Today’s pedal line is from Tiago Pedroso. 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’ve been reading your website for the last 3 to 4 months and thought I’d pitch in. I’m a webdesigner by trade and currently play guitar on an instrumental rock band in Lisbon, Portugal. Beyond the pedals pictured, my setup includes a 62 Reissue Epiphone Sorrento (Korean built hollow body guitar with USA Gibson electronics and mini-hums) and a 65 Deluxe Reverb Reissue (running clean on the vibrato channel).
Signal Path is as follows (pedals mounted on a Diago Commuter board – powered by a 9v 1Spot transformer):
TC Electronic Polytune Mini> Excellent tuner. I’ve used the Polytune 2 before but traded down for this to save on pedalboard space. The big Pulytune 2 is has a brighter display but this works well enough for me.
Wampler Black 65 > Oldest pedal on my board. I use it in boost mode, as a light OD as it gets dirty past noon. EQ is extremely powerful and makes this pedal highly versatile. The gain mode is a little boomy, but is definitely usable. I just don’t use it in a band context to avoid having to kneel in the middle of a song. Instead, I have a 2nd OD.
Barber Gain Changer > My 2nd gain stage. The Barber GC is an evolution of their LTD pedals. It has 3 voices and 2 gain stages. I use it on the ligther gain stage, maxed with the standard LTD voice. Focused, clear, american tone that cuts well into any mix.
Barber Barb EQ > I tried the Xotic RC Booster in this position before getting this Barber and, although its a good pedal, it added to much dirt. I needed a clean volume boost, not a gain boost. This does that in spades, but goes well beyond: in has a 3 way toggle for different “tone stack” sounds allowing you to turn your amp into either a 59 high power Tweed, a 60’s Blackface or a late 60’s British amp head. I use the tweed voicing as it fattens up my lead tone quite nicely. Also, the midrange knob has a push/pull switch that when “pulled up” emulates the bright input on the tweed and British setting (useful when playing darker guitars).
Earthquaker Devices Dispatch Master> Delay & Reverb in a box. I use this almost exclusively as a delay pedal but the reverb on it is excellent. It’s usually white and blue but they did a run of black and blue DMs this year. I bought it used a couple of months ago and love it, although the switch feels a little stiff (not sure if its an EQD thing or if it’s a fault on my unit).
Strymon Flint > The ultimate Tremolo & Reverb box. Seems like a simple pedal, but this thing is capable of doing so much: from traditional spring reverb to wobbly/soupy soundscapes; it’s just a beautiful piece of gear. I use a lot of reverb (to much, actually) so I’ve hooked it with a favourite switch built by Drew Swindle (http://www.swindlereffects.com/) so I can have 2 presets on tap: the favourite switch has my regular plate reverb and the right switch on the flint has an 80s long/wet/glissed setting. For spring I use my Deluxe Reverb (foot switch pictured on the left). Tremolo-wise, the flint has a pretty extreme, almost chorus-like setting dialled in. For traditional tremolo I use the DRRI’s foot switch.
Boss RC-2 Loop Station > I use it as a practice tool. A sturdy but complicated machine, it allows me to record ideas on the fly.
While searching for venues/bands for my own upcoming mini-tour of the Northwest, I stumbled across This Patch of Sky out of Eugene, OR. After a couple of listens… I really really dug ‘em. This Patch of Sky is a instrumental / post-rock band. Similar to Explosions in the Sky, who I’m also a huge fan of. After talking with them about possibly doing a show together and venues around Eugene, I asked if they would be up for a quick gear related interview. Often bands with instrumental / post-rock vibe have interesting selection of pedals.. and they do!
Here is a video with a live performance and interview. To learn more about This Patch of Sky, check ‘em out on their site, Facebook and on Twitter!
My primary goal is to be able to achieve multiple sounds as needed depending upon the song while still maintaining a great sounding tone.
- How are you using the Disaster Area DMC-3XL Gen2 MIDI Controller?
The DMC-3XL allows me to control the banks on the Bigsky and the Timeline, and allows me to use the loop feature on the Timeline while still being able to use the other effects. I’ve also been experimenting connecting the DMC to Abelton Live to send midi clock to the Timeline/Bigsky as well as send program change messages for different song presets without needing to touch either pedal. It’s seriously a very powerful tool to have on my board.
- Tell me about the Neunaber Slate Stereo Effect Pedal
I picked up the Slate to have as a second reverb option on my board. What I like about the slate is that it’s reprogrammable. You can flash the pedal to use any 5 reverb options via Neunaber’s pedal customizer software you install on your Mac or PC. The software also includes a virtual trim pot that let’s you mess around with the tone of the reverb which is pretty neat. The other reason I chose the Slate is because you can write/draw on the surface with a permanent ink marker. As you can see, this is my kid’s favorite pedal.
