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By


Total Guitar

,


Guitarist



( Total Guitar
, Guitarist
)

published March 21, 2018

Up close and personal with the pedalboards of the stars
If you're anything like us, you've spent hours lusting over beautifully arranged, carefully considered pedalboards – after all, there's nothing more satisfying than getting that last stompbox stuck down and the last patch cable plugged in: it's perfection… at least until the next purchase.
Pro guitarists' pedalboards, on the other hand, are a whole other level of pedal-gazing. Filled with trendsetting boxes and old favourites, battered and bruised from months of touring, every player's 'board tells a story.
We've got rigs and setups from across the spectrum of players, too, from metal heavyweights Slipknot and Korn through bluesmen Kenny Wayne Shepherd and Gary Clark Jr, right on to insane pedalboards from the likes of Incubus, Minus The Bear and Thrice.
So, click - and, indeed, drool - through our gallery of the best pedalboards on the touring circuit to get the inside track on some of the guitar world's premier gear hounds, but be warned: we can't be held responsible for any post-gallery pedal spending sprees.
In pictures: the people's pedalboards : MusicRadar users share their guitar and bass pedal rigs
“Back home I have a switching system so I don’t have to do so much tap dancing. This is almost the same setup, without the switching system and a couple of small exceptions.
“I believe that this is one of the Clyde McCoy reissues that they make. Back in the States I use a Custom Audio Electronics wah that’s also made by Dunlop but under the Custom Audio Electronics name. So they sound slightly diff erent. Actually, I find the CAE to be a little more vocal, it has a little more broad range. But this one is good and it gets the job done.”
“A Univibe circuit is a pretty complex beast. The bulk of the sound on the original Univibes was dependent on this lightbulb flashing on and off inside. And when you’re trying to condense that into a very compact box like this one, you’re going to start sacrificing some of the sound. So this is, in my opinion, one of the best solutions for getting as close to the sound as you can in as smaller housing as possible. I only use it on one song, which is Blue On Black. We have a rhythm part that comes in right at the top of the second verse. I go from the acoustic sound to the Univibe for the rhythm.”
“This is a reissue from Chicago Iron. Again, I have the original and any of the reissue pedals you’ll see on my ‘boards, I always have an original as well. The reissues are pretty dependable and it’s a lot less stressful to take out on the road. This one is a pretty faithful reproduction.
“I kind of switch back and forth, right now on my other pedalboard I’m using a Roger Mayer octavia, which is the spaceship version. But this one sounds great. I use it on Blue On Black and in a very small section of Voodoo Child as well. I really use it for the octave effect, not so much the fuzz. So I have the boost turned all the way down.”
“I think it’s supposed to be a hot-rodded version of a Tube Screamer. It has a housing with two independent circuits. One has more drive and actually a little more treble to it, which I really have to dial back. On the left channel I have the tone knob turned way back, and on the right channel I have it turned way up.
“I haven’t opened this pedal up but sometimes these kind of pedals have chips in them that can go bad. And one of the things that starts to happen is they can get really bright, or their level will get drastically off . But right now this is working the way that it is.
“Primarily, I’m only using the right channel because it’s the lower gain side. The one thing about the Tube Screamer circuit compared to the King Of Tone is it has a little more midrange. The King Of Tone has a bit more clarity and depth. So if you want you can combine the two and get a really full spectrum sound.
“So it depends on the solo or the particular song with what I’m going for: whether I just use the King Of Tone, or whether I use a combination between the two to get a little more mid boost to get the solo a little further out there.”
“Ever since this pedal came out, it’s been on every pedalboard I’ve had. It’s probably one of the most outstanding overdrive pedals ever, certainly in recent history. It’s got a really three-dimensional sound to it, and it’s got a lot of clarity so it doesn’t muddy your tone.
“A lot of guys throw around the term ‘transparent’ when they’re talking about overdrives, but I think this one really does have a lot of transparency. It doesn’t colour your tone too much; it allows it to go to that next level. It adds some overtones that you’d hope the amp can accomplish. Sometimes when the amp can’t do it the pedal can help you get there.
“The right side for me is the high gain channel, and the left side is the lower gain channel. A lot of times I’ll use the right side for fills and when I want to play a solo, I’ll kick the left side on top of the right side just to send it right over the edge. But that’s dependent on the amps I’m using.”
“This is a chorus pedal with two different independent settings. I kind of use it like a Leslie in a box. So there’s a slow setting and then you switch it over and it’s a fast setting. It’s a pretty great pedal if you like a chorus and don’t necessarily have enough room for a Rotovibe. I use it on Down For Love; it’s an old fashioned Texas shuffle. It really gets that sound, in my opinion, in a little bitty box.”
