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.
So, click – and, indeed, drool – through our gallery 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.
Devin Townsend, Devin Townsend Project
"I enjoy experimenting with gear and I like pedals; I really enjoy the tactile sensations of changing my own patches and tweaking things when I’m playing live.
"With the Casualties stuff, or with my home rig, it’s a very different pedalboard: different guitars, amps, everything. But with DTP, this is what I'm using now."
One Control Crocodile Tail Loop Switcher
"This One Control acts as a true bypass loop, which, depending on the patch, sends a MIDI signal to both the Kemper and the Axe-Fx- it goes to the Kemper and then to the Axe-Fx.
"Each one of these patches corresponds [to a sound], for example; one is a Rectifier profile with my main GP sound, another is a Fender profile with my clean Axe-Fx sound. And with the buttons on top, every time I change it, the light corresponds to one of these loops.
"The numbers on these pedals signify a different loop. So if I want the Rainbow Machine to be on my Dead Head patch, I just hit six and then that engages that loop. It’s as simple as that with this thing."
One Control Crocodile Tail Loop Switcher
"The main chain I run for my heavy channel. I’ve got these drive pedals ahead of the amplifier. I’ve got a Mesa profile on the Kemper, too, but these are for a clean boost. I went through a ton of different overdrives and I’m still experimenting with them.
"I had a Maxon OD808, and I’ve used the Keeley [Red Dirt]... Seymour Duncan has a new one that is cool. But for this tour, I chose the Grid Slammer because it’s a bump in the mid that is really aggressive-sounding and adds a bit more mid to the Kemper. And if I want to add that to my clean channel as well, I can add a bit of distortion."
TC Electronic Spark Mini Booster
"If I want to play a lead, I throw this in, which is basically just a clean boost."
"The clean-sound loop starts with the compressor. I tried a bunch of different compressors.
"I really like this one, and I also like the new Seymour Duncan one that just came out: the Vise Grip. They’re a parallel compression so you can bring in your clean tone."
Way Huge Saucy Box
"Then is goes into the Saucy Box, which is essentially a Klon overdrive sound. Again, it’s a parallel addition to the sound."
Voodoo Lab Tremolo
"For this tour, I’m using the Voodoo Lab. Someone broke into my truck at home and stole my Malekko one, so this was what was kicking around. And it’s good - it acts like a tremolo!"
Earthquaker Devices Rainbow Machine
"I was looking for something that when you turned it on, you didn’t know what it would do. Kind of like my wife. This just goes crazy. It’s got a magic button and when I press it, it does weird shit. And I like having it at the end of the chain.
"I’ve got the TC delay prior to it as well, so basically, they feed into each other. You kick this Rainbow Machine on and it does random things. There’s something to be said about it that I really dig, for that element of surprise."
TC Electronic Flashback Triple Delay
"I've got this in front of the amp and it adds three different styles. With this triple delay, you can stack them as well. This is more just a big washy delay."
"I remember we toured with a band years ago when I was with Strapping [Young Lad] and when this pedal first came out, we made fun of the guy relentlessly for having a Decimator.
"We thought it was the stupidest name for a pedal ever. And we had this whole back story about his Decimator where it was in its own rack - don’t fuck with the Decimator, man, because if you hit it wrong or you turn it up past a certain threshold, it will create a vortex that will suck us all in.
"So we made fun of him, then after a while I realised it was the best noise gate ever! So now I have a Decimator. But don’t fuck with it, because I will and have been known to turn it up past its threshold."
TC Electronic PolyTune
"Great tuner from TC Electronic. If you hit all the strings it tells you which ones are out of tune.
"Which is great if you aren’t in an open tuning like me, so we use it as a standard tuner because that special function does fuck all for me. But it’s really cool."
Dunlop Cry Baby 95Q
"I used to use a [Morley VA-1] Bad Horsie wah, the Vai one, but I didn’t really like the sweep on it. It’s a real specific sound - less of a wah and more of his sound.
"As much as I ended up using that thing, I really liked the Judas Priest sort of wah sound. This Dunlop is an auto engage as well, and it has a variable Q and volume boost on it."
Andy Bell, Ride
“Eventide came out with the Space and TimeFactor pedals a year or two ago. These pedals are based on the H3000, so it’s been perfect for the Ride reunion. I remember we were doing the second Beady Eye album and I saw the Space for the first time and was just like, ‘Oh my god – the day has come!’”
“The TimeFactor is very versatile, but I only use it for one thing, which is the backwards sound. That’s used on quite a lot of the lead stuff like Seagull. I use the Space on the Blackhole setting for the big reverbs on Dreams Burn Down: the twinkly lead in the verses.”
“I have quite a bit of Strymon gear as well, because the delays are really good. This is the only pedal I’ve ever seen that’s got a bpm-controlled tremolo. I’ve got that on a Leslie setting – a fast Leslie sound for Time of Her Time and a slow sound on Taste.
“Mark got every pedal Strymon does, but we try not to copy each other. If I’ve got an Eventide reverb, he’ll then go Strymon on the reverb and vice versa. We’re both trying to kind of fill in all the gaps.”
Ibanez 9 series Compressor
“The most essential pedal that I have. It’s an 80s pedal and it’s always on. It just smoothes out and lifts and brightens up the whole sound.”
Fulltone Octafuzz and Univox Super-Fuzz
“I have two different fuzz units: I have the Octafuzz on the fuzz setting, not the octave; and a Super-Fuzz. They work for different songs on different parts.”
Origin Effects Cali76
“The other compressor in the chain. Origin is quite a new company – it’s Oxfordshire-based and is coming out with really, really good pedals. That does a really good job and it’s like having a studio rack in a pedal. I use it as just a huge volume boost.”
Jim Dunlop Buddy Guy Cry Baby Wah
“I use it as a volume step. I had a standard Cry Baby for ages but then, after seeing the Roses, I ended up getting the Buddy Guy signature one with the polka dots, which John Squire plays. It has some extra circuitry and a little bit of a drive in it as well.”
Dave Knudson, Minus The Bear
“Actually, [on] the first couple of records, They Make Beer Commercials Like This and Highly Refined Pirates, the ’boards were much smaller, because there wasn’t as much use of sampling and all that stuff.
“Then [Menos El] Oso came around, and it became kind of a necessity, with all the sampling and stuff, to get more [Line 6] DL4s on there to make the live sound like the record.”
Line 6 DL4 bank
“If the song allows you to, I prefer to record the loops while the song is playing. Most of the loops I record are either at normal speed or double-time, so most of the time [I record them in] half-speed so that when I take the [loop] speed up it goes into double-time or whatever.
“The DL4s work especially well for re-triggering the beginning of the sample – y’know, the really jittery, stuttery, one-shot stuff. That feature has made the DL4 a staple of my rig. Because of the way the songs are written, that stuff is kind of a necessity now.”
