Effects Bay

Today’s pedal line is from Shawn Downer. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

Short Bio,  I have been playing music on various instruments since 1976.
I started on guitar and that is my main preference, but I also play bass, and can keep a beat on the skins.

Well as far as my rig goes,

Starting off with the classic Crybaby

Voodoo Labs Giggity, is a awesome analog pre amp, I use to to round off the mids and highs, but it also works well for fattening up the bottom end.

Devi Ever FX, Rocket Mangler Dual fuzz with add VFM drone tones, this is an amazing fuzz pedal offering many variations of fuzz controlled via a joy stick.

Cusack Tap-A-Phase, a great phaser pedal with a vast amount of character…

Visual Sound, Son of Hyde Distortion pedal, set up for a classic british tone, this pedal offers player specific tuning, meaning you can open it up and change it to how you want it…

Visual Sound Clean boost, this is a excellent pedal to boost the signals that might get lost, also great for getting a little more boost at the certain point of a song that you need to highlight

Rocktron  Phaser, well because, I figure you can never have enough phasers…

Shawn Downer…

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Today’s pedal line is from Al Oomens. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

Greetings! I’ve been following Effects Bay on Twitter for a while now, and pedal line Friday  as well as your give-aways. I though I’d send you a picture and description of my pedal board. It’s rather small, but that’s because it was built to be exactly what I needed, and no more. It’s actually quit functional. Below, I describe not only the pedals I use, but also a little bit about why I chose them, and how they are used together. Hope you find it interesting and/or useful.

My pedalboard consists of:
- Strymon OB.1 – optical compressor and boost
- Ibanez PQ9 – semi-parametric EQ
- Earthquaker Devices Speaker Cranker – overdrive
- Earthquaker Devices Dispatch Master – reverb and delay
- A/DA GCS-2 – speaker cabinet simulator/direct box
- Pedaltrain Mini pedalboard
- Visual Sound OneSpot & small transformer based power supply

This board was put together for (mostly) clean sounds with the ability to run directly into the board and maintain the tone and feel of playing through a miked amp. While at first glance it may seem like a fairly simple board, a lot of thought went into each pedal used. All the features of each pedal are useful, and work well together with no duplication of features.

The OB.1 is the most transparent guitar compressor I have heard so far. When you switch it on there virtually no change in the perceived tone of the guitar. I leave it on almost all the time. It also features a separate foot switch for boost. You can select treble boost,  mid boost or flat boost. The treble boost gives me a nice bright sound without sounding thin.

The Ibanez PQ9 is the only vintage pedal in my board. It is from the Ibanez ’9′ series of the early 80′s (the TS9 was from this series). I use it to duplicate the sound of the tonestack of a Fender amp. With the sweep-ablemid, I found it very easy to do. If I am running only into my amp, I just switch this off. This is a real nice, musical EQ.

For overdrive I chose the EQD Speaker Cranker. It is a dead simple (one knob!), great sounding overdrive. I already have the tone I like so I don’t need tone controls. At the lowest setting it adds just a bit of breakup for chords without drastically changing my tone. At higher levels it automatically increases the volume so the perceived volume remains the same. Still without drastically changing the tone of my guitar. If I want that mid-boosted overdrive sound, I just click on the mid boost on the OB.1.

I’m one of those players that can’t live without reverb. For that I chose the EQD Dispatch Master. This pedal combines reverb and delay. The reverb is not a spring type,  but again, it really lets the natural tone of the guitar through, even at pretty drastic settings. I keep this on all the time, usually with a little delay.

The last item is the A/DA GCS-2. This is a superb direct box. It is switchable to emulate both modern and vintage speakers, closed and open back cabinets, as well as 10 or 12 inch speakers. There is also a control to simulate different mic placement. I use the through output to go to my amp and the mic output direct to the board. It really does a great job of emulating the sound and feel of a mic’d cabinet.

The first four pedals are powered by a Visual Sound OneSpot, daisy chained. The GCS-2 uses its own transformer based wall wart supply. The pedals are mounted to a Pedaltrain Mini pedalboard and connected using Monster Cable interconnects.

It all ends up being a fairly small board, but more versatile than it would first appear. And, most importantly, gives me all the sounds I want, whether plugged into my amp or going directly into the board (or both)!