- I thought your choices for overdrive and fuzz were pretty interesting. What eventually led you to the Triton and Fox Pedal?
I hate fuzz. Fuzz was one of those things that always made me cringe whenever I heard one, mainly because of how muddy they get. I was looking for a pedal that could turn a fender amp into a heavy sounding amp when I needed it to. I went through quite a bit of pedals and never achieved the sound I was looking for. One of my friends let me borrow his Triton Fuzz, and after playing a few chords I was instantly hooked. I love how deep and gnarly sounding it can get. A good example of this pedal is on ‘In The House Of Wolves’ at the 6:21 mark.
The Kingdom Transparent Overdrive by Fox Pedals I recently picked up. I was playing through a surf green Timmy which I liked a lot. I wasn’t looking for a new overdrive whatsoever, but I happened to stumble across this specific pedal and loved the tone they were achieving. After picking one up I was pleasantly surprised at how versatile it was. It has characteristics of a Klon Centaur but allows for a LOT more head room. I especially love the OD and Clip switches.
- You currently have 3 delays (MXR, Diamond and Strymon) – What roles do each play in your sound?
Being in a post-rock band, I obviously have a hard on for delay and reverb. The Carbon Copy is almost always on. I use it not so much as a delay, much more of a sweeping, lush, background effect. The Diamond Memory Lane Jr. I always kick on for leads. It can add a lot nice trailing delays which I love. Mix this and the Carbon Copy together with a little bit of reverb and you’re good to go. So why do I have a Timeline? I don’t really use the Timeline as a delay pedal. With the capacity to store 200 presents, I use it more as a “random effects” pedal. I can go from awesome ambient pads to lo-fi vinyl sounds. It’s basically a synth for a guitar.
- Do you feel that this board is where you want it? Or are you still trying to achieve your sonic goal?
It’s pretty dang close. Obviously as technology continues to move forward my board changes. Right now I am definitely content with my setup.
- What would you say is the most used pedal on the board.. and why?
Oh man – that’s a hard one! It’s a toss up between the Bigsky and the Carbon Copy. On almost every song we’ve ever created, the Carbon Copy most likely has a presence in the recording. The Bigsky is newer to my board, and I just can’t turn it off. It’s such an awesome sounding pedal.
My primary goal with my board is tone. I was taught early on how important tone is and over the years have trained my ears to find the specific tone that I love.
- I was unable to identify a couple of pedals. What is the orange pedal and the white pedal?
The orange pedal is home made boost pedal. Nothing too special about it. The washed out “white pedal” is actually a surf green Timmy OD. It’s newer to my board.
- I noticed you’re using the black russian Big Muff. Why is that the Big Muff of choice?
I love the Black Russian Big muff. It has that warm dark fuzz that I like. I don’t like pedals that are thin and whiny, the black Russian gives me more of a deep sounding bass fuzz which I love.
- How many modeled pedals/presets do you use on the M9?
I actually only use about 3 or maybe 4 presets on the M9. My favorite 2 are the particle verb (pretty much never catch me without it), and the Octoverb when I want a bit of shimmer (you can hear it a lot on Heroes And Ghosts). I use the particle verb set to Hazard on ‘In The House of Wolves’ to get that dark drone where you can’t hear the attack of the guitar. It’s such a great setting for stuff like that.
– What took you to the direction on M9 vs. getting individual pedals?
I chose the M9 over actual pedals because I am always experimenting and there are so many options with the m9. And to be honest, even for it being modeled they all sound really good. Line 6 has made some big strides in modeling. Almost every time we play a show someone asks me about a certain effect I am getting and its usually M9.
- The DE7 is an interesting delay/echo. What do you like about in particular?
The DE7 has been with me since the beginning, it all started with me being a fanboy of Explosions in the sky. I read somewhere that that’s what Munaf Rayani was using so I just had to get one! Ha! I usually just use it as a secondary delay nowadays.
- What’s the next pedal that you’re interested in?
Our other guitarist Kit has a ton of Strymon gear and I gotta say I am pretty envious, but I don’t want our stuff to sound to similar, I like the way Kit and I play off of each other. I do have my eye on an old Evantide Space. The broken glitch setting seems pretty brutal.
- What would you say is the most used pedal on the board.. and why?
Definitely the M9 hands down. It’s used on every single song we do.
