro POG   – Simple to use and tracks great on all notes and all strings with no lag.  Great for bass sounds from the guitar and for guitar sounds from the bass.  Cut down the dry signal to zero, crank the sub-octave and upper-octave and use this with fuzz and you’ll get a nice bit-crushing Atari effect.   I like to add a little bit of the sub-octave to my dry signal when I’m playing clean – just enough to round out the sound and add fullness.  A lot of people have this earlier in their signal chain, however, I like it right here after the reverb on the Gemini VTR to create a wash of ethereal octave waves.

MXR Carbon Copy  – Great analog delay.  This pedal makes everything single thing you play sound nice and worthy of listening to.  I adjusted the internal trim pots to slow down the modulation so that it’s more subtle.  Also super great for noise and oscillation effects.  I love keeping this just on the verge of oscillation.  Nice deep and warm repeats.  Carbon Copy + any Fuzz = great for slow solos.

BOSS AW-2 Auto Wah  -  Great analog auto wah/envelope filter that has now been discontinued.  Do I play Funk? – well, no…never -but this is great for slow, low-pass resonant filter-sweeping psychedelic drama (Rate 3, Depth 2, Manual 1 and Sens 0).  At this setting, it’s slow and low and great for doomy sludgy Fuzz love.  A lot of people put their wah very early in their chain, even before their dirt.  I’ve always loved wah after dirt and putting this after dirt and modulation effects creates a very unusual sound that is not a typical wah or auto-wah sound.  This unit can also act as an envelope filter (Rate 0, Depth 0, Manual 0, Sens 6).  The BOSS AW-2 is a great example of why you should often disregard what the “experts” say about pedal chain order and why you should also try products and effects that other people tend to overlook.

TC Electronics Flashback Delay  – Extremely versatile digital delay with a small footprint.  The Flashback is like a Swiss pocket army knife of delay options and textures.  The toneprint feature is what makes this pedal stand out from other similar delays and lets you customize it to your own personal taste.  I am in love every single toneprint and I love being able to customize the toneprint to my exact liking.  I switched the buffer on in this unit, which eliminates that audible click sound when you engage the pedal and also lets the delays spillover after you’ve turned off the delay.

I use the same set up for guitar and bass with zero problems.  The pedalboard was made from re-purposed wood by Cory Scanlon of www.recycledpedalboards.com .  He is a super-nice, super-skilled guy.

Pedal Line Friday - 8/15 - Robert Abernathy

Effects Bay is a great platform for us to compare notes and inspire each other.  I only wish we had something like this back in the 80′s and 90′s.  I am currently involved in 2 different projects:  My solo project is The Pipes of Drone https://soundcloud.com/the-pipes-of-drone/tracks  and I collaborate with my good friend Jason Hagood (guitars, keys, samples) on his project called Everything We Hold Dear https://soundcloud.com/everthing-we-hold-dear .


Aug 12 2014

Electro-Harmonix East River Drive

Electro-Harmonix East River Drive Here is a nice pedal I wanted to talk about for a while. It’s the Electro-Harmonix East River Drive. This is a classic sounding overdrive using the famed JRC4558 IC chip (ala Tube Screamer). This is a symmetrical clipping overdrive. There is a lot of talk about the JRC4558 IC chip. Some people swear about the tone from the JRC4558 opamp – some don’t care. For those of you have that have a few minutes today.. check out this post – “Visual Sound: Myth Buster #2: Op Amps

But regardless of the type of opamp that is in the EHX East River Drive, the bottom line, it sounds great at an affordable price! Standard controls you’d expect for this classic overdrive – Volume, Drive and Tone, and the unit is has a true-bypass footswitch.

Here is the official description of the East River Drive:

Electro-Harmonix East River Drive Overdrive creates classic overdrive that’s as bold as New York City. Add some east coast attitude to your clean sound or send your already gritty tone over the edge. Symmetrical overdrive adds edge and gain without compromising tone. Volume and Drive take it from sweet to searing while Tone lets you dial in just the right amount of bite to cut through the mix.

No matter how hard you drive it, you’re always in control. True bypass and tone that is absolutely unflinching at a musician-friendly price! What more could you ask for?