Z.Vex Box Of Rock
“I mainly use the boost section of the pedal. I just love the way it brings out some of the chimey-ness and the upper-harmonic tonalities, especially in combination with a nice tube amp, like a [Fender] Twin, which I obviously use on a lot of stuff. It just makes any amp sound better, and adds a whole bunch of extra character.
“Plus, when you have a pedalboard chain as long as mine is, I’m sure there’s some audio deterioration along the way, so it’s good to sometimes sparkle up the sound if it gets a little dull.”
Boss RC-3 Loop Stations
“Some of the samples I can get away with having stored ahead of time – like the sample of Into The Mirror – that’s one of the ones I play off there, or the crazy sample at the end of Ice Monster that’s really intense – stuff that would take me a while to recreate live. For those kinds of things, I think that works great.”
Barber Tone Press
“The Tone Press just levels everything out, especially with the tapping stuff – it can kinda get lost in the mix, especially the low strings, so you just hear the high notes coming through, tapping-wise. It levels all that stuff out, so on songs like Pachuca Sunrise or Absinthe Party At The Fly Honey Warehouse, where there are a lot of high and low notes competing, this kind of flattens everything and brings it to a nice level.”
Chris Miller, You Me At Six
TheGigRig G2 Switching System
"The heart of the 'board is a G2switcher by TheGigRig, which is a fantastic British company.
"It's just mind-blowing what you can do with it: you've got 30 different patches, different ways you can loop your pedals, you can swap your amp channels, set the phase between two cabs. Basically, everything."
JHS Morning Glory/Ibanez TS808 Tube Screamer
"I run two amps live, so I've got an overdrive for each one. On my clean amp, I run a JHS Morning Glory, which is like a Tube Screamer TS808 clone.
"The Morning Glory's got a lot of gain - but when you find the sweet spot, it's just a perfect break-up. And then I use an actual old Tube Screamer on my dirty amp. It's the drive pedal I've used forever."
"I used to use a lot of delays and modulation, but I've whittled it down to the Eventide H9, which is a multi-effects pedal with all the patches from the Factor series and that covers all my delays, reverbs, phaser, trem, octaves and everything.
"The only flaw with it is that you can't stack more than one thing at the same time, so I hope you sort that out Eventide, because that would be sick!"
Max Helyer, You Me At Six
TheGigRig G2 Switching System
"Since we last spoke, my pedalboard's totally changed and, like Chris, my main hub is the G2.
"Just seeing how efficient it's been for Chris really was a selling point to me. I was there tap-dancing eight different changes, while Chris would just be laughing and having maximum time for beer drinking!"
Strymon Mobius & Timeline
"I made the move from Boss to Strymon because a lot of my friends who play guitar raved about how well that stuff works.
"The options you can get with the delay on the TimeLine are ridiculous. Then the Mobius, for me, I feel the selling point was that I could have chorus, phaser, flanger, rotary, vibe, tremolo - all of these settings in one box."
JHS Double Barrel & Sweet Tea
"I find my overdrive sound with the JHS Double Barrel, which is similar to Chris's Morning Glory pedal, but with an added boost on the other side.
"I have both of the settings on and I run it really hot, so it breaks up really well. Then my distortion sound is another JHS pedal, the Sweet Tea."
"I have a Rotosound Fuzz reissue, based on the ones that Jimmy Page used back in the day.
"They copied everything they did on the 60s version into the new one and made 2,000 of them. I put it on top of my JHS Sweet Tea, so it adds this fizz and fuzzy tone underneath, or if I want to make something sound fat."
"I've been getting involved with the TC Electronic Hall Of Fame reverb in a lot of our songs just to make it sound big and roomy and vast.
"Then I use a Boss Noise Suppressor, because all of these pedals make a lot of noise. There's also an Ernie Ball volume pedal on my pedalboard, which is just reliable and great. Then the classic TU-2 tuner: good old trusty TU-2!"
Kim Thayil, Soundgarden
T-Rex Reptile Delay
Kim: “Chris gave it to me. Lately, with this album, I’ve noticed there’s a lot more use of the delay pedal. I became fond of it when writing By Crooked Steps and then Worse Dreams. So, now I’m using it on some of our older songs live with selected parts of solos like Slaves & Bulldozers and Black Hole Sun.”
Ibanez CS9 Chorus
Josh [Evans, Kim Thayil's guitar tech]: “That’s been in Kim’s chain for a long time – it’s an analogue chorus, really warm and not cheesy-sounding at all. He’ll use it on a lot of the older songs.”
MXR Custom Audio Electronics MC402 Boost/Overdrive
Josh: “This is really great, because it seems to keep the character of each guitar and amp but drive it harder with a little distortion, unlike something like a Big Muff or Tube Screamer that has its own sound.”
Boss NS-2 Noise Suppressor
Josh: “The signal goes to the wireless and comes back to here. Kim kicks this on and off when he wants to get a lot of feedback. On other songs where he’s got a lot of gain and the pickups can get a little microphonic, especially in a couple of the older Guilds; this helps keep that under control.”
Electro-Harmonix Micro POG
Josh: “This is used for an octave effect.”
Dunlop Custom Audio Electronics MC404 Wah
Josh: “We use it on the yellow setting, which is a little brighter. Kim likes to use it to get a real kind of screamy sound out of it.”
Boss DD-7 Delay
Josh: “This is a new addition – it’s set on reverse. Kim uses that on the solo to Rowing.”
Hughes & Kettner Rotosphere MKII
Josh: “That’s the one labelled BHS – Kim calls it the Black Hole Sun machine. It’s that Leslie effect on that song."
Josh: “This is the newest addition. It’s a [Voodoo Lab] Ground Control-type rig in a box, but it lives here on the pedalboard, so if we need to tweak any knobs or settings we can do it here.”
Chris Cornell, Soundgarden
Electro-Harmonix Deluxe Memory Man
Stephen Ferrara (Chris Cornell's guitar tech): “Chris uses that as a dirty delay – he drives it a little bit so it actually kicks up the volume when he uses it and he overloads the level slightly. He’ll kick this in every now and again at the beginning of a song – he’s got it with a lot of repeats right now.”
Stephen: “This one is really transparent, which is nice – it’s almost like he’s using it for more sustain. When you kick it on, you barely hear it come on – you get sustain from a little bit more drive.”
Menatone King Of The Britains
Stephen: “They’ve made quite a few of these, but this is the five-knob version. I’m actually looking to find a few more of those. Chris’s main sound is coming from the amplifiers, and then when he wants to kick in some more gain and make it a bit heavier, he uses this.”
Stephen: “It’s so he can see Matt behind – it’s a rear-view mirror type of thing.”
Stephen: “We use this on Chris’s Songbook tours, too, as well as the Memory Man. For the song Rowing, one has a specific loop that’s a little bit longer, and the other one’s is slightly shorter. So, we’ve got vocal loops right now.”
Mike Einziger, Incubus
Boss PH-2 Super Phasers & MXR EVH90 Phase 90
“The two Super Phasers are set differently: one is set at a higher speed, almost like a rotary effect; and the other is set to a very wide, sweeping, almost flange-like sound. I use these in pretty much every song. The MXR was put in there by one of my old guitar techs, Larry Melero, who was a crazy Van Halen fan. I use it all the time.”
