gear
Collecting Spirits
In mid-July 2011, I started producing a new album for prolific singer/songwriter/composer Paulie Pesh. We spent the first four days tracking inside of Downey First Presbyterian. The 84-year-old sanctuary, with its vaulted ceilings, and sun-filled, stained glass windows was perfect for tracking rhythm section, strings, and brass. The environment, the music, and the people involved have made for an unforgettable experience. In the above photo, I am using an AKG D112 on the cello, a pair of AKG 451 EB’s in an XY pattern to capture the viola and violin, and a Sennheiser 421 on the flute running into the Allen & Heath Zed R-16. Many thanks to my assistant engineers, Jet Elfman and Jason Chavez.
Electric Guitar Pedal Board
I try to keep it simple. In fact, for most of the last 10 years, my use of effects pedals has been downright spartan. At this point, I think I have finally put the right combination of sounds together. The only difference with this photo and my actual performance set up is that the BOSS RC-50 Loop Station is placed to the left of the pedal board and not on top of it.
From left to right (beginning at the top):
BOSS RC-50 Loop Station: I just replaced my Digitech JamMan with the RC-50. I used the JamMan for every live performance and recording session over the last few years and it never failed me. My only frustration was the last of control over the loops and the large amount of noise produced by the unit when attempting to record direct. So far the RC-50 has been amazing. Three stereo loops, each with their own pan, volume and forward/reverse settings.
BOSS RE-20 Roland Space Echo: I imagine this is about as close as I will ever get to a real Space Echo sound. I toyed with the idea of buying a vintage RE-201 but the cost and upkeep are a little prohibitive. Thankfully the RE-20 sounds amazing. I use it mostly on guitar but it is hard to be on a snare drum too.
Electro-Harmonix Stereo Electric Mistress: Believe