Skip to main content
MusicRadar MusicRadar The No.1 website for musicians
Sign in
  • View Profile
  • Sign out
  • Artist news
  • Guitars
  • Guitar Pedals
  • Synths
  • Keyboards & Pianos
  • Controllers
  • Guitar Amps
  • Drums
  • Software & Apps
  • More
    • Recording
    • DJ Gear
    • Acoustic Guitars
    • Bass Guitars
    • Tech
    • Tutorials
    • Reviews
    • Buying Guides
    • About Us
More
  • Radiohead theory
  • Steely Dan's drum machine
  • Deep Purple in the dungeon
  • Prince's drummers
  • 95k+ free music samples
Don't miss these
Harley Benton ST-80FR
Guitars Harley Benton erupts with '80s shred fever as it launches the Floyd-equipped ST-80FR Series S-styles
Jackson Pro Origins 1985 San Dimas: these retro S-styles take the high-performance electric guitar brand back to the '80s, offering single and dual-humbucker platforms for shred with the choice of rosewood or maple fingerboards – and what about that "Two-Face" black-and-white finish?
Guitars “These guitars empower metal artists with the authentic, crushing tone that built Jackson’s legendary reputation”: Jackson takes us back to the heyday of shred with the Pro Origins 1985 San Dimas series – and what about that Two Face finish?
Laney LFR-110: A compact 1x10 version of the British amp brand's "best in class" FRFR speaker cabinet.
Guitars Laney expands Devin Townsend and Guthrie Govan-approved FRFR speaker range with compact 1x10
Gretsch Electromatic CVT: The bolt-on double-cut assumes a familiar form to the Jack Antonoff signature model, and features dual humbuckers, a wraparound tailpiece, and some neat vintage finishes.
Guitars Like the Jack Antonoff signature Gretsch? Then you are going to love the CVT Electromatic
Orbit Culture's guitarists
Electric Guitars Orbit Culture show us their ESP guitars – and tell us why the EverTune bridge is a game-changer
Laura Lee Ochoa
Bass Guitars Khruangbin bassist Laura Lee Ochoa says that her Fender signature model is actually based on a Fender copy
Rick Graham is photographed in a dark setting with a warm stagelight in the background; he holds his new signature electric guitar, a shell-pink S-style with a reverse headstock
Artists Charvel and Rick Graham team up for Pro-Mod signature model with relic'd nitro cult colour finish
Debbie Gough of Heriot demoes the new Jackson Pro Plus Metal Phase II Warrior on a darkened studio set.
Guitars Jackson adds Warrior, King V and Concert Bass to its limited edition Pro Plus Pure Metal range
Yungblud
Artists Yungblud reveals his secret to making acoustics sound massive – and hints at future signature model
Kirk Hammett plays his Mummy ESP onstage with Metallica. In the middle of this comp'd image is the Thinline custom Triplecaster Hammett commissioned then gifted to White. On the right, White plays his Fender Triplecaster with the yellow pickguard.
Artists Kirk Hammett orders up custom version of Jack White’s Triplecaster – and gets one for White, too
Laney Digbeth Foundry Series: the new bass amp range from the British amp band is offered in head and combo formats, and with a variety of wattages.
Bass Guitars Laney Amplification unveils Digbeth Foundry range – affordable, powerful bass amps from 30W to 200W
Atlas DSP - Your Final Steps
Plugins Atlas DSP, Your Last Steps Review
MXR Randy Rhoads Special Edition Distortion+: A black and white shot of Randy Rhoads with his Jackson Concorde; on the right, the new signature distortion from MXR in a finish inspired by the guitar.
Artists Good news for Randy Rhoads fans – his MXR Distortion+ is back, and you have got to see its supersonic finish
EarthQuaker Devices Rancho de la Luna Dirt Transmitter
Guitar Pedals “Simply a killer fuzz pedal”: EarthQuaker Devices Dirt Transmitter – Rancho de la Luna Ltd Ed review
Troy Van Leeuwen of Queens of the Stone Age plays a red/orange Gretsch onstage, and is framed by a triangle of yellow-green stagelights.
Artists “It was the most bizarre musical experience”: QOTSA’s Troy Van Leeuwen on playing Paris's Catacombs
  1. Guitars

Rig tour: Blood Red Shoes

News
By Jonathan Horsley ( Total Guitar ) published 24 April 2019

Laura-Mary Carter spikes full-blooded Marshall power with boutique Fender vibes

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.