Boss RV-3 Digital Reverb/Delay & Electro-Harmonix Holy Grail reverb
“During Megalomaniac, I use this Boss reverb and also the Holy Grail reverb sometimes. I use both of them together if I want a real brittle, dark-sounding reverb, like on Pendulous Threads. They carry a lot of the higher frequencies through and they become kind of harsh-sounding, making it very dark, which I really like.”
Electro-Harmonix Micro POG & Boss OC-2 Octave
“This POG is great. It gives you an octave above as well as the sub octave. When you play a chord through it, it doesn’t get the notes jumbled. It will actually harmonise the whole chord, which is really cool.
“I’ve been using it a lot during Sick Sad Little World, like when I play a solo in the middle of that song. I also use it during In The Company Of Wolves and that’s another place I use the Octave a lot. I use [the Octave] during the verse sections of Privilege.”
Boss CS-3 Compression Sustainer
“I use this a lot when I’m playing solos, like on the song Pistola. I'll click on this and it makes things go to 11, basically. When 10’s not quite enough, that’s what I use. I don’t have 11 on my amps, so this is the 11 pedal!”
Dunlop Cry Baby
“This is one of the first pedals I ever started using. A lot of times, I actually use it set at a midway point so you get this really throaty sound: I do it during the bridge section of Megalomaniac, in Adolescents, during the bridge section of Are You In? and during the guitar solo in Here In My Room with a slow phaser and a delay as well.”
Danelectro Reel Echo
“This is probably my favourite pedal. It is awesome. You know all this dubstep-type stuff that people are trying to do? This is like dubstep in a little box! It basically effects the delay rate without effecting the pitch, and I haven’t ever found another delay that does that. I use it during the Pistola solo. There’s some weird stuff happening on there – and it's all this pedal.”
Electro-Harmonix Deluxe Memory Man
“You can get some really wild things to happen with this pedal just by messing around and changing the feedback and the delay. It can get really out of control, actually, and blow your amp up if you aren’t careful!
“A lot of the time, I’m just really experimenting with this and the [Reel Echo], specifically running them through the wah. It ends up sounding like an analogue synth filter section. The guys in my band tease me a lot of times because sometimes I end up losing control of the thing. I call it ‘spilling the paint’!”
Zach Blair, Rise Against
“I’m using an Ibanez Tube Screamer, an MXR GT-OD and Analog Chorus and also the MXR Carbon Copy Delay.
"I was using some Boss pedals, but then the MXR people were good enough to bring out their own versions of a good chorus and a good overdrive for me and they’ve been great. We’ve also been using these Eventide H9 pedals. We’ve barely skimmed the surface on these things so far. They can pretty much do everything that all of our other pedals can do, but we just got them and we’re still exploring.”
Tim McIlrath, Rise Against
“Essentially, it’s stuff that we came across during the recording of the songs. When we’re writing songs, we don’t mess with pedals, we just plug guitars into amps. It’s only in the studio that we find all the different toys and gadgets to add to different parts. That’s what these are: bits and pieces from the most recent record, The Black Market mainly.
"I do a lot more clean tone stuff than Zach does, so that tone has to be just right. We’ll spend days in the studio trying to get the right clean tone, so we’ll try and simulate that with some of these. It’s all fairly simple stuff: delay, reverb and tremolo. We trust Jeff - he’s like our ‘artist’ back here - to introduce these colours to the songs and he does a great job of it.”
Nuno Bettencourt, Extreme
Boss GT-8 Effects Processor
“The pedalboard that I’m using... well, I’m not much on effects anyway, and with Extreme it’s always about the real minimalistic approach.
"Even though it’s a multi-effects unit, I use four patches for 90 per cent of the songs. There’s just a plain one, then a little bit of chorus on another one for all the chorus hooks that I play on.
"The third patch is like a solo boost - more for the volume and adding delay for the solo. The fourth is always a flanger. I just use that to go to for ‘vibe’ when I feel like that. That’s all that I really have on there. other than a few delay changes, that’s basically it.”
Boss OC-2 Octave
"I have a Boss octave pedal. I use it for a few songs. I don’t know if we’re doing anything right now, as in songs, that we’re using it for.
"There are songs like Comfortably Dumb and stuff off of [2008 album] Saudades De Rock, or whatever, that I’ll use it for if the songs were written that way.”
Boss NS-2 Noise Suppressor/TU-3 Tuner
"Other than that it’s just a noise gate and I think that’s it. Yeah, I think it’s just the noise gate there.”
Omar Rodriguez-Lopez, Bosnian Rainbows
EarthQuaker Devices Rainbow Machine
"It's on there, just for a pitch shifter, and it does this strange little modulation thing. It’s on Torn Maps.”
Empress Effects Fuzz
“Empress Effects is a Canadian company. This one’s really nice – and it’s yellow!”
“The Callisto is a chorus pedal that can also double as a vibrato pedal.”
Boss SL-20 Slicer
“It cuts up the guitar with these nice little preset rhythms that are there.”
“Me and Jeremy [Michael Ward, former Mars Volta member] saved up and bought them when they first came out, and it's been on the pedalboard ever since.”
Electro-Harmonix Holy Grail
“Although the reverb on my amp is great, I just got too lazy to walk over to it and turn it up!”
“For tremolo – it’s an amazing pedal.”
Blackout Effectors Whetstone Phaser
“An amazing phaser, it can also double as a vibrato pedal. It’s a really solid-sounding thing. I just leave it on most of the time, to tell you the truth, because I like the sound of it so much. On something like Turtle Neck, where it feels a bit more dreamy and lush, I wanted this sort of wavy, atmospheric sort of sound. I used tape delays like the Copicat tape delays in the studio. With the Blackout Effectors phaser, I change its setting, so I can get it to be more of a vibrato.”
Empress Effects Superdelay
“It’s really versatile, with modulation in it and all sorts of neat little tricks.”
Line 6 DL4
“My ultimate secret weapon. Well. it’s not even a secret, but I took the delay pedal that I liked the most away from myself so I didn’t have to rely on it – the Electro-Harmonix Memory Man. That is my favourite all-time pedal, but I feel like I relied on it so much, I loved it so much, that I wanted to see what sort of creativity would occur if I just didn’t have access to it at all.
“I like exploring, because I have never considered myself a musician. I never learned music theory or anything like that, I always saw it as painting or something, and that’s where all the effects pedals came in.”
Paul Banks, Interpol
“I’ve not really changed my pedal rig over the years – delay and distortion are my main requisites.
"Luckily, my guitar tech is a nerd and he’ll often have something new for me to try out, and he’s had a lot of success with that.”
MXR Micro Amp & Xotic EP Boost
“I like my bass tone to be a little bit juicier than the straight amp sound.”
Big Ear Loaf
“This is a really clever distortion pedal.”