I wanted to be able to get a variety of timbres other than just the standard bass sound. This board allows for bass swells, huge fuzz bass, and some approaching more of a affected guitar sound which allows me to fill other roles and be more versatile in songwriting.
- I believe the Blue Boss is a BD-2 Blues Driver (Keeley mod’d). How did you end up with this on the board?
The BD-2 was originally Kit’s and he gave it to me when he picked up some other pedals.
- I see that you and Joshua both prefer the Electro-Harmonix Russian Big Muff. What about it do you like? Have you tried the Bass Big Muff?
The Big muff allows me to get that huge doom bass sound that is on And Death Shall Have No Dominion and In the House of Wolves. It’s my go to pedal on any darker song we write. I’ve actually been wanting to try out the bass version of it as I’ve heard it works better with the bass frequencies but i have this one pretty dialed in so we will see if I ever get around to it.
- Having two *dirt* pedals on your board (BD-2 and Big Muff) do you use these in combination or do they offer two differing textures of dirt (Medium grit vs Full fury)?
Most of the time I use the two fuzz pedals for different purposes. I usually use the Big Muff when I am fulfilling the typically bass role and I want it to sound burly. I use the BD-2 most often with the carbon copy and holy grail. I can tremolo and come out with a full texture approaching a guitar or heavily affected cello. The BD-2 seems to work better with the higher frequencies for that type of stuff.
- How do you use the MXR Carbon Copy with your bass? By the look of the settings it looks like pretty extreme setting.
I use the carbon copy for bass swells mostly. It works well in the laid back parts of songs and gives bass support without more rhythmic playing breaking up the flow. I also use it for tremolo work as previously stated.
- Likewise, how do you use the Holy Grail? Drone? Or specific parts of the songs?
I’ve only ever used the holy grail on a high setting with the carbon copy for tremolo work. I’m starting to play around with it more to see if I can incorporate it in other ways
- Are you interested in any any other pedals for the board? If so.. what?
I am looking to pick up a tap delay of some kind. I also really want a compressor pedal to have more control over my tone.
- What would you say is the most used pedal on the board.. and why?
This changes from album to album. Overall, it’s probably the big muff though. It’s just so fun to stomp and that thing when the song climaxes and scream away. I have also been trying to use less effects on this new album so when I do use them, they are more meaningful.
Today’s pedal line is from Jesse Davidson. 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 iany links to your band or music page.
Hey pedal line! My name is Jesse Davidson and I live in Dothan Alabama. I’ve never submitted to this before but I would love to share my rig with you! I do not have any links to music just yet but I will soon. Anyone can follow me on twitter: jesseredeemed and Instagram: JesseJaguarkick
From the bypass strip it goes BBE sonic stomp, VPjr volume, strymon timeline, eventide timefactor with t1m aux switch as my secondary delay. I also use the infinite repeats function with swells to make a really nice pad like underscore when there are no keyboard players. From there it goes into my strymon bigsky and then into a strymon bluesky. This all runs through a badcat Luca. I am powered by a fuel tank jr. And a furman power conditioner that is mounted under my Pedaltrain pro. I use lava instrument cables, George L and planet waves patch cables and Blue Herdim guitar pics. Westone triple driver in ears monitors as well.
Last week I went into detail on Georg “Goggi” Hólm and Jónsi boards of Sigur Ros. Only one more installment to go.. which is Kjartan Dagur! Kjartan has few more pedals on board than the others, but his roll in Sigur Ros is to really add the depth of the sonic landscape of the band. While Jónsi leads the way, Kjartan defines the landscape. To get you up to speed, here is Premier Guitar Rig Run down cued up:
Here is the break down of Kjartan Dagur pedalboard:
Yesterday, while on Facebook, I was introduced to the musician Petteri Sariola (aka Pete). The video was a cover of U2’s “I Still Haven’t Found What I’m Looking For”. I started to watch the video with the Petteri and his acoustic, and was expecting another “looper” singer/songwriter deal. My first initial thought during the first 10 seconds.. “yeah, it’s okay”, but then I started noticing and paying attention to what was going on. He was playing percussion on the guitar, but the sound was sounding quite realistic (especially the kick drum sounds). Then I started hearing the bass lines. Then I realized.. “hey wait.. there is no looping”. I had to learn more. But first, let’s get you up to speed.
Okay, as you can see/hear, there is a lot going on here. Petteri uses a special guitar with a custom top so he can do the percussion. Also, his set up is quite interesting, with splitters taking care of specific areas of frequencies, etc.
There is a great video where Petteri goes into detail about his set up. Very interesting!