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Today’s pedal line is from Brian Theoret. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

A little over a year ago I was happily surprised to make it onto Pedal Line Friday.  Effects Bay is one of my favorite blogs out there and I always enjoy reading up on the latest and greatest pedals out there.  I’m a gadget freak so I dig this sort of thing.  I especially dig all of the pedal demonstration videos.

I’ve made a couple of adjustments in terms of routing and there have been a couple of additions to my board as well.

Please visit my Facebook, Twitter, Reverbnation, or Homepage to hear some original tunes, see what I’m up to, or just to say hi:
https://www.facebook.com/Brian.Theoret.Music
http://www.briantheoret.com
https://www.facebook.com/TheDownhillChair (although this isn’t music related, it’s another one of my hobbies that I really enjoy)

Pedal Routing:

- Boss NS-2 Noise Suppressor
I mainly use this guy to cut off my sound if I’m switching instruments mid-show.  It has an effects loop that works great if you want to cut out any noise coming from your effects.  The signal coming out can be split which is the way I have it set up now.  I have one out going to my Fender PT-10 which is a great tuner and the way it is routed now, it doesn’t suck any of my signal.

- Morley Power Wah Volume
Great double duty pedal that I use for volume control and wah/drive as well.

- Danelectro Milkshake
Great little chorus pedal.  It has simple controls and sounds great.

- MXR EVH Phase 90
I love the extra EVH edge that this pedal has.  The EVH Phase 90 is an improvement on an already great phaser pedal.

- Boss BD-2 Blues Driver
This is one of my favorites as it’s the only driver/distortion pedal that I have found that works amazingly with both my electric AND my acoustic.  It goes anywhere from melt your face to warm blues.  I love it.

- Boss TR-2 Tremolo
Combined with the BD-2, this pedal sounds great.  It’s a pretty standard tremolo.  It can go from choppy to a smooth pulse.  I really enjoy the various types of tremolo I can get out of this pedal.  One tremolo pedal I’ve heard great things about is The Tremolessence by Dr. Scientist.

- Boss DD-3 Digital Delay
I use this guy to generally when I’m doing ambient type stuff but can get a great Edge feel.  It’s a lot of fun to play around with.

- Boss DD-20 Giga Delay
I absolutely love this pedal.  One feature I use a lot is Sound on Sound. That combined with loads of other Delays makes this pedal very versatile There are loads of things I can do with this pedal and it does its job beautifully.

- TC Electronic Hall of Fame
This can add either subtle “space” to your sound or you can use it to make you feel like you’re in Westminster Abbey.  I haven’t experiemented with Toneprint  yet but from what I’ve seen it sounds pretty amazing.

- TC Helicon Mic Mechanic
This gives you some great options for vocal reverb and delay along with automatic compression, de-essing, EQ, and even pitch correction if you need it.  So far I haven’t had to rely on the pitch correction but everything else sounds great.  You can get some really cool slap back, echo, and reverb from this pedal.

One thing I did to make it easier to reach the pedals in the back row without accidentally turning knobs in the front row was to build a riser in the back which allows my cables to be routed underneath and raise my pedals in the back.  This freed up some space and helps me keep my board organized.

Thank you for checking out my board!
Brian

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Today’s pedal line is from Steve Thompson. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

I didn’t know if I should submit my pedalboard as it had been featured on the site in late 2009. The thing is, though, it’s literally a new board now and I’ve cycled out a ton of pedals. Here’s a link to the 2009 feature for comparison:
http://www.effectsbay.com/2009/11/pedal-line-friday-1127-steve-thompson/

Steve, thanks for resubmitting. Also, for the readers out there, I know that boards change, so please DO resubmit if you’re board has changed since your Pedal Line Friday submission!

Here’s a rundown of what’s on the board in 2013 and how I’m using each box:

- Boss TU-2 Chromatic Tuner – This tuner still seems to do the trick. I’ve tossed around the idea of replacing it with a Korg Pitchblack due to the true bypass and readability of that pedal. In reality though, the bypass isn’t too bad on the TU-2.

- Dunlop Crybaby 535Q Chrome Wah – Stock, un-modded 90′s era Crybaby with Q control and optional boost.

- MXR Custom Comp – For a while, I was using an MXR Dyna Comp. The Custom Comp is far more transparent and responds well with any pickup (the Dyna Comp seemed to destroy my guitar’s “sparkle” when using the neck pickup).