Introduction

Introduction

The fact that Brighton-born rockers Blood Red Shoes were conceived as a two-piece band has shaped the way electric guitarist/vocalist Laura-Mary Carter approaches tone.

With fellow bandmate Steven Ansell holding it down on drums, Laura-Mary fills the band’s distinctive alt-rock sound with some judicious and, frankly, iconoclastic gear choices.

Augmenting her Telecaster’s innate twang with a suite of pedals? Taking a mass-production no name electric and placing it at the heart of her setup? Well, this girl will take whatever works.

The pièce de résistance, however, is a backline that sees Marshall’s flagship 1980s rock amp, the JCM800, running in tandem with a five-watt Fender Champ combo - it’s a Transatlantic tone cocktail that’ll knock you for six.

We caught up with the experimentally-inclined musician to get the lowdown on her favourite gear in the studio and onstage.

Page 1 of 7
Page 1 of 7
Fender American Standard Telecaster 2007

Fender American Standard Telecaster 2007

“I try to use all kinds of guitars when I’m recording but, live, I just think a Tele is what I’m comfortable with. It’s an all-rounder. I know I can make it sound good with my pedals. It’s my comfort guitar. 

“I got it brand-new, out of the factory. This was my first guitar! [Before] I just borrowed guitars to teach myself. When we got signed in 2007, I bought my first guitar in New York and it was this Tele. I have tried others since but there is something about this one that’s just really comfortable.

“I had another one that I loved, but I think it was in Denmark, or maybe it was Sweden, where I had a bad show and I smashed my guitar and the neck broke off. I had to replace the neck, and once I had replaced the neck it didn’t ever feel the same and I sold it. But the black Tele is... I dunno, it’s magic. 

“It’s got a bit more low-end than other Teles. I’d love to say it was vintage because I love vintage guitars. I feel like I don’t use a Tele in a normal way. I think I use it much more as a rock instrument. I’ve also managed to make the Tele really bassy with pedals.”

Page 2 of 7
Page 2 of 7
Teisco E-100 (model unconfirmed)

Teisco E-100 (model unconfirmed)

“My other favourite guitar, and I don’t think I could ever replace it (I don’t think I could ever find one!) is this guitar I bought off eBay for £100, and I literally knew nothing about it, only that it had gold-foil pickups. 

“I always thought it was a Teisco from the 60s. It’s the unknown guitar. It’s got no name on it. For me, it’s a Teisco. For five years I’ve called it a Teisco. When I got that it was before our previous [self-titled] album, and I remember I got that guitar out the box and wrote An Animal, straight away. It’s one of our most popular songs; you can hear on the recording that it’s got a very specific sound. I plugged it in, wrote the riff, wrote the whole song, and I was like, ‘Wow! This guitar is completely magic.’ 

“I can’t play that song on any other guitar. If anything happens to this guitar I just won’t be able to play that song. It’s got incredible low-end. It doesn’t sound like anything else. It’s completely trash but I love it so much. I always call it my trash guitar.”

Page 3 of 7
Page 3 of 7
Gibson SG Standard

Gibson SG Standard

“I never really liked SGs because I always thought they looked a bit ugly, haha. When I was younger, I saw it as a really male-looking instrument and I wasn’t interested in it. I just thought it looked too macho! I’ve changed my opinion. I love it. And I love AC/DC but it just didn’t appeal to me back then. 

“I wish I had one in black. I got it in Dallas and I think it’s a 2000 model. I never stop [playing onstage], and I am singing, and I am changing pedals as much as I can, so if [the guitar] doesn’t feel comfortable for me then it’s going to be a pain.”

Page 4 of 7
Page 4 of 7
Marshall JCM800

Marshall JCM800

“It’s always been that amp. It’s a magic amp. It was originally owned by Mia Clarke from a band called Electralane from Brighton. I’ve tried so many other amps and nothing compares. 

“I’ve tried all different kinds of combinations, and I am always looking to try something new because, to be honest, I would like to play something smaller - it just makes practical sense for touring, but I don’t know... it’s so loud. I’ve also got vintage tubes in it, which probably has made the difference. 

“There is something about that amp. I think the amp is the most important thing. When we were hiring gear, people were like, ‘Can’t you use something else?’ And I’m like, ‘No, you don’t understand. I can’t.’ It’s part of the sound. It needs to be right. The cab is a vintage 4x12.”