Ok.. Coffee and Riffs.. is starting to be one of my favorite things to watch. For those of you not familiar, Coffee and Riffs is Brady of Walrus Audio combining a few pedals together to create a short clip of coolness. He often has guest musicians too. Combination of pedals are different every episode. Usually different instrument as well.
Why do I like these? Simply.. they’re not *demos* but *potentials* maybe? I like the idea of combining pedals and just work on a riff. I like the creativity. I definitely watch these and feel inspired to slap some pedals together.. and just create something. Break away from the board. Break away from the established pedal routing set and locked on the board and just mess around.
Part Seventeen features Brady and he’s playing a Schecter Hellcat Bass VI.. which are cool. I own a Schecter Ultra VI and are quite fun to play with, so I was particularly excited to see what this was about.
Today’s pedal line is from Jonathan Oh. 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.
As you can see I like Barber pedals. They are well made and sound more organic than any other drive pedals I’ve ever had (includes the OCD, Tubescreamer, Signa Drive, etc.).
Both the Direct Drives are made to sound like Marshalls and my goodness they nail it. The Gain Changer does the American sound and it’s so so good.
Both the GC and DD are the most versatile pedals you can get too without any lack in quality. Both can do their respective clean tones and driven tones in the flick of a switch.
I normally keep my amp clean and maybe just on the verge of breakup.
I like to rely on pedals to provide the drive especially when I have to play on rigs that are not mine.
I think the pedal that needs a good mention is the Magnavibe.
I’ve always dreamt of owning a Magnatone but never had the chance or money. So I asked myself what did I like about them? And of course, it was the vibrato.
Did a little research and found this dream pedal on eBay. It’s an incredible pedal. Even with the vibe turned down low, it adds a certain divine fullness to your tone.
The other pedal I’d like to mention is the Blitzkrieg Boost. It’s a fat sounding boost that retains clarity while adding body.
I use it to tame the highs from my Fuzz and to drive the amp over the top.
It’s locally built in Singapore where I come from and I always love showing support for the local industry.
I run these pedals from a 89′ Strat Plus Deluxe and into a Ceriatone DZ-30 with a WGS Veteran 30 and Reaper HP.
I play mainly indie and alt rock with blues, psychedelic rock and shoegaze/nugaze on the side.
Check my band out, we don’t have stuff on yet but we will in a couple of months.
Today’s pedal line is from Andy Hale. 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 – I’ve been a fan of pedals for years and spent most of my teenage years buying, selling and trading to try and really find my sound. I play in a band called Winter Circle. We’re an indie rock band that straddles the line between catchy hook-driven and ambient epic sounding rock.
My pedalboard has gone through a lot of changes but it’s always stayed clean and compact. The Effects Bay site has actually been really helpful in turning me on to some recent pedal purchases including random accessories like the Pedal Riser or even the Pedal Labels.
I bought the pedalboard and case years ago and loved that the board floated inside with a little room for storage underneath. Everything is powered by a T-Rex Fuel Tank that lives in the space just under the board. It’s mostly Mogami (and a couple of Monster) cables connecting everything.
Boss TU-2 Chromatic Tuner – This has been with me for awhile and I have no complaints. I actually own a Polytune but I don’t want to throw off my balance by changing out the pedal that’s served as my foundation. Ibanez TS9DX – A friend of mine owned this and I traded him a bunch of DOD pedals for it. After some research I realized it had actually been modified by Analog Man. I use it for a lot of of open chords and palm muting parts. I love the crisp and smooth low-end sound while still having definition to notes when needed. Xotic EP Booster – This is new addition that had previously been held by a Malekko Chorus. I found myself needing an occasional short-lived boost and got this on a whim and a prayer after watching some YouTube demonstrations. The pedal has been surprising in that I don’t have to turn it up much and it provides a nice boost without being destructive or overly noticeable when activating. Strymon BlueSky – The musical quality of the effect really makes it stand-out to me. It provides amazing texture that can live on its own. I use it in place of a synth for a number of songs. And for easy access I have a StrageTrix Pedal Riser that raises the pedal height. Wet Stereo Reverb – I run this in Shimmer mode and use it in conjunction with either the delay or the Strymon. The combination seems to get things moving a little more. Like the BlueSky I also have a Pedal Riser here for easier access. Ibanez DL10 Delay – This has been my favorite delay pedal. There are others I love but I always come back to the DL-10. It has a rhythmic bouncy quality and a no-nonsense three knob approach that makes it super easy. The delay is noticeable but even when turning up the settings I feel in control unlike when using a Line 6 or TimeFactor. BBE Sonic Stomp – This is an always-on pedal. Our music has a lot of high melodic lead lines and low end palm muting. I feel like this helps to even out some of those parts. It’s a great pedal and actually now a number of years after getting this one it was nice to see the video reviews on the site about it. Ernie Ball VP Jr. Volume Pedal – I use it for swells on a couple of older songs and keep it around just out of habit. I’m actually looking for a reason to get rid of it but it’s a great solid pedal.