MXR Carbon Copy, Boss DD-7 & Malekko Ekko 616 delays
“I use a bunch of delay pedals, mostly an MXR Analogue, an old Boss DD-7 that has a couple of settings I really like, and a small boutique delay pedal [the Malekko] that’s pissing me off!”
Ernie Ball Volume
“It’s good, because you can really control your feedback. It takes a lot of palm muting to make some of these sounds work at high volumes, too. But I always see a volume pedal as kind of like the gas pedal on a car.”
Maxon OD-9, DigiTech Whammy, Lehle switchers
“Gareth [Russell], my tech, gave me this great little switch and plugged it all in, in very interesting ways I don’t understand. But basically, I can go through my Marshall and Fender so it’s a lot more versatile. So if I want that recorded sound of the Fender and Marshall coming in for a second chorus, I can have more of that studio-esque effect with two amps running different sounds.
“Gareth also brought switching in for the electric guitar. It’s cool how they can be configured to make different channels do different things. For electric, I can do the thing I have with my acoustic where I have my clean sound, but still have those nice blends. I can run straight through the Marshall and the Tube Screamer [Maxon] and I can go through just the Fender.”
“I use a stompboard for Ocean [the 12-minute solo instrumental set staple that is John’s signature tune] and I use it a lot when I play solo, especially. That’s why this looks quite different to most pedalboards, because of all this space. All the times when I’m sitting down solo, I’m living on it, like I’m in a car with the controls.”
Scott Holiday, Rival Sons
"These are my robot friends. Usually people like to hide this stuff, but I decided a couple of years back, 'Why hide it?'
"It cost a lot of money, it's very individual and there are a lot of choices. So now I'm going to show you everything and if you want to go buy it, you can and spend a million-billion dollars, like me."
Custom Audio Electronics Dual Inductor Wah
"I've used several wahs throughout time, but this is the one that I'm using right now.
"It's really good. It's got a couple of inductors [giving a choice of high or low-mid emphasis], it's got a boost on it and it's got a cool graphic on top - so it must work good!"
Analog Man King Of Tone
"Right above the wah is the Analog Man King Of Tone. It's the version four King Of Tone, which is coveted. It's a wonderful overdrive – beautiful."
Keeley Time Machine Boost
"Widely used in this band for all of the early records [2009's Before The Fire and 2011's Pressure And Time] is the Keeley Time Machine Boost.
"It's basically like an old Dallas Rangemaster [the sought-after 60s treble-booster made popular by the likes of Brian May and Tony Iommi]. It's hardwired and it's got a Germanium tranny in it. It's awesome."
Z.Vex Fuzz Probe
"This is one of my favourite pedals on the board. Look how good it looks, it's got a giant copper plate, funny graphics and it's organic, so it's really great.
"It's kind of like a theremin built-into a germanium fuzz. It's distracting, freakish and hard to control - I love it!"
Zap! "mystery pedal"
"This is the mystery pedal. What could be inside that box? Well, I won't tell you, but it's called 'Zap!' and that's basically what it does: it zaps ya! It's a fuzz I use on basically everything."
Electro-Harmonix Micro POG
"Everybody knows this one! It's the Electro-Harmonix Micro POG [octave pedal] and I think everybody knows where that goes in our set."
Basic Audio Gnarly Fuzz
"Another mystery box. What could it be? I am going to tell you what this one does: it's a Basic Audio Gnarly Fuzz. I use this on a lot of the earlier stuff, too, as well as some of the newer songs."
Orange amp switch pedal
"This just switches me between the two OR50 heads. As I told you earlier, I use the two for a clean and a dirty sound and that's how I get it."
Way Huge Ringworm
"This is a Ring Modulator made by the wonderful people at Way Huge. It's also difficult to control, unpredictable... What will it do next? We do not know..."
KR Effects Megavibe Phaser
"This is probably one of the best production - if you could call it that. It's just one guy, Kevin Randall, who builds these - Uni-Vibe clones.
"It's called a Megavibe and he makes a big box one like the original and also this small one, which is super-duper accurate."
Dunlop Volume Pedal
"It's a volume pedal. There's nothing much more to say about that. It's not that exciting, but it's a Dunlop volume pedal and it works great."
Peterson Stomp Classic
"This is just a little tuner that I rarely use, because I've got a wonderful tech, Mr Chris Draper, who does a great job.
"But it looks cool, it spins around and it makes my 'board look great!"
"This is something I got when we started touring [third album] Head Down. It's the Strymon Flint and I get reverb and tremolo sounds out of this."
"Above it is one of my oldest and trustiest tremolo pedals, the Demeter Tremulator, which was originally built for Ry Cooder to emulate the Fender Tremolo. I love it."
Option 5 Destination Rotation
"This one is actually out of production. It's the first one he made - my buddy Jay Woods over in the US built that.
"I've had it modded, if you can see, I don't want any of the knobs, except the gain knob, so he plugged it up for me. It's been working ever since I got it years and years ago and does a kind of rotary Leslie speaker effect."
Way Huge Aqua Puss
"One of the best-named pedals on the 'board - the Aqua Puss. It is an analog delay that we use for all sorts of, well, delay!"
Line 6 DL4
"I'm sure everybody will be very familiar with this; it's the Line 6 DL4.
"I had mine modded by [noted US effects guru] Robert Keeley and he put better lights in it - so that must make it cooler - as well as improving all of the sound, so there's no noise. The floor to noise ratio is really, really good."
Modded Dunlop Volume pedal
"This pedal looks just like the one over [on the right of the board], but my good buddies over at Dunlop turned it into an expression pedal for the DL-4.
"So there you go... That's the robots! Now get the cheque book out and go and buy it!"
David Gilmour, Pink Floyd
A number of Gilmour’s go-to pedals are mounted on racks at hand-adjustable height in the live room, for convenience during use, but can be accessed from the control room, where - in case these weren’t enough - a second, variant rack of pedals is located.
A custom switching system on the floor allows the racked pedals to be engaged easily via conventional footswitches.
Phil Taylor [David Gilmour's guitar tech]: “I’m sure your readers can work out what this 1990s Digitech Whammy pedal is on. At the 1993 recording sessions that became the basis of The Endless River - recording The Division Bell at the time - I changed a couple of pedals in David’s set-up. Just so he had something else to try.
"He’d never used a Whammy before. But out of that came Marooned - which won a Grammy. And there are bits of Whammy on The Endless River. He generally uses it in the ‘one octave up’ position. And that’s it. Is David playing slide, or is he playing a Whammy? Let’s leave a bit of mystique!”
Electro-Harmonix Pitch Fork
“I'm using it in place of a Whammy; the Whammy was taking up too much space. That's the main sound on Infatuate.”
Green Carrot Pedals Dirty Radish
“That's a really nice boost, so I use that for a bit of overdrive.”
Green Carrot Pedals Cornstar
“It's just fucking deadly; that's a really clear, amp-style distortion.”