“They sent me one of the very first ones. It’s an analogue delay pedal and I prefer analogue where possible. It was a pretty good-sounding pedal from the get-go, but I actually developed a version of this pedal with them that has tap tempo, which I believe was the very first analogue delay with tap tempo. That’s on my other pedalboard, this is one of my earlier versions. It has a button that’s a hold switch, if you want to stack the delay indefinitely until you turn it back off . 
“Some guys leave delay on all the time, but none of my heroes ever did that. I don’t come from that school personally. And it’s easy to do as it can help cover up your mistakes. So it can make playing a guitar a lot easier because you don’t have to be as accurate. But I don’t do that, I use it purely as an effect. It probably gets turned on maybe four times in a two-hour long show.
“In the States I’ve got four to five amps onstage. And in that setup we have the ability to switch amplifiers, but over here I’m just running two amps and the third one is a backup in case something blows up. I’m running both of these at the same time, they’re set up to pretty much run in stereo. For the longest time I would run three Twins and crank them up but it’s really not good for the ears!”
“It might be a weird spot to have it in the chain but I’m really happy with it. With the Phase 90 there’s not a lot of room for adjustment, well, other than speed, so I usually have a fair amount of delay and reverb with it to give it a sweeping texture. It works well on big chord parts to thicken them up. And I’m a big Van Halen fan!”
“Right there we have a burning church [design]. It’s like a [Boss] HM-2 clone. So it’s got that gnarly midrange Swedish death metal sound. It does that exceptionally well. I used it so much on the last record it found its way onto the board.”
“I’ve had that since day one. Simple and easy to use live. Less is more with this and I use it for certain parts as a boost. I use the control with my foot quite often - this whole board becomes a different beast when it’s dark!”
“That’s a really cool delay. You can save eight presets and for some of the songs the delay patterns need to be on exactly the right BPM. It’s very versatile.”
Bogner Wessex Overdrive and Burnley Distortion Pedals
“The main distortion comes from these. I usually have them going simultaneously and I use a little Keeley looper to turn those on and off . Occasionally, I’ll turn off the Wessex and just have the Burnley distortion. Usually in the studio you ditch your conventional [live] setup but I found those very useful. There’s a warmth with them that I haven’t found with other pedals.”
“It can call up the between-song loops and there are drones in songs that help fill out the sound. I have a mixture of a pre-recorded loop and then throw another live loop on top of it.”
Akai E2 Headrush Looper and Saturnworks Mixer
“This has got be my most essential pedal. It just works for me live, with all the looping that I do. The only thing is the loop volume drops maybe five or 10 percent compared to the live signal, so I throw that into a mixer [silver pedal above] and it’s a wet and a dry to bump up the volume of the looped signal, so it sounds the same.”
“It’s a cheap little pedal and I don’t use chorus that often but I picked it up for next to nothing and it sounds alright.”
“That’s cool, but I don’t use fuzz that much; usually when I want to cut through the mix in a noisy chaotic part. I don’t really find it useful for standard riffing, more letting the notes sustain through delays. I’m using it for 1/20th of the potential it could be used for!”
“The reverbs are very useful and the two in one combo is nice with the tremolo. I use the 60s reverb mode but the 80s is also cool for long, drawn-out delays with ethereal drones.”
Strymon Dig Delay and Favourite Switch
“I’ve found Strymon pedals to be well made and versatile. I like digital delay and you can change the dotted eighth notes and diff erent subdivisions that are really useful live. There’s a lot of reverb through the twins and here so I like to have a really clean delay onstage. You can use a little Strymon auxiliary switch [above left] with it - a favourite switch.”
“That’s close to the start of the chain. It’s more of a dynamic boost and I can get a little more grit than with the Micro Amp. This one I use a little more as an overdrive or preamp per se.”
“I used to use the Ernie Ball Volume Jnr but everyone goes through them right and left. On tour you definitely need something reliable.”
Brian: “I’ve got an original one. They’ve made a reissue that sounds really close, almost identical to that distortion sound. It just bites and pops more than any other pedal. 
“Sometimes you put on distortion on top of something already distorted and it’s like a math problem, everything cancels each other out, you know? This gives a big boost and I can always hear the notes really well. I’ll kick it in for any lead sounds.”
“The last pedal I incorporated, because I try to keep all of this real simple, is the RotoSIM for a Leslie effect, a bit like a Rotovibe. 
“A friend of mine got some deal with this pedal company and they gave me this big box of pedals. I didn’t really need delay or anything like that in this band, I just wanted another colour. I didn’t even know what a Rotovibe was… but this was perfect and exactly what I was looking for. If I’m not kicking in distortion or reverb, this is what it’ll be!”
“This is the best pedal there is! I cannot believe it’s taken this long to figure out this box is all you need to make electric guitars sound like acoustics, which usually sound like garbage on stage. 
“This box nails the idea of an acoustic - it has that timbre, that percussive sound. In other situations, you’d want the real deal. If you ever went to see Tom Petty or Neil Young, you’d want the big jumbo and everything all mic’d up. It’s kinda funny because I’m up there playing this mirrored Explorer on My Name Is Jonas and it comes out sounding like the most beautiful acoustic.”