Check out this demo by EHX:

If you own this pedal, please head over to PedalFinder.com and submit a review!


Aug 11 2014

How to Mic Your Amp

How to Mic Your AmpTotally.. not pedal related, but I think a few of you might be interested in this. As player, we often find ourselves needing to mic the amp in live settings or in the studio or in the basement.  It’s good to have some knowledge about this so you can get the sound you want captured. As you can imagine there are a ton of technique, as well as a ton of gear out there. In my experience, the Shure SM57 is the absolute workhorse and you definitely see this mic everywhere, and it’s been on a gazillion recordings for guitar. Mics can get crazy with ribbons and various condensors, etc., but what I really wanted to address is understanding mic placement.

If you have the ability, you should try recording your guitar and understanding what works best for you. For example, I have an Avatar 2×12 with Celestion Vintage 30s and Celestion G12H30 speakers with an open back cab. I really like this combo, but if I need to put a single mic on it (in live setting), I prefer the Vintage 30. The G12H30 is nasty, which sounds great with the V30, but it can sound harsh by itself. So the first job is to find the sweet speaker to mic. If I was to record that cab, I would prefer both speakers mic’d and blended during mix.

The next piece is to figure out what position works best for your sound. On axis (which is directly in front of the cone – close mic’d), Off axis.. slightly off, or possibly angled and play with distance. Maybe you like the tone if the mic is a few more inches away from the cone. Get a flashlight.. get familiar with the mic to cone position and start recording the same riff and listen back. You’d be amazed on how things changes. From more attack, to darker tone, to harsh tones, etc.

I found this great video by Premier Guitar that goes into great detail about this!

To start experimenting, I would highly recommend that you have a Shure SM57 in your rock room. This is the workhorse as I mentioned earlier, and an ideal candidate to experiment with. If you have any tips/suggestions, please let us know by commenting below!


Aug 9 2014

Screaming Deal on the BBE Free Fuzz!

Screaming Deal on the BBE Free Fuzz!If you’re interested trying out a different fuzz on your board, today might be your lucky day! This morning I came across the BBE Free Fuzz on Amazon. I’ve seen this pedal in the $100 range, but is currently on sale for a crazy low price of $57 and that includes FREE shipping! For $57 it’s a great opportunity to try a new fuzz if you don’t already have this unit.

Here is the official description of the BBE Free Fuzz:

The Free Fuzz is a trip back to a rare and favorite fuzz pedal of the ’70s, giving the player a range of dynamic fuzz effects so creamy and full of sustain it can make anyone remember the days of the Lava Lamp and bell-bottom jeans. Robust build quality and rugged engineering ensure that the Free Fuzz will stand up to the abuse of life on the road. Other features include hardwire bypass, LED operation indicator, non-slip rubber bottom, easy-access 9v battery compartment and included external power supply.

There are a few demos on YouTube of the BBE Free Fuzz, but I kind of liked this one by studio1087:

Or this one, where the get some Smashing Pumpkins style fuzziness:

Just like other deal posts.. it is important to remember that price will often jump back up when the unit count drops down to 1 or 2! So if you’re interested, this is the time to pull the trigger. At the time of this post, there were 15 units in stock. Again, the BBE Free Fuzz is on sale for only $57 at Amazon.com


Aug 8 2014

Pedal Line Friday – 8/8 Pete Hiley

Today’s pedal line is from Pete Hiley. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineateffectsbaydotcom. Every Friday I’ll showcase a pedal line submission. Make sure you include iany links to your band or music page.

Pedal Line Friday - 8/8 Pete HileyHere are my pedals, arranged on a RUFO pedalboard purchased from Vintage Gitar in Oslo, Norway. I play in a stoner-rock band called The Wit (www.thewit.no) based in Oslo. I’m playing an early 80′s Gibson ES-335TD, a ’76 Gibson Explorer (Ltd Edition) fitted with Lindy Fralin p92′s, an MJT Jazzmaster copy and a ’79 Washburn Falcon. For amplification, I’m using a Simms-Watts MKII 100 watt head into a 1984 Marshall 4×12″ bass cabinet and an old Telrad (Norwegian company) 2×12 cabinet fitted with two monster PA speakers.