- MXR Micro Amp – This is a great clean boost. I use it more for driving my dirt boxes than as an overall signal boost. I feel like, when engaged, this pedal adds a nice little high end shimmer to your signal as well, but not in a way that colors your guitar tone.

- MXR Distortion III – I use this more as an overdrive than distortion keeping the distortion knob almost all the way down. I play through a Fender Twin Reverb ’65 reissue which gets you amazing clean tones, but no real dirt unless you’re willing to crank it really, really loud. I use the Distortion III mostly as a foundation pedal for songs where I want to add just a little dirt.

- Catalinbread Manx Loaghtan Fuzz – This one replaced my EHX NYC Big Muff a few months ago. It can definitely nail the heavy Big Muff sounds, but where it really shines is its versatility. You can get a ton of different sounds out of it and it cleans up really well with the guitar’s volume knob.

- Electro Harmonix POG2 – This will track chords perfectly (or about as close as any other pedal out there). You can get everything from a 12 string guitar sound to an organ to a weird synthesizer type thing. This is one of those pedals that is really only limited by the imagination of the player.

- Electro Harmonix Stereo Pulsar Tremolo – This literally was just added to my board a couple of days ago. It seems to be one of the more versatile tremolo pedals at its price point on the market. You can adjust the waveform shape and actually push the depth parameter to the point of phasing your signal and making some strange ring modulator type sounds.

- Electro Harmonix Holy Grail Reverb – The old “big box” model of the Holy Grail Reverb. I’ve had this thing for years and I’ve never seen a reason to part ways with it. I LOVE that the reverb knob acts more like a blend control than just the amount of reverb added to you existing signal. Once you set the dial past noon, you begin to replace your dry signal with the reverb signal. With the dial maxed out, you get JUST the reverb signal which is great for atmospheric swells and other fun applications.

- MXR Carbon Copy – This is a true analog delay with optional modulation. With the regen knob past noon, things can start to get really crazy. If you max out the regen knob you can basically get a ton of white noise and control the pitch of that noise with the delay knob. This is another one of those pedals that really is limited by the guitarist’s imagination (and how many hands he or she has).

From here, my signal goes into the vibrato channel of my Fender Twin. It may seem like I have a paid endorsement from MXR or Electro Harmonix, but that’s not the case! I just think they make some reliable, creative, and fun pedals!

I released an album last August called God’s Justice. I use most of the effects in this article on that album in some capacity. You can check out previews on Amazon or stream the entire album from Spotify.

Thanks guys!

- Steve
http://www.stevethompson.net/

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Today’s pedal line is from Tzvi Gluckin. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

Obviously, Boston has been in our minds, so when I saw this entry come in.. I wanted to post it.

Dear Effects Bay,

I am an Orthodox Rabbi with a degree in Jazz Studies from the New England Conservatory of Music.  Figure that one out!

I live in Boston and you can find my newest album here: http://tzvigluckin.bandcamp.com/

My music is an eclectic mix of happy early-90s alternative, family-friendly Zappa, whacked-out Jewish roots music, odd-metered funk, and blues-based rock.

My pedal board is an ever-evolving 30-year work in progress.  In front are the effects I put before the amp and in back are the effects I run through my amp’s effects loop.

Up front is a Dunlop Classic Cry Baby Wah. When I first bought this pedal, Dunlop was only making the Cry Baby, there were no fancy options.  I used it for 20 years, replaced the pot, and ultimately trashed the input jack, so I decided it was time for an upgrade. I bought the most expensive Wah I could find ($250) and hated it – it was noisy and drastically altered my tone on a clean setting. I returned it and replaced it with the closest thing I could find to the original Cry Baby (the classic). It rocks. The Cry Baby has a chunk and a mellow high end (many wah’s clip when in the treble position) and is great for 70s-style shaft comping.

Next up is the Boss OC-2 Octaver. I keep the octave 2 position cranked all the way and it makes a nice farting sound when I play notes from low A down. It is also great for fattening up jazz-style modal noodling over ostinato funk grooves.

The Emma DiscumBOBulator is the mother of all Envelope Filters. I use it almost exclusively for leads. For funk comping I stick with the wah.