Page 5 of 7
Page 5 of 7
Fender ’57 Custom Tweed Champ

Fender ’57 Custom Tweed Champ

“I think I am analogue in all aspects of my life! I’m really bad with my phone, all these things. I’ve got to get with the times. I split the amps but I keep them on both at the same time so I’m not switching between them I put them through a splitter but they are on continuously.

“The Champ is amazing. I take that with me everywhere. I take that on the plane, I travel everywhere with it. It’s handwired. It’s my midrange and the low-end is my Marshall.

“The Champ is only  fivewatts but it is amazing. Everyone who does our sound says that amp sounds incredible. But it’s that combination between the two. I think Slaves copied me on this. This is my trademark.”

Page 6 of 7
Page 6 of 7
Pedalboard

Pedalboard

MXR Analog Chorus

“I wanted a chorus for The Perfect Mess and I actually used a really old pedal that I borrowed off a friend for the sound on the record - but I wanted something a bit more compact and easy so I got this. Now I use it for all other bits and pieces. It’s pretty handy. Some people say it sounds like a helicopter when I put it through my other effects.”

MXR Carbon Copy Delay

“I just saw a lot of other bands using MXR, and one of my friends, he had loads of their pedals and I was like, ‘They’re pretty cool.’ I just really liked the delay.”

Bright Onion Pedals Dual AB Looper

“That is a switcher. I control my clean and my distorted tone... although my clean is not really clean.”

Fulltone OCD Overdrive and Crowther Audio Hotcake Distortion

“My OCD and my Hotcake are on at all times and the [Bright Onion] just controls them both, which makes my life a lot easier because I have to switch a lot. I don’t need a MIDI switcher for my pedals.

“Sometimes I feel like it’s cheating if I’m not involved in the switching. This is probably quite controversial, but I guess I come from the punk scene and it is not that punk. And, you know, I wouldn’t understand if something went wrong. That scares me: the fact that I wouldn’t be able to just fix it myself.”

Boss DM-2W Waza Craft Delay

“I’ve just been given this and I put it in recently because I needed something for the new record. It’s quite synthy, and this is quite cool because you can make it sound like some of the parts I made on the album. I’ve just been fiddling around with it. I’m not completely used to it. It’s got something a bit more modern [to its tone].”

Electro-Harmonix Micro Synthesizer

“I used to use it for so much stuff. I’d use it on its own with the MXR delay, or I’d use it with the Hot Cake distortion - and that is mega. Combined? That’s like a full-on bass sound, and that’s on more of the old songs. I use it on a lot of the new stuff on its own through the OCD’s slight crunch sound. But this gives it the sub.

“This is actually my most crucial pedal. It’s just really versatile, although, I have to admit that I keep it on these settings most of the time. I have to keep tweaking my pedalboard just to make it an all-rounder that’ll work for everything.”

VI Reverb

“You know what? I have absolutely no idea what this is but a guy in Russia gave it to me. We played a show in Moscow, and all our equipment got stuck. He lent me these pedals for soundcheck and I really liked this one, and he was like, ‘You can have it!’ I’m pretty sure he said he made it. It’s a nice reverb. I run it full but on a couple of songs I need less so I’ll manually change it.”

Strymon BlueSky Reverberator

“They can be a little bit difficult on the road because they are fragile. It sounds like a choir. My old guitar tech, Reuben - he techs for Robert Plant at the moment - introduced me to this pedal and I got it for the third album. It’s all over [In Time To Voices].

“I have a preset that I use for Colours Fade. I’ll turn that preset on but I’ll keep it where those markers are and use that as my main shimmery reverb sound. I’m using it a lot more on this new record.”

Fulltone Octafuzz OF-2 Tychobrahe Octave-Up Clone

“I only just added that in three days ago because there were a couple of parts on the record where I played a lead and then I doubled it an octave up, and I really wanted to create that effect live.”

Boss OC-3 Super Octave

“It doesn’t have much tone but I use it as the low-end with the Hot Cake distortion. This has got that pure low-end that you can build a tone with.”

MXR MC403 Power System

“This power brick is amazing because I can change the voltage for the States. I have had many others, like the [T-Rex] Fuel Tank power bricks. This is the best I’ve ever had.”

Boss TU-3 Chromatic Tuner

“It’s the classic Boss tuner! [Laughs] I use this to stop [the sound] when we stop the song. I am not one for feedback. I love the little gap in sound.”