For power, I’m using a Voodoo Labs Pedal Power 2 plus, which is hidden away under the top bank of pedals.

The signal chain is as follows:

1: Sonic Research ST-200 Tuner. Tuners are tuners, I guess, but this is certainly the quickest one I have ever used. The accuracy and response are excellent and the user-preset function is pretty useful as well. I always thought the Gibson Min-ETune thing looked like it would do away with floor tuners all together. That was until I tried one the other day.  It functioned perfectly well, and was fun to use, but it kind of reminded me of an orthopaedic shoe in the way that it looked. It completely ruins the side-profile of the headstock in my opinion, as well as adding extra weight at the wrong end. Anyway, enough about that…

2: Pete Drive PD-1 Ok, so this is really just a Boss SD-1 that I repainted and renamed. The paint job doesn’t do anything for the sound, but I think it makes it slightly nicer to look at. I love SD-1′s; they are as cheap as they are reliable. The Simms-Watts head is incredibly clean, so I’m using the SD-1 with a relatively low drive setting, just to give the sound of an amp that just on the point of breaking up. I understand that the SD-1′s are voiced on an overdriven tube amp, and it’s perfect for that.

3: Analog Man Astro Tone Fuzz I don’t use it all that much, but it has an excellent dynamic response. Changing the pick attack can really squeeze the tone. I’m running this and the King of Tone at a slightly lower voltage, using the SAG feature on the Pedal Power 2, but I’m not totally sure if it affects the tone all that much.

4: Analog Man King of Tone  I’m using channel 1 as a clean boost and channel 2 on the distortion setting. Channel 1 stays on pretty much all the time and works nicely with the SD-1. It also gives decent clarity to the Astro Tone.

5: Earthquaker Devices Arpanoid  This pedal has capabilities that I’m yet to fully explore/appreciate, and I haven’t really found a good use for it. However, if you set it as shown, you get a kind of slap-back octave situation. It’s hard to describe, but it works really well on leads patterns and gives a kind of vintage style effect. It only really stays on the board to encourage me to play with it. Otherwise, I think it might just end up on a shelf at home.

6: Analog Man ARDX20 Dual Analog Delay with the AMAZE0 Controller Pedal pictured to the right. The delay itself is amazing as it is, but the controller pedal gives you modulation options, a tap-tempo function, a bank of user-programmable presets and a choice of quarter, eighth and dotted eighth note settings. It’s just extremely cool and: No, I don’t work for Analog Man :-)

7: Boss DD-3  I have no fixed use for this, but it’s nice to have. I’m mostly using the ‘hold’ function to create some atmospheric stuff between songs. Not much one can say about the DD-3 that people don’t already know.

8: EHX Holy Grail Nano The ‘flerb’ setting is poor, but the ‘hall’ and ‘spring’ settings are perfect. I’m using it for colour mostly. It’s really nice if you push the ‘hall’ setting just over halfway and get a slightly wetter tone.

9: Mr. Black Supermoon  It’s pretty much my signature sound and I can’t say enough good things about this reverb pedal. The effect is sort of indescribable; a bit like trying to explain the smell of cut grass or clean bed-sheets. Hehe. The ‘sway’ function gives you erie trails that go on forever. I’d say the upgraded Supermoon Chrome has more of a high-shimmer to it and is perhaps a little brighter, but this one is perfect for me.

And that’s it! I might incorporate a phaser and a volume pedal at some point, I’m not sure.

Enjoy

Pete


Aug 7 2014

Walrus Audio Descent Reverb with Pedal Steel

Walrus Audio Descent Reverb with Pedal Steel I love seeing demos with instruments beyond guitar and bass. It’s great to explore what pedals are capable of and to explore some creative possibilities. I’ve been having a few discussions with friends over the last month about the Walrus Audio Descent Reverb. This thing is a beast, sounds and looks amazing, with massive control. I also have a few friends that play Pedal Steel, so I was excited to watch this great demo of the Descent Reverb with Pedal Steel.

I thought the sound with the Walrus Audio Voyager in the chain was quite cool and gritty. The Pedal Steel definitely creates some great ambiance and vibe. I don’t often see steel players with pedals (beyond the ol’ volume pedal) so this was quite cool.