“This is a little fuzzier than my other pedals, I use it primarily for Back To The Shack, which I felt needed a bit of a creamier sound.”
“This thing sounds great for the solo I do in Beverly Hills. Whenever you need a special sound that’s unlike anything else, a Talk Box will defi nitely do the trick. I also use the Jim Dunlop wah.”
“I’m not being a salesman… my wah is fuckin’ badass! The sound comes from the rack wah, which we had made into a pedal. 
“When I went to develop it, they had sent me all the other signature ones… I tried them all and took notes about the things I’d liked about each one. In the end, I realised the rack wah sound was my favourite. It’s a throaty, aggressive wah that sounds like a monster!”
“My pedals tend to change a bit over the years. Right now, it’s primarily TC stuff - and this is signature Dreamscape modulation pedal, which does chorus, flanger and vibrato… If I ever need to switch, we go old school and do it all by hand on the fly.”
“I love the Phase 90 too, I like the Boss phaser and the MXR one… but I’m a big fan of TC Electronic stuff. They’re really consistent, true bypass. The Helix phaser will come on for a short lead in The Bigger Picture and I might use it a little on Take The Time. There are little clean guitar breaks here and there, rather than the long, arpeggiated song intros, which have a more of a chorus thing going on.”
“This is my newest pedal, I got it pretty recently. It has six different modes for all these different overdrives, which you can mix together at the same time. The overdrives probably change the most in my rig. 
“Sometimes there’ll be a Keeley Red Dirt here or a modded Tubescreamer or a Boogie model. With all the features of my Boogie, I don’t really need an overdrive pedal. The Majesties also have a 20dB boost on the volume control! So we really don’t need these, but in the spirit of fun, we thought we’d include a little something extra.”
“This is a compressor used for just my clean sounds, like on Take The Time. I’m a big fan of that big compressed sound, where you can hear the strings ringing out with a bell-like quality and with sustain. It helps tame those peaks, but you can do without it - the clean sound of the Boogie is so beautiful, you don’t need much compression.”
“Here’s a limited edition version of a similar pedal called the Corona Chorus+, it’s just like the original TC SCF pedal. I can have this covering most chorus modulation if I want and use the Dreamscape as a flanger.”
“This is TC’s answer to a ‘Uni-Vibe’ kind of sound. The TonePrint ability is awesome, you can just beam things off your phone. Usually, I’ll be in the mood to get a David Gilmour or trippy Robin Trower vibe, or old school Rush. It’s mainly used for clean parts - it will get used on Hell’s Kitchen. It almost sounds like a phaser but more distinct.”
“If I want a little more [gain] I whack on a [Boss] Blues Driver or a [Electro-Harmonix] Soul Food. So if I do solos I’ll whack that on. It’s kind of a three-stage thing for me [with the amps].”
“For my Orange, I use the [Boss] EQ a lot because it just lifts the volume. What you find with overdrives, or what I’ve found, is until you get things like the Klon, they take away from the actual sound and you lose the bottom-end. An EQ pedal for lifts the whole sound.”
“The system is put together centring on a loop-switcher pedal we custom-ordered from a small effects pedal company called Soul Power Instruments (S.P.I.). With two inputs, four outputs, and eight loops, by programming this beforehand, it allows me to switch between different combinations across the double-neck/pedals/amps in an instant.
“Wata is also using basically the same thing, so to say this loop-switcher is the central part of Boris’s sound wouldn’t be an exaggeration.
“For the bass side, my main pedal is a Pro Co Rat I also had modified by the same company, S.P.I. On the bass, I don’t really use many effects besides this distortion pedal.
“For my guitar sound, my main pedal is a Dwarfcraft Devices Eau Claire Thunder. I really can’t imagine using anything else; it’s my ideal sound. 
“My DOD Buzz Box and Dwarfcraft Devices SOMMS pedals are also crucial to create an atmosphere of noisy outbursts.
“The EarthQuaker Devices delay/reverb pedal, Afterneath, creates mysterious echoes that sound like you’re inside a cave, and this paired with the Strymon Timeline creates a very deep delay that I’ve been really into recently.”
“For distortion, my Elk Big Muff is my main pedal. It’s a Big Muff clone, made by the Japanese company Elk Gakki, but it’s thick and heavy, and I really like the way the chunky sound comes through with a bang. It’s especially good when paired with the tape echo.
“Along with the Elk Big Muff, the Roland Space Echo RE-150 is of dire importance to my playing. Its unique atmosphere, roughness, and unpredictability are wonderful. It creates sounds that could not be made digitally.”
“The Wata Fuzz by MASF Pedals is one I had made for me, based on a Foxx Fuzz Wah. It emits a unique, gravely low-end sound.”
“The Soul Power Instruments loop-switcher is a pedal that was customized for me with two inputs, four outputs, eight loops and send-return. If programmed in advance, with one switch I can switch between everything - not only pedals but also inputs and amps. This pedal plays an extremely important role when performing Boris songs.
“With the EBow, using slides or bends or the manner of approaching the strings, it can create various expressions of sustain. The best.”
“I’ve known about these for years, but I was never indulgent enough to fit one on my board until now! Because I’m singing as well as thinking about crowd control, pedals are a bit of an
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