Page 7 of 7
Page 7 of 7
Jonathan Horsley
Jonathan Horsley

Jonathan Horsley has been writing about guitars and guitar culture since 2005, playing them since 1990, and regularly contributes to MusicRadar, Total Guitar and Guitar World. He uses Jazz III nylon picks, 10s during the week, 9s at the weekend, and shamefully still struggles with rhythm figure one of Van Halen’s Panama.

Stay up to date with the latest gear and tuition. image
Stay up to date with the latest gear and tuition.
Subscribe and save today!
More Info
Read more
Harley Benton ST-80FR
Harley Benton erupts with '80s shred fever as it launches the Floyd-equipped ST-80FR Series S-styles
 
 
Jackson Pro Origins 1985 San Dimas: these retro S-styles take the high-performance electric guitar brand back to the '80s, offering single and dual-humbucker platforms for shred with the choice of rosewood or maple fingerboards – and what about that "Two-Face" black-and-white finish?
“These guitars empower metal artists with the authentic, crushing tone that built Jackson’s legendary reputation”: Jackson takes us back to the heyday of shred with the Pro Origins 1985 San Dimas series – and what about that Two Face finish?
 
 
Laney LFR-110: A compact 1x10 version of the British amp brand's "best in class" FRFR speaker cabinet.
Laney expands Devin Townsend and Guthrie Govan-approved FRFR speaker range with compact 1x10
 
 
Gretsch Electromatic CVT: The bolt-on double-cut assumes a familiar form to the Jack Antonoff signature model, and features dual humbuckers, a wraparound tailpiece, and some neat vintage finishes.
Like the Jack Antonoff signature Gretsch? Then you are going to love the CVT Electromatic
 
 
Orbit Culture's guitarists
Orbit Culture show us their ESP guitars – and tell us why the EverTune bridge is a game-changer
 
 
Laura Lee Ochoa
Khruangbin bassist Laura Lee Ochoa says that her Fender signature model is actually based on a Fender copy
 
 
Latest in Guitars
Gibson Tony Iommi Humbucker
"It's unlike any humbucker I've tried before": Gibson Tony Iommi Signature Humbucker review
 
 
SCM All Stars logo
“I’m so grateful that our music can be a vehicle for their spirits to fly”: Students at Flea’s music school pay tribute to Chili Peppers
 
 
Mk.pre
Audio Hertz's Mk.pre emulates the Tascam Portastudio preamp that colours Mk.gee's sought-after guitar tone
 
 
Jacob Collier
Using his signature ‘DAEAD’ tuning, Jacob Collier recorded a 5-string acoustic guitar album in just four days
 
 
Deals of the week
MusicRadar deals of the week: Score a mind-blowing $1,000 off the stunning D'Angelico Excel SS, $500 off the gorgeous Heritage Standard H-535, and so much more
 
 
Warren Haynes takes a solo live onstage with his Gibson Les Paul Standard. He wears a black shirt.
Warren Haynes on the Allman Brothers, Woodstock ’94, and finishing what Gregg Allman started with Derek Trucks’ help
 
 
Latest in News
Jon Batiste
Jon Batiste answers the internet’s piano queries and agrees with one potentially controversial musical statement
 
 
Flava D in the studio
Flava D on why drum & bass is the toughest genre to produce
 
 
Musician Dave Grohl, founding member of Nirvana and The Foo Fighters
“Ladies and gentlemen, will you please welcome Ilan Rubin”: Dave Grohl introduces new drummer at Foos secret gig
 
 
Brian May
“I missed a couple of things": Brian May critiques his Last Night of the Proms performance
 
 
Ed Sheeran attends the European Premiere of F1 ® The Movie at Cineworld, Leicester Square on June 23, 2025
“It would be ‘Stop’ and then ‘Eject’”: Ed Sheeran reveals that plans for posthumous album are in his will
 
 
Zultan FX cymbals
“A versatile tool for sharp, modern accents and cutting effects”: Zultan add to their effects cymbal range
 
 

MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site.

  • About Us
  • Contact Future's experts
  • Terms and conditions
  • Privacy policy
  • Cookies policy
  • Advertise with us
  • Accessibility Statement
  • Careers

© Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA. All rights reserved. England and Wales company registration number 2008885.

Please login or signup to comment

Please wait...