I run a older model Bogner Shiva amp [head version] going into an Orange 2×12. Despite what the footswitch would indicate, my Bogner actually does not contain reverb. And guitar-wise it’s mostly Gibson or older Epiphone (SG, Les Paul Studio, Epiphone Dot).
Today’s pedal line is from Adam Parkes. 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 am a complete pedal geek (as you can tell) I have been playing for 18yrs I have gone through a lot of different pedalboard sizes as my collection has grown. And I’m always on the look out for new pedals.
I play in a funk rock band called Mezzotonic. Think chili peppers, Ratm and jamiroquai and you get the idea.
My board is set up to make things as easy as possible to turn pedals on and off, and certain pedals are placed in a where I haven’t got to stretch to opposite ends of the board. The pedals on the top row are all on pedal risers, so I don’t catch the pedals on the front row.
The pedalboard is from a company called Diago. The power supply and the pedal risers are also from diago.
Direct line: guitar to amp.
1: boss TU tuner. Standard tuner never let me down.
2: Cry baby wah wah, I love my wah I’ve had this wah from the age of 16 and is the first pedal I ever purchased.
3: Marshall ED1 compressor. This is always on and I love what it does to my tone, it pumps up the sound a little and adds a slight warmth. It’s set with quite fast attack but with a light compression so I can keep dynamics of my playing.
4: CAE Line Driver/boost. This is also a leave on. I use this to boost (buffer) my guitar signal through my pedalboard,
To combat high end loss I get from running through all the my effects pedals, cables etc
5: MXR modified OD. Believe it or not, this is my first overdrive pedal and infact I never thought I had a use for one. That is, until I got one. It’s such a great pedal plus it has 100hz control knob so you can cut and boost at that frequency as you desire.
6: MXR 78 modified distortion. I have never been able to dial a good hi gain sound out of any amp I’ve ever had. But this pedal makes up for it does all sorts of tones from 70s classic rock right up to nu metal. Plus it has little push button that adds a ton of harmonic overtones.
7: boss line selector. There are many uses for this pedal, I use it to link in the top row of my effects and the whammy to the front end of my amp. It has an adjustable volume control on each loop. That loop then gets sent back to the outout of the pedal.
8: MXR micro amp. Just a good old clean boost. I use it for boosting my solos. This then goes straight in to the front of the amp.
Boss phase shifter. Man I love this pedal. First heard it on gorilla radio by RATM, ever since then I had to have one. Superb pedal.
Boss flanger. Not much to say on this one don’t use it all that often 30 seconds here and there or for and intro on the odd song.
Boss tremolo. I mainly use it on arpeggio style intros, or on slow open chord sequences.
Moogerfooger ring modulator. This is by far one of the most difficult pedals I’ve used it can do really interesting stuff though. But you have to work hard to get things sounding good and not to crazy. I have it set to do a more lumpy sounding trem type sound for live performances. Then get a bit more creative with it in the studio.
Last in the loop is the Digitech whammy pedal. To me this one of the best pedals I own I’ve had it for about thirteen years and to me every guitarist should at least try one.
Amp effects loop
Strymon timeline. This is the best pedal I own. It’s not only one of the best delay pedals I’ve ever heard but it’s a complete inspiration box. I also have the ernie ball volume pedal which I use as an expression pedal for the timeline. I use a split trs cable ( stereo one end, that then splits to two mono ends) I plug the mono ends into the input and output of the volume pedal then the stereo end into the exp insert on the back of the time line. I can then blend the delay in and out as I see fit, per patch.
Andy Othling is a fantastic guitarist that I stumbled upon on the YouTubes while I was exploring some ambient solo looping stuff for my own personal project. I was unhappy with my current loopers and saw that he was using Boomerang. I also noticed, that we shared a similar amp.. and both (at that time) used a Strymon BlueSky, so I thought he would be a good resource. Going beyond ‘sketches’ that he posts, he does an amazing job talking about pedals and techniques. If you’re into ambient stuff, definitely check out his YouTube channel as well as his new site ReverbNerds.com
Recently, I came across a video where he discusses the pre-delay setting on the Strymon BigSky, but this can be applied to other reverbs that offer that control. This is an insanely important control to have big verb AND be able to cut through the mix. I thought this tip was gold