The Pro-co Rat. Wow. For live playing, I almost always use the lead channel on my amp and save the Rat for ultra-overdrive boost.  But in the studio the overdriven tubes can be too much. The Rat is my go-to pedal for classic distortion and usually sounds HUGE.

Zvex Fuzz Factory. Awesome tool for nasty, abrasive sickness and overdriven weirdness.  The exploratory possibilities are endless.

Dunlop Rotovibe. I got this in the early 90s and I don’t know how I lived without it. I originally got it to simulate a Leslie cabinet, but now I almost always turn it on and forget about it.  It is my go-to warble. It is particularly good for Middle Eastern leads and helps simulate a microtonal feel.  And from the Rotovibe I plug into the amp.

In the back I have a Boss Super Chorus. I got it when smoke came out of my Rotovibe and I thought it was a goner. I used it until the Rotovibe miraculously fixed itself (I don’t know what happened).  Now it is just a place holder in my board until something better comes along.

Pearl Analog Delay. This is a cool pedal and is apparently now a collectors item (eBay has them for about $300).  I got it in high school when they came out in the early 80s (and there is no way I paid $300 for it).  It has
two independent delay units, each activated with its own foot switch, and shares an overall delay level and output level.  I usually keep one setting short to fatten up leads and the other long for groovy effects.

If I use a looper I stick it here as the last pedal in the chain before the signal returns to my amp’s loop.  This way it keeps all the effects in the sampled loop but allows me a full pallet of sounds to use over the top.

My board is powered by a Dunlop DC Brick.  I use that because it is small, allows for both 9 and 18 volt effects (the delay is 18 volt), and I can use it in any country regardless of voltage.

My amp is a Mesa/Boogie Mark IV 1-12 combo.  I bought it 20 years ago and it still has the original tubes.  I had the amp serviced last fall before I went into the studio and the tech told me the tubes are now outdated by at least 2 generations.  But hey, they still work and sound great.

My guitars are an early 90s Tele (a ’52 reissue) and an early 80s Les Paul with maple neck and no-burst finish.  I got the Les Paul at a hipster guitar shop on West 30 Street in Manhattan in the early 90s.  I didn’t pay for it.  I swapped a beautiful Gibson ES-175 for it and never looked back. I was thrilled and the guitar shop sold my 175 within a week, so they were thrilled too.

For a tuner, I have a beat Matrix stomp box that I thought was a Boss pedal when I bought it, but I usually just use my ears.

Thanks for your great website!!!
tzvi

*BUY MY NEW ALBUM NOW.* http://tzvigluckin.bandcamp.com/album/mimi

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Today’s pedal line is from Mario Perez. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

What’s up Effectsbay!

My name is Mario, from Lakeland, FL. I’m 21 years old and I’ve been playing guitar for 8 years now.
My most recent music project is here: http://remaininme.bandcamp.com/
Our E.P. is up for free download so go check out the free head bangs!
If you only plan to give it a quick listen, then check out the title track “This Is What We Call Home”
I’ve recently experienced an identity crisis and am no longer playing “hardcore/heavy/whatever it’s call now.” I’m currently a contracted guitarist for HP3 Church of Lakeland, FL.

So heeeere goes…

The line starts off with a This1′sMyne mini buffer (I run a 20 foot cable from my guitar to the board, so this little guy helps bring back some lost dry signal) => Korg Pitch Black Tuner => Boss Ns-2. In the Ns-2′s send-return loop I have a MXR Super Comp ( I love using this for volume swells on individually picked notes, which I’ll get to later) => Ibanez Ts9 => My new JHS Superbolt (I’m DIGGING this pedal. It stacks stupendously well with the Ts9. I leave the SB on all the time and stack it with the Ts9 when playing more “gain-ey” songs) => Boss Ge-7 (I use this as a boost pedal for solos or swells). From the Ns-2′s output => Ernie Ball Volume Pedal Jr (I’ve deduced that placing it after my gain effects makes for better swells) => Vox Time Machine (I got this almost exclusively for it’s dotted 8th note delay function, but it’s quarter note delays are great as well. The Lo Fi function serves as an “Eq” of sorts for the delays, helping distinguish new notes being played from notes that are being delayed) => Line 6 DL4 (I will ALWAYS stand by this pedal. I don’t care what anyone says about it being digital, or a tone suck, or simply hating it because it’s from Line 6. This is my favorite pedal because of it’s functionality. The presets I use are Digital Delay, Dynamic Delay, and Reverse Delay. Also, I have a This1′sMyne mini expression foot switch hooked up to the DL4. Each footswitchable  preset is primarily the same, but depending on how many repeats I want, I just press this foot switch to add or reduce repeats for each preset) => Electro Harmonix Holy Grail Plus. => 20 ft cable to amp