Green Carrot Pedals Infatuator
“You've got the Big Cheese on one side with four different settings of fuzz; I use that a lot for broken-up, Velcro-y shitty-sounding stuff. And then the other side is the IC Big Muff; it's got a switch on it that takes the tone control out so it just gets more woolly but really, really fat.”
Dwarfcraft Shiva Fuzz
“This is real volatile, horrible; it's not nice. It's just for really sick, My Bloody Valentine atonal nonsense – it's really good fun.”
Danelectro Fab Tone
“For when I just want to kill everyone.”
Electro-Harmonix POG 2
“That's just to fill the space; it's not even doing anything!”
Death By Audio Echo Dream 2
“That's my main delay; it's an analogue delay that's got loads of weird modulation in it as well. You get a lot of crazy oscillation and distortion out of it. It's really, really ugly and beautiful at the same time.”
“Just a standard digital delay.”
“This is set up for backwards delay. Everything is mainly backwards delay, but it's subtly done so you can't tell. Infatuate has that sort of delay.”
Rory Friers, And So I Watch You From Afar
Pigtronix Philosopher’s Tone
“I found that for my clean stuff, I was digging into the strings and breaking a lot of strings, because my guitar wasn’t thick or loud enough.
“I wanted to work on my clean tone, so I bought this, and it’s solved all my problems. I have it on for 50 per cent of my show.”
Line 6 M13
“Our last album had a lot of sounds, so it was impossible for me to make them all come on at the same time, so I had to resort to a multi-effects.
“And I was pleasantly surprised. I’d always had a bit of a thing - I guess a lot of people do - about multi-effects pedals, like they’re inferior, but for what I needed it for, it was great. And it has a looper in it, as well.”
“My first gain stage is this OCD: you can have it quite subtle - a little gritty - or it works as a nice distortion if I’m ever doing any festivals where I don’t have my exact rig, and I might be using what’s at the festival.”
Boss OC-3 Super Octave
“This is just an octave pedal, really. I’ve had it for ages and it does the job.
“I use it less and less, actually, because I have a preset on the M13 that I really like, but I use this whenever I’m doing some volume stuff, like low volume-y stuff with some delay on.”
“My amp is a Thunderverb 200-watt, and I use the two channels - clean and distortion - which I activate on this.”
Electro-Harmonix Stereo Memory Man with Hazarai
“I actually just have it on one setting, the 300-millisecond modulation, and have everything turned to turn it into this self-oscillating insanity, so essentially, whenever I press this button, it just creates this big, thunderous, cacophonous ‘reeargh’.”
Boss PS-5 Super Shifters
“I have one set to go from natural up to two octaves above in a big, long linear ‘weeeooorp’.
“And then I have the other one set to go up with zero attack, so it jumps from the natural sound to a 5th up, and I use this for this arpeggiation thing: I’m doing hammer- ons on triplets, and I’m pressing this on the beat. It makes it sound like I’m really good on the guitar.”
Line 6 Verbzilla
“I use it on a hall setting; sometimes I’ll have it full mix up, so it’s just reverb, sometimes not, but I usually don’t mess around with it too much.”
Boss DD-6 Digital Delay
“I have it set to loop: whenever you press and hold it the loop starts, and when you release it the loop ends.
“So, the shorter you do that, then the shorter the sample it records, so I use it to do little stuttery ‘brrrrp’ effects every now and again.”
Boss DD-20 Giga Delay
“I use it on a standard digital delay with tap tempo. I don’t really do anything very fancy with it.”
Earthquaker Devices Disaster Transport SR
“This is probably my favourite pedal on the ’board at the minute - it’s gorgeous modulating delay, set for really slow, really long delays, repeats up really high.
“You can just brush the strings and just let the sound of the pedal do the rest.”
Bright Onion Pedals Kill Switch
“It just makes everything stop, and we try and make everything sound tight: nice, straight cuts.”
Niall Kennedy, And So I Watch You From Afar
Ernie Ball VP Jr
“I just use that with delays and reverbs to do swells and things like that.And sometimes, I’ll have the POG on as well, which can get a big, thick low-end sound, and have loads of reverb and delay stacked and do big, huge swells.”
Boss TU-2 Tuner
Boss PS-6 Harmonist
“This does pitch modulation-type little bends, like in Big Things Do Remarkable I use it at the end and do a big pitch bend, and use it throughout the set in the same way a drummer would do a drum fill.”
Electro-Harmonix Pog 2
“I use the POG for all the octave stuff.”
Earthquaker Devices Rainbow Machine
“I just use it in the same way that I would use the Harmonist, for weird little drum fill-type things - I don’t know what the equivalent is for guitars!”
TC Electronic Spark Booster
“I’ve got the clean on the amp, and the Spark gives it just that little bit of grit.”
Orange Amp Footswitch
“The Orange distortion is the main distortion sound.”
TC Electronic Hall Of Fame
“I use the effects loop to stick in this reverb - I have that on church setting, just a big, huge sound, have the mix up real high, the decay up real high.”
Earthquaker Devices Disaster Transport SR
“This gives you that really beautiful tape echo-type delay sound.”
Line 6 M9
“I use this for all my delays, some of my reverbs, and then I also use a kind of rhythmic tremolo to create a choppy sound, a bit of a drum-fill sound at the end [of songs].”
Bright Onion Pedals Kill Switch
“Sometimes, it’s good to have a panic button, so you can completely kill everything, but I also use it to do a big crescendo and then [clicks fingers] to nothing. We’ll use it like that to make super-tight cuts.”
Ben Wells, Black Stone Cherry
Peavey 3120 footswitch
“This is my amp footswitch. We call my main heavy sound ‘gas’, and then the overdrive is the Peavey rhythm channel that we run as a quieter sound.”
Rocktron Banshee II Talk Box
“This is a pretty sweet pedal – it allows me to have the Talk Box signal and the amp signal at the same time, and if I don’t want that I just click a button and it goes to just the Talk Box. I use it on White Trash Millionaire and Me And Mary Jane.”
Boss OC-3 Super Octave
“This is linked up to the Banshee II, so every time I click the Talk Box on, the Super Octave [engages] with it.”
Jim Dunlop Hendrix Cry Baby
“I use a Budda wah in America, and it’s a sweet wah, but when we got new pedals to duplicate our 'boards over in Europe, I wanted to try the Hendrix wah. I was just hoping it sounded good! And [fortunately] when I got it in, it was perfect.”
Electro-Harmonix Micro POG
“This is probably one of my favourite pedals on the ’board. We have it set to do an organ-style effect, and it sounds incredible. I could play it on every song, but I don’t want to overuse it.”
Chris Robertson, Black Stone Cherry
Dunlop Zakk Wylde Cry Baby
“I use this wah because I like the sweep. I prefer a wah that doesn’t have a button, and that just self activates when you put your foot on it.”
“I use this on a few of our songs – Change, Ghost Of Floyd Collins and a couple of others. It’s kind of like a fuzz pedal with an octave up. It’s actually a clone of an Ampeg Scrambler that I picked up on eBay for $70.”