Here is the official description from Walrus Audio:

The Descent was designed to create ambient textures of sound, from thick and endless hall reverbs to symphonic shimmers.   The Descent is a three mode reverb system; hall, reverse, and shimmer.   In each mode, the user has the ability to feed +1 and -1 octaves into the reverberated signal. The Hall mode will feature a classic reverb sound that can move your signal from a small-room-echo to a haunting long hall- echo. The Reverse mode smoothly flips your signal to playback unique responses and can be manipulated with pre-delay time controls.  Shimmer mode highlights the octave features, dry signal, -1, and +1 to mix in your signal and creates a symphony of sound.

The Descent offers you eight controls to precisely hone in your perfect reverb. In addition, the user can use an auxiliary momentary switch in the fav input to switch the pedal on/off and/or save presets. If you have an already crowded pedal board, you can set your Descent at the back of the board and run a small SPST switch to the front of the board so you don’t lose valuable real estate. The Fav input requires a TRS cable to be used. The expression pedal control works with most on-the-shelf expression pedals. This feature allows the user to set the high and low parameters of each control and then fade in and out the those controls by moving your foot up or down on the expression pedal.

You can pick up the Walrus Audio Descent for $299 at Amazon.com! If you’ve played the Descent or if you have some thoughts about the demo video, please comment below!

 

 


Aug 5 2014

EarthQuaker Devices Afterneath Otherworldly Reverberator

I’m sort of in love with Earthquaker Devices right now. Played a few pedals, and it’s odd for me to say this.. you can always tell it’s an Earthquaker. They do things just a tad different than everyone else.  To me, when playing a Earthquaker Devices pedal, you are instantly inspired to create. I’ve never experienced that from a pedal company as much as these guys. One of my first experiences was playing the Disaster Transport SR.. wow. I eventually ended up buying a Dispatch Master for myself and is easily one of my favorite pedals.

Today, I wanted to talk about one of their new pedals – EarthQuaker Devices Afterneath Otherworldly Reverberator. If you like shimmer delays… um, prepare to be blown away. I don’t even want to try to describe this pedal.. just watch – just listen:

Epic. That’s the first word that pops in my head. Instant atmosphere pedal.  Bad news.. it’s not available yet, but you can purchase (pre order) via Musician’s Friend for $225. Expected ship date is 8/15/2014.

Let me know what you think of this pedal by commenting below!!


Aug 4 2014

Pedalboard Break Down – Jesse Lacey – Brand New

The other day, I saw a pretty great Rig Rundown on Premier Guitar with Jesse Lacey of Brand New. Now, I hate to admit this, but I was unfamiliar with Brand New. Jesse is rockin’ a Jazzmaster, so I was intrigued, and had to learn about this band. Again.. I’m late to the party.  But oh well.. fun to learn about new bands.

After some YouTube exploration, I came to the conclusion, that I definitely like their lives stuff the best. The studio recordings are great, but I loved the energy of the band’s live performance for sure.  The one that caught my eye/ear was this performance at the Riot Fest Chicago last year:

Anyways, Premier Guitar did a great interview and went into great detail on Jesse Lacey and Vincent Accardi. For those of you not following Premier Guitar on YouTube.. you should probably get on that!

Here is the break down of Jesse Lacey’s pedalboard:

Pedalboard Break Down - Jesse Lacey - Brand NewTheGigRig Pro-14
LR Baggs Para DI 5-Band EQ and Direct Box
Fuzzrocious ZUUL Synth oscillator, overdrive
Crowther Audio Hot Cake
Smallsound/bigsound Buzzz Octave Fuzz
TC Electronic Corona Chorus
Dr. Scientist Radical Red Reverberator
BYOC The Large Beaver fuzz

Walrus Audio Limited Edition Voyager Overdrive
Boss DD-6 Digital Delay
Old Blood Noise Endeavors Black Fountain delay
Mr. Black Deluxe Plus Spring Reverb/Tremolo
MXR Blue Box Octave Fuzz (Modified)
Boss TU-2 Tuner

Let me know what you think of Brand New.. and please let me know if you see any errors in regards to the pedals listed above by commenting below!


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