Today’s pedal line is from Nate Sande. 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 firstname.lastname@example.org. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.
Today’s Pedal Line Friday is a special one for me. Nate and I went to high school together (about 1,000 years ago it seems). We were just recently re-acquainted in the best way I know how.. hanging out with guitars, beers and amps. Anyway, here is his pedal line!
I have long been searching and believe have finally arrived and discovered sonic nirvana in my current guitar rig.
I play in a 70s/80s/90s rock cover band that requires having a wide array of guitar tones available without significantly changing my rig
(www.kniptionfit.net http://www.facebook.com/pages/KNiption-Fit/97241487194). I have played in bands and gone the full range of rigs the past 15 years: 1) A basic british valve amp and Marshall cab setup in the 90s (Peavey 5150/Marshall 1960A); 2) A hybrid valve amp/solid state pre amp rig in the mid-2000s; 3) Trying out the digital stereo craze with a Line6 PODXT Live and a stereo amp; and 4)…where I’m at now, a dual tube head stereo guitar rig.
It’s nothing new. Brian May, Angus Young, Eddie Van Halen, Jeff Beck, Eric Johnson, Steve Vai…they all know it and practiced it. Running two amps in stereo with just sounds richer and better. I thought I might be able to get good dual amp/stereo tone with the Line 6 POD XT Live with a stereo amp and cab (or multiple cabs), but the tone and beautiful saturation of tubes just wasn’t there. So I made the financial commitment to build my stereo rig this year (balancing budget and best sounding gear), and just finished this week. You’ll see alot of Carvin gear in my rig – I’ve found that it’s really good stuff without breaking the bank. If I would have tried to go the route of Marshall or boutique amps, then the whole process wouldn’t be finished for another 2 years!
Because this is a post for Pedal Line Friday, the pedal board is the focus here. But how you connect your pedals to your amps/effects loops/etc. guides what you end up chaining together, so I’ll give a list of remaining parts of the rig setup after the pedals.
The Pedal Board (in order of routing):
A – Analog-Man Beano Boost (thanks Hank!)
B – LoopMaster True Bypass Switch to make a cleaner transition switch for “b1”.
b1 – Snarling Dog Wonder Wah
C – LoopMaster 2-Loop Effect Switcher with Tuner Out/Master Bypass (the loops aren’t being used, but liked the tuner out to keep the buffered TU-2 out of the signal)
c1 – Boss TU-2 Tuner
D – Boss SD-1 Super Overdrive
E – MXR Phase 90 (script)
F – LoopMaster ABY Box: A routes to “G” and “H” and eventually the Carvin V3 head. B routes directly to Carvin X100b head and stays “dry” minus the Phase 90 (sounds better to me present in both channels).
G – Boss CH-1 Super Chorus
H – Rocktron Banshee 2 Voice Box (allows my cover band to play a few
**connected amp effects loops (Parallel). Each amp gets a separate stereo delay/reverb loop…sounds awesome. Both stereo input and output on both reverb and delay routed separately for each amp.**
X – Boss DD-7 Stereo Digital Delay (replaced a Marshall Echohead – I love the Echohead but it doesn’t have stereo inputs, only stereo outputs)
x1 – Boss FS-5U Momentary Footswitch (Tap Tempo)
Y – Digitech Hardwire RV-7 Stereo Reverb
Z – MXR Smart Gate noise gate (only directed to V3 rectified amp for super high gain channel)
Amps/Sound (beyond the Pedal Board):
Amp #1 – Carvin V3 100W head (4 EL34s, 5 12AX7s) – GREAT distortion and fat EL34 sound
Amp #2 – Carvin X100b 100W head (4 6L6s, 4 12AX7s) – Big, clear cleans. More present distortion.
Cabinet – Marshall 1960AV (4 Celestion Vintage 30s)
**Other cabs available (depending on size of venue):**
B-52 ST-212A 140W 2×12 (Celestion Vintage 30s)
B-52 AT-412A 480W 4×12
B-52 AT-412B 480W 4×12
Monitoring (each Carvin amp have balanced, cabinet voiced line outs – I connect these to the following for stage monitoring):
Behringer Eurorack Pro RX1602 16-channel line mixer (receives Korg M50 Synth inputs as well) – stereo intputs and left/right outs, balanced Mon Out for overall PA/mixing,
Carvin DCM1015 1000W Stereo Amp (225W channel at 8ohms)
2 Carvin 1232 12″ Full Range monitors
Gibson Les Paul Classic (Goldtop with 500T/496R pups)
Epiphone Les Paul Custom – Ace Frehley Signature (Cherry Burst with 3 Dimarzio Super Distortion pups)
Gibson ’67 Flying V (Black with Dimarzio PAF Pro and Dimarzio Super Distortion pups)
Gibson ’76 Explorer Reissue 2005 (Natural with 500T/496R pups)