Jim Dunlop Jimi Hendrix Fuzz Face Mini
“I use this for a lot of my lead work, and also for a lot of the stuff from the new record. Then there are also a couple of [older] songs, like White Trash Millionaire, that I use it on now.”
Jim Dunlop Silicon Fuzz Face Mini
“This is another Fuzz Face, and it’s set just for rhythm fuzz for the tracks that we did on the new album. I use it if the amp is feeling a little light, just to give it that extra ‘oomph’. I don’t like a really bright guitar sound and a Fuzz Face pulls the highs back.”
Budda Samsara Delay
“If I just want to add that extra bit of wetness – if the room is really dry, or something – I’ll use the Samsara.”
Budda Karma Chorus
“I don’t really even use the chorus, but it’s got an extra button for vibrato, so I keep the vibrato on. I use it for songs like Fiesta Del Fuego and Me And Mary Jane, which have this super-fast vibrato on verse parts.”
Elliott Gruenberg, Blessthefall
Boss NS-2 Noise Suppressor
“I think I’ve had that for seven years, and it’s my oldest pedal. I’ve been contemplating buying a new one. I’ll run that, and then the signal goes back into the front of the head from there. Then I have effects in the effects loop.”
“This is my favourite Tube Screamer-type pedal. This is the dream one I always wanted – either this, or the Fulltone OCD. This one is used by Killswitch and As I Lay Dying – many bands in that kind of vein were advocating it.
“Great saturation, it’s awesome and it makes your pinching sound great. The tone is pretty much in the middle, and I balance the gain from the actual head with the pedal, so it’s not too much.”
Boss TU-3 Tuner
“Pretty standard – I had a TC Electronic PolyTune for a while, but I found in a live setting when I’d strum open, it didn’t always get it. And it can only go so many semitones [down] before it loses frequency, so I went back to the TU-3 just because it’s easier.”
Boss DD-20 Giga Delay
“It’s one of my favourite delays. I went between this, a [MXR] Carbon Copy and a TC Nova Delay. I love the Carbon Copy for what it does, and the Nova Delay is great, Eric runs that. But the DD-20 is just easy and user-friendly. It’s the iPhone of pedals.
“I keep that pretty standard, and on this tour, I’ve kept it on the tap tempo. There have been times before when I’d go through and bank everything, adjusting the effects levels, but I find it varies according to the rooms we’re playing sometimes. It can be subjective to what sounds good in our practice space, and whatever venue we’re playing.
“There’s leads I’ll use it on, but on the new record there’s lots of pretty swells, lots of parts to complement our sound so it’s not so dry. Even when we do our older songs, I try to put it on when I’m playing things like octaves, so it’s not so abrasive. That’s why we use passive pickups, too.”
Electro-Harmonix Cathedral Stereo Reverb
“This is the newest pedal I’m running. I used to run the Holy Grail, but Eric’s using mine right now. He had this one originally. They’re a bit fragile, but they’re great, and they sound good. Lee [Malia] from Bring Me the Horizon is the one that sold me on it. I feel like I’m on Logic with it, and I pull up all my reverb plugins with it.”
Boss GE-7 Graphic Equalizer
“I think this is the most important pedal I have, because this is what will sculpt the tone. For my sound, I boost the bass a little bit, the lower tones, then I bring it up a little towards the mids so it gets a little of that high saturation. Then I just run that to the return of the amp.
“It can be a volume booster if you want it to be, but whatever rig I ever play, I’ll probably always try to run an EQ on it. You can hear where the bad things are, and just cut them out. You’re saving the sound guy some time by doing it.
“I find that a lot of times with high gain, once you get to saturation you’re really in a battle to hear notes – and you want it to be clear and crisp. This thing definitely helps sculpt the tone. I remember when I brought this to Eric and I said, ‘Listen, we need to run these’ and it just kind of changed the game for us.”
Eric Lambert, Blessthefall
TC Electronic Nova Delay
“This can make any delay I want; from ping-pong to reverse and feedback. It’s a very technical pedal; it takes hours to try and get the right delay, but you can tap everything out to tap tempo, and I can pretty much load up everything from our sessions to this pedal, too.”
Boss GE-7 Graphic Equalizer
“I scoop out some of the mid and let the highs cut through a little bit more. I don’t do much more than that. If I step off that pedal it almost sounds like a lo-fi on my amp.”
Electro-Harmonix Holy Grail Nano Reverb
“We have a couple of bluesy solos that I’ll throw that on to give it a little more atmosphere. Then that’s it, as far as the effects loop is concerned.”
MXR Carbon Copy Delay
“This is probably my favourite pedal on the ’board. It gives me a nice little studio delay. Any type of little lead I have that I don’t want to be so raw, I’ll kick on the MXR. It makes everything flow a little easier for me. On solos or tremolo picking parts, it’s really nice.”
Mesa/Boogie Grid Slammer Overdrive
“I use this on the front side, that’s my Tube Screamer right now. I don’t have it on right now, though, because the pickups are really hot in the guitars I’m using right now, so I actually don’t really need that. But over in the States I usually use it, as it gives a nice bite.”
Ben Weinman, The Dillinger Escape Plan
Jim Dunlop Dimebag Signature Cry Baby Wah
“It’s a little more complex than the typical Cry Baby from Dunlop. You can affect gain and the range of scoop and sound and tone diversity and dynamic – and I’ve also had it customised to have an automatic on and off, so as soon as I let go of the wah it turns off.
“I always had problems where I’d leave it on and walk away and my tone would be totally screwed up and I couldn’t work it out. Now I have this so that it automatically turns off [similar to the Morley Bad Horsie wah].”
Mesa/Boogie Mark V foot pedal
“It’s got a reverb on/off control and the five-band EQ on and off, it’s also got a mute, which is great, because you can put the tuner in-line and have the tuner on all the time and just press ‘mute’ if you want to tune. You’re seeing the tuner on while you’re playing, too, so if you need to make sure you’re in tune while you’re actually hearing the music that’s really convenient.”
Boss NS-2 Noise Suppressor
“It really cleans up your tone a lot without taking out too much sound from it. A typical gate works a little differently, but the Suppressor just cleans up the hum. When you have a really good, high-quality amplifier, I don’t think you really need a gate, but having something that helps take out some of the hum and the hiss of the electricity that’s going through the amp – especially when you’re travelling a lot to different countries with different electricity – helps a lot.”
Way Huge Swollen Pickle Fuzz
“It’s a pretty funny name, but it doesn’t sound funny: there’s nothing funny about the Swollen Pickle! It’s basically like a really high, distorted fuzz. It says on it here that’s it’s ‘jumbo fuzz’. I use it on a song called Room Full Of Eyes where we just need to take it up a notch and make it really, really heavy… It just makes everything that you put through it gnarly.”