My all time favorite thing to do is create delayed volume swells with individual notes/triad chords. I have all my gain effects on and both delays stacked, with the time machine in quarter note delay mode, and the dl4 in reverse delay mode, with the holy grail blend nob dialed in around 4 o’clock.

All pedals are on a SKB Ps-45 pedalboard. The Holy Grail Plus, the DL4, and the Ns-2 are powered by 9v Adaptors. The rest of the pedals are powered by the SKB Board’s power conditioner.

I play a Fender Modernplayer Thinline Tele (Off-black finish) through a Fender Red Knob “Evil Twin” 2×12. I play through this amp’s blend channel which allows me to dial in separately eq’d tones from both the clean and dirt channels.

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Today’s pedal line is from K Alan Patterson. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

and now for some homebrew…I built this pedalboard myself and covered it in a fleece type material.  Velcro on the back of the pedals holds them in place and I can pick up the board and hold perpendicular to the floor and they will stay perfectly in place.  I started playing 3 years ago next month and have been diligent in my practice and have enjoyed finding new sounds that support my ideas.  I’m a singer songwriter in Metro Nashville and play some writers nights and sing with local rock bands when the opportunity arises.  Although veterans will find my offerings somewhat rudimentary, I love the way it sounds.  It’s simple and sometimes, there’s beauty in simplicity.  I have a Fender Fat Strat with a bridge humbucker and a Dean Markley acoustic-electric DM J360SE and it’s all run to an UltraSound Pro 250 that sounds amazing with this board.  Now for the pedal line itself.

Again, home fashioned and first in line is:

Ultrasound DI Max Stereo Preamp.  Both instruments plug directly into it and I can switch to either without changing.  My presets hold and I can go from screaming electric to lush acoustic simply by picking up the guitar and strumming it.  I can adjust b/m/t and gain, as well as output and plug in an XLR cable without affecting the other settings.

Dean Markley PT-13 Chromatic tuner.  Gotta have a tuner.

Turbo Rat Distortion Pedal.  Not expensive, but it sounds HUGE.  It goes from mild fuzz to total breakdown.  Loud as f…,  well, it’s loud.

Phaser.  Manufacturer unknown.  Again, not expensive but the range of effect is awesome.  Have re-arranged a song or two to accommodate this pedal.  Jetwashed doesn’t cut it.  This little pedal is a hurricane. and finally,

Morely Wah.  Wha? can I say?  It’s a gotta-have pedal. All of these are tied in thru portals cut thru the bottom of the board for neatness and all connected to a hidden power strip underneath.  A battery operated LED adjustable stem light is affixed to the upper right hand corner for dark venues where clarity is required. Thanks so much for allowing me to show off my modest rig.  It doesn’t matter how big your rig is if you don’t know what to do with it, right!

Rock on!
Alan
PattersonHendersonville, TN

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Today’s pedal line is from Toms Lazdovskis. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

Hi! This is Toms Lazdovskis from band Ca’Mel (Riga, Latvia).

http://www.facebook.com/camelband
http://ca-mel.bandcamp.com/album/camel

This is the pedal line I use with Ca’Mel. It’ a short one compared to other Pedal Line Friday posts, but it feels very versatile.

My guitar goes into the Mark Tremonti Wah by Morley – the beast! I love it for using it with an overdrive and lots of delay for making soundscapes or making overdriven leads cut through the band as it adds gain even with the wah boost knob to zero. I also like it for not having any on/off switch that allows me to make quick single wahs.

Then the signal goes into a Boss CS-3. I bought it to compress the signal with added gain from the wah, but ended up using it for some clean tone leads, that need to cut through, as well as boosting (compressing) volume swells with clean tone.

The next one in line is the Marshall Bluesbreaker II. The heavy one of my two overdrive pedals. Heavy enough for me.

After that comes the simple but awesome EHX Small Stone (Nano chassis). Usually the color switch is down and rate knob is around 11 O’clock. But I play around with it a lot while jamming. It gives many different sounds. I was worried, that it might have the volume drop, that some users have reported, but it turned out ok.

The next one is MXR ZW-44 Zakk Wylde overdrive. I am not a Wylde fan, but this pedal works out great for me. I use it as lower gain overdrive. It cleans up nicelly with turning guitar volume down. This overdrive comes after the phaser, because I love how the phase effect is not so dashy when overdriven. Just feels more natural for me. But the Bluesbreaker II is before the phaser for the classic phase feel.

The last one in the line is Boss DD-3, a must have for me. I play instrumental music in a 3-piece band, and the delay helps to fill the room. This is the core of my stereo setup. The cable from output goes in one amp, and the cable from direct out goes to another one, and the amps are panned and set to equal volumes. I tried this setup while fooling around, but after hearing the effect and encouraged by my bandmates I stuck to it. When the delay is off, I get the dry signal in both amps. When turned on it switches one of the dry signals to the wet delay signal. So the total volume is the same with the delay on or off. Other stereo delays put delays on top of the dry sound thus making it much louder compared to dry signal. I have considered getting another delay pedal with more options, like tap tempo or divisions, but this volume issue, has always been holding me back. And I am not ready yet for something like TC2290, that also includes variable dry signal volume. As for the other delay’s options – they get played around with a lot. I don’t use this stereo setup for studio recordings, this is only for playing live. Currently each of cables out of the DD-3 leads to a Peavy Valveking 100.

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Today’s pedal line is from Frédérick Gagnon. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

I really enjoy your blog and thought I would send a photo of my pedalboard so it can be shown in the “Pedal Line Friday” section.

First, it might be worth saying that I have been playing guitar since 1992.  I have had a few bands.  Right now, I play and sing in a band called “Lucy Loves Lenin”.  Check it out if you feel like it.  We are releasing our first album in Feb. 2013.  Here is a song from the album: https://soundcloud.com/a-billion-records/lucy-loves-lenin-the-walk-of

And here is my pedalboard (see attached photo).

Pedal description:

- Korg Pitchblack Tuner: A great tuner (And I have a confession to make: this is my first tuner ever and I bought it a year ago – after almost 20 years of playing.  What a shame!

- MXR Dyna Comp: last pedal I got.  I like it a lot.  Great for clean tones but also gives different colours to Fuzz and dirt boxes

- Way Huge Swollen Pickle: this Fuzz is great!!!  It’s very FAT and versatile.  I use it mainly for rhythms.  It reminds me of the tone Weezer produced on their Blue Album (though I think Cuomo didn’t use effects at all on the Blue Album)

- EHX Little Big Muff: This belongs to my drummer.  I took it with his permission and put it on my board.  I don’t use it as often as the Pickle but it’s great for leads, especially when coupled with the Phase 90 (very Pink Floyd-ish)

- Boss DS-1: Like many, I got this because Nirvana (Kurt Cobain) used it early in his career and because I wanted to see how it would sound with my stuff But this pedal will get a makeover soon: I just ordered a Keeley Ultra-Mod kit on ebay and will perform my first mod ever on this pedal in a few weeks Just for fun.  If I don’t like the mod I’ll just buy another stock DS-1.  Not the best pedal but fun to have in there.

- Maxon Overdrive: Classic overdrive; very transparent.  It sounds great through my VOX AC30, especially with single coils

- MXR Micro Amp: Great boost that gives more beef to the Maxon Overdrive and Fuzzes

- Small Clone: again, Nirvana’s influence here.  Cobain had it and I have always liked that kind of Chorus.  I got it used for almost nothing and I use it on a couple of songs

- MXR Phase 90: A classic Phaser that I use on a couple of songs with my band.  I got it a few weeks ago and I must admit I was disappointed at first.  As you probably know, this pedal tends to boost your signal a little when you use it.  It can also distort the sound a little, which is not very good when you were expecting a transparent Phaser. Surfing the web, however, I came across a page that explains how to mod the Phase 90 so it sounds a little more vintage/transparent.  It’s often called the R28 mod (or script mod).  Here is the link to the webpage I am talking about: http://www.erikhansen.net/mxrphase90mods.php  So, I did the mod a few days ago and I would definitely recommend it!!  Removing the “R28″ part in the pedal really helped to reduce the boost I was talking about earlier.  Now I like the Phase 90 a lot.  It’s perfect.

- MXR Carbon Copy: I know you guys did a review of this pedal on this website.  Great review by the way!  I think the Carbon Copy is a great analog delay, maybe the best out there for the price.  Also, the pedal is small, which is great for small pedalboards like mine

Two more things:

1- The board itself was made by me with a GORM IKEA shelf.  I had seen people doing this online and thought it was a good way to go.

2- I also have (not shown on the picture) a vintage Roland Chorus Echo Re-301 tape echo that was given to me by my uncle.  Thank you Syl!  It is fully functional and for those of you who have tape echoes, I definitely recommend checking out this website if you ever need new tape, new parts, etc.: http://www.echofix.com  The guy that runs the website is the nicest guy and was really helpful when I had questions about calibrating this great machine

So here it is!
Thanks for reading!

Frederick Gagnon
Montreal, Canada

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Today’s pedal line is from Ricky Wilson. 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 pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.

Hi, my name is Ricky Wilson and I am a bass player and I occasionally play guitar for my own projects. I play a Peavey T40 bass, with an Ampeg 8×10 cab and a T.C. Electronic Staccato 51′ amp.  I recently put this pedal board together in order to make it more efficient for me to set up for shows.  I built the pedal board within a two week period.  It has 8 outlets wired into it as well as a power switch and an IEC power inlet for a C19 connector (which delivers the power from an outside source).  The pedals on the left pedal board are mostly powered by the light blue power strip at the top and the pedals on the right pedal board are powered by their own adapter.

My main pedal board (The one on the left hand side) is as follows:

1. Morley Volume Pedal:  I use this pedal mostly with my delay to make swells or if we end a song by letting the note ring out I will usually use this pedal to drop out a bit quicker.

2. Digitech Whammy: I use this pedal mostly for the detuned effect when I play with my band.  When recording my own stuff I use this pedal on the 4th/5th setting alot. All around great pedal.

3. Dunlop 105Q Bass Wah: I use this for typical wah effects.  I like to use this pedal with my Boss Flanger on the Gate/Pan effect with a high depth.

4. Source Audio Soundblox Bass Envelope Filter: I use this pedal if a few songs of ours to get a bass funk vibe.

5. Digitech Bass Synth Wah: This pedal has some really cool options.  I use this pedal mostly for more sustained parts that I want to sound really weird.  It drops the volume a bit but not enough to worry about.

6. Ibanez PD7 Phat-Hed Overdrive:  I have tried a few overdrive pedals (not a lot) but I always come back to this one for some reason. Sounds great

7. Boss OC-2: Sounds great with the PD7 pedal. Custom paint job on this one

8. Boss Temolo/Pan: I use this pedal with the depth all the way down and on the tremolo setting with the rate going fairly fast.  I only use this pedal in a couple of songs.  Sounds amazing

9. Boss Flanger BF-3: I mostly use this pedal on the Gate/Pan mode with a high depth and a somewhat quick rate.

10. Behringer Ultra Vibrato UV300: This pedal is pretty cheap but the sounds you can get out of it sound really cool.

11. Strymon Timeline Delay:  Just recently bought this pedal and it is an amazing delay.

Pedal Board on the right hand side is plugged into my amp as an FX Loop

1. Boss Bass Chorus CEB-3: I use this pedal on a lot of our songs

2. MXR Blowtorch: This pedal is used to give my signal extra overdrive

3. Way Huge Swollen Pickle (fuzz): Used in some heavier parts of our set

4. Moogerfooger Lowpass Filter:  Used throughout most of our set.  Has a smooth quality to it.

5. Moogerfooger Bass Murf : I use this pedal mostly for the Modular synth type sounds you can get out of this pedal.  Usually during a weird Jam session.

6. Boss Slicer: This is another pedal like the Bass Murf that is used during jam sessions that just sounds really trippy.

Here are my current projects:
www.facebook.com/musclebeachwreckingcrew
www.soundcloud.com/musclebeachwreckingcrew
www.soundcloud.com/Ricky-Wilson

Past Projects:
www.myspace.com/sigmoidargonaut

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