T-Rex Tap Tone Delay
“I have the tap set right now for a song called One Of Us Is The Killer, which is the title track off of our latest record, where I have a kind of ping-pong-y thing going on with a linear lead. I also use it for effects and noise quite a lot, as well. There’s one song called Crossburner that I use it on quite a bit.”
TC Electronic PolyTune
“It’s amazing, because you can strum all of the strings and see simultaneously which ones are out. It shows you all of the strings in the spectrum, or you can use it just individually. A lot of tuners you can [only] use it one way or the other, but with this you can use both. It’s really small and the TC Electronic stuff is great… the firm’s really innovative with the way that it’s doing things.”
Bill Kelliher, Mastodon
“I’ve tried all sorts of combinations and never been able to do that with other effects processors; sending one signal doing one thing to one and another signal to the other thing doing something else.
"I haven’t been able to figure that out until the Axe-Fx. Because certain amps I have sound great with a distortion box in front of them, and some don’t.
“I’m using it like a pedalboard at the moment and I’m finding it really useful. I don’t use a lot of effects, but it does exactly what I want it to do. It does everything; there’s nothing it can’t do really, it’s great.
"One of the things I like about it is it runs off a cat5 cable right to a pedalboard that’s specific for it. It’s all easy to understand. You can hook up your laptop to it and tweak stuff in real time, like it’s a real pedalboard in front of you. I’m still learning about how to use it, but at the moment it works great.
"I’ve got delay, one clean channel that has a phaser. I’ve got reverb, a little bit of chorus. I’ve got an octaver, a boost... those are the ones I use the most. I just touch them here and there, it’s for peace of mind that they’re in there if I need them, it’s just for effects.
Brent Hinds, Mastodon
“Everything just pretty much stays on all the time. I just have to knock the TS808 off and then the phaser off and on quite often."
Dunlop Cry Baby 105 Bass Wah
“It has a wider envelope and it makes a more dramatic effect. Troy [Sanders, bass] had one laying around the practice pad and I said, ‘This will work.’ And then I tried another wah and thought, ‘This thing’s crap - it doesn’t have that huge envelope on it.’”
Mark 'Hoss' Hosking, Karnivool
Boss GT-6 Guitar Effects Processor
“This is the workhorse. Not a great signal to noise ratio, but they still have a funky batch of effects that fit into one unit. It’s something we’ve always used in the past for speedy creation of effects. In Australia, we have a lot more room for rack gear, but to get all the effects that we use into one ’board that works well with an expression [pedal] we find this is a great workhorse for that.
“The equivalent of what we use in Australia is four-rack units and a shitload of MIDI control boards at the front. Not quite practical for us to bring overseas, unfortunately.”
Boss DS-1 Distortion
“I use this for one song, Goliath. That first horribly hideous sound is basically a patch in the GT-6 for compression and then the DD-2, DS-1 and the flanger – all of them on full except the flanger. That just runs a slow wash over the sound. A great horrible dirty sound, which is probably all you’ll get out of a DS-1, but it’s effective for that.”
Electro-Harmonix Deluxe Memory Man
“I use it quite a bit for general wash effects. On the GT-6 we have a lot of presets, but this one, obviously being analogue, we have to do things manually, which is why I’ve got giant knobs I can control with my feet on there.
“I use it for a bunch of different stuff, including the effects on Set Fire To The Hive, all the high movement delay effects. It just sounds so good; it’s the breath among the digital evilness sometimes, I think.”
Drew Goddard, Karnivool
Boss GT-3 Guitar Effects Processor
“I run that through the effects loop and use it for some preset delays. While the [pedalboard] is running through the front, kind of a crucial element for me is sometimes I need the delay in the effects loop, which is after the preamp. It’s got a much cleaner sound and then the delay and all the modulation effects especially become a bit more nasty when it’s through the front. It’s more exaggerated, I guess.”
Devi Ever God Zilla
“This one of my favourite fuzz pedals. It’s made by a company, a girl called Devi Ever who just works on her own. She makes amazing pedals, especially these fuzzes. It has the 'I Can Has Cheezburger' cat on it and people running away from it frightened in terror, and that’s kind of what the pedal does.
“You’ve got your Blister, Texture, Tension and Volume, and this is two pedals in one, basically; you can get a blend between the two of them. It’s a very gnarly sound – it sounds as if the speakers are tearing. I used it to record the song We Are, in the middle. It’s also great for simple powerchords: big, doomy, thick, disturbing guitar sounds.”
“I use the HOG on almost every song. I have two thick octave-below sounds. It’s like the POG, but with more options. You can use it as a harmoniser with some thick octaves below, then tweak with decay and attack envelopes. The filter is very good for picking the frequency of the octave, so you can almost get a parked wah kind of sound with an octave below.
“Then there are the other functions where the really cool stuff happens… You can connect up an expression pedal for an octave bend and volume. Freeze+Gliss are my favourites, which is where you get these big cathedral organ kind of sounds where it sticks.
“You play a chord, wind up the expression pedal – which I don’t have with me on this tour – and it holds the chord. Then you go to a new chord, bring the expression pedal back down and it does a glissando. And because it’s a polyphonic harmoniser, every note fades into the new chord. It’s one of the most interesting functions I’ve ever seen on a pedal.
“There’s the foot controller that comes with it for the presets. There’s a HOG2 now, which I think is much smaller. The real estate [the HOG] takes up on the ’board is kind of annoying, which is the only problem with it.”
Boss DD-20 Giga Delay
“I’ve got a few other delays back home, but the main reason I use this is the modulation setting. It’s got a really distinctive characteristic to it – a bit of a chorus wobble that slowly opens up as it goes and it just creates an atmosphere that’s essential to a lot of Karnivool songs. Only four presets spots, though – that’s the only bad thing about that pedal.”
James Veck-Gilodi, Deaf Havana
Way Huge Supa-Puss Delay
“I pretty much only use it in one song, which is called Fifty Four, but the reason I like it is because it's really transparent; it doesn’t colour the sound at all and that’s exactly what I want, really.”
Electro-Harmonix Stereo Pulsar Tremolo
“I literally use this for 30 seconds in one song to try and make it sound as ridiculous as I can. There’s no reason why I like that whatsoever – it just makes the guitar sound ridiculous!”
Electro-Harmonix Holy Grail Reverb Nano
“I bought it because of the size so it fits on there. I use it when I play lap steel and slide guitar. It’s a pretty natural-sounding reverb. I just use the hall setting. I’m not really big on effects, though – the tone’s in the fingers, innit!”
Matthew Veck-Gilodi, Deaf Havana
Boss DD-7 Digital Delay
“It’s got a non-latching footswitch connected, so I can time [tap tempo delays] myself through a song. Then it doesn’t matter if we play a song at a different tempo, which is nice.”
Electro-Harmonix Small Clone Chorus
“I’ve got this essentially because I want to be in a 90s grunge band and it makes me sound a lot more like that! It’s a really cool pedal and it sounds like the tone Kurt Cobain got on Come As You Are. The depth switch can give you a softer chorus, but when we play a song like Leeches I don’t switch it because it’s a bit more intense, which I like.”
Electric/acoustic input switch
“This is made by one of our techs, Mr Matthew Tag, essentially so I can use one lead for acoustic and electric guitar and just switch between them.”
David Bryson, Counting Crows
“It’s a really outstanding tremolo – it sounds the most like a proper amp tremolo that I’ve ever heard.”
Boss RE-20 Space Echo
“I use a lot of delay, I love delay. It’s my fascination with the Edge where I got that I guess. None of the other guys really use that, so it’s a thing that I can do. It’s just a few songs where I can incorporate a rhythmic, timed delay. I like the modelled tape sound that it has, so it’s a little softer sounding. The ergonomics are really good and the pedals are really easy to tap.”
Analog Man King Of Tone overdrive
“It’s got two sides to it and I don’t know if the sides are different, but they feel different to me. One side goes to 11 and the other side goes to 10 – I can use one side for a crunchier rhythm sound when turning the guitar up doesn’t really get me there. I have two solos in the whole show, and that’s what the 11 is for.”
Loopmaster effects loop controller
“They’re a really cool company because they will make whatever you want. Mine has a little tuner output. And it’s got an A and a B [for two amps] but then you can combine the C, because I have a second Matchless that I’ve used on a couple of songs. You couldn’t buy that, but they’ll make these great pedals for you.”
Fulltone Clyde Wah
“I use it on one song – Round Here. It got recorded that way. I could probably do without it [laughs]. Dave is more the wah-wah guy.”
Tapeswitch Signal Mat
“It switches the vocal mic on. They’re great if you have in-ear monitors because there’s so much bleed from my vocal microphone that there’s just no clarity to the sound whatsoever. When I’m not singing – which is a lot – I don’t stand on the thing, so I hear this perfect stereo. It’s like hearing a record on my in-ears. But the sound gets ruined as soon as I step on that.”
MXR rubber knob covers
“They’re so I can put my foot on the setting and twist it. With the delay, I can change the amount of delay. On some songs, I want a little hint of delay and on others, I want a ton of it so I can crank it up. Same with my compressor – I’ve got one on the gain. For certain songs, I want a more aggressive sound, and I can fiddle with it without bending over.”
Billy Duffy, The Cult
Jim Dunlop 95Q Cry Baby Wah Wah
“Dunlop make all my picks and my wah-wahs. These days, I like a boost on my wah-wah so that it just automatically boosts the level, because usually they take a bit of your level. And I got into switchless ones recently – there’s no clicker on it, so I just engage and go. There are a few adjustable things on it; they’re not too dissimilar from the Dimebag Cry Baby.”
Boss pedals: DM-2 Delay, BF-2 Flanger, PH-3 Phase Shifter, NS-2 Noise Suppressor, TU-3 Tuner, DD-3 Digital Delay x2
“I’ve always used them. I like them – they always work. Well, I’ve always used them, apart from one period where I got a couple of rack-mounted Korg delays, and I had like a rack-mounted guitar system for a while. I really like it, but it’s a little bit complex, and the way we work now, we do some fly-in gigs, and me being able to control it all from the floor is pretty bombproof.”
Ibanez TS808 Tube Screamer
“It’s a reissue and it’s been modified. Well, it’s less fuzz, a bit more bottom-end and a bit more clarity. A friend of a friend in Los Angeles did it.”
Lovepedal Kalamazoo overdrive
“That’s my new favourite toy; it’s just an overdrive, but it just doesn’t add nasty fuzziness. Basically, it is a Tube Screamer, what you would like a Tube Screamer to do, but with all that warmth, power, sustain, crunch, and it does it all.”
Gary Clark Jr
“Different pedals make me play different, and I can express myself in different ways, but sometimes there is nothing like going straight through with a clean, pure tone, with just the guitar and amp. Pedals can be fun, though.”
“I’m still finding out new things about this pedalboard. It’s all new to me from the past couple of years. This Octafuzz is a cool thing – it just puts a boost on things, really. I use it on Ain’t Messin ’Round to give it a boost in the chorus.”
RMC Real McCoy Wah
“This is pretty cool, and I stomp on that from time to time. It’s just different.”
Analog Man Astro Tone Fuzz
“As far as When My Train Pulls In goes, I use the Analog Man Astro Tone during the choruses to give it a boost, I use the Octafuzz during the leads, and then I’ll also use the [RMC Real McCoy] Wah, as well.”
Analog Man King Of Tone & Analog Man ARDX20 Dual Analog Delay
“The Analog Man King Of Tone is basically a boost overdrive, and it has two channels. The [ARDX20 Dual Analog] Delay’s random, and I like to adjust the amount of the timing of the delay like with slapback. I’ll throw a little bit of that on Ain’t Messin’ ’Round and Please Come Home, and sometimes even Bright Lights if I feel adventurous and I’m looking to do something different.
“For the big tone on Numb, I’ll drop down to open D and use the Analog Man King Of Tone, the Astro Tone and the Octafuzz together… Basically, I stomp on anything with a red light!”
Phil Manansala, Of Mice & Men
Boss PH-3 Phase Shifter & HardWire SP-7 Stereo Phaser
“I use the PH-3 on Still YDG’N and also Product Of A Murderer. Then I have a stereo phaser, a DigiTech HardWire SP-7, which I like to run [simultaneously] with my other phaser, so they make crazy noises.
“I think the phaser fell off for a bit and, being a fan of nu-metal, where the phaser is used a lot, I feel like it needs to make a comeback. That’s why I’ve got two of them!”
HardWire DL-8 Delay/Looper
“I run a HardWire delay pedal, a DL-8, on all of my leads, just to spice it up a little bit. I have it on a tremolo setting, so it’s kind of fast, but it dies out in like four beats. Then it has a kill switch, so it doesn’t go over everything and make me sound stupid!”
Alan Ashby, Of Mice & Men
HardWire CR-7 Stereo Chorus
“I use my chorus pedal for a lead that I play on The Flood and The Depths. I have the depth turned way up so that it sounds like a Korn lead sound.”
MXR Smart Gate
“A must. When I first joined the band I didn’t have one, but when you’re playing a different venue every night, sometimes you’re getting feedback – especially with how much gain we use. So we just turn up the noise suppressor and it cuts all the extra noise out.”
Tom Searle, Architects
“Right now I have the Boss DD-5 Delay and RV-5 Reverb. I bought the delay pedal when I was 15, secondhand from a transvestite. I use an [Ibanez] Tube Screamer, but in terms of proper effects, that’s it.”
“I can’t stand it when people don’t put their pedals through the effects loop. That might seem obvious, but I definitely see guitarists not using the effects loop. Especially their reverb pedals. It doesn’t sound like reverb if you don’t!
“We played this show years ago with Sylosis. I had always battled with loads of noise and feedback, then Josh [Middleton], the Sylosis guitarist, said to me, ‘Have you heard of these things called noise suppressors?’ You mean I can play without all this noise? No-one had told me! It seems obvious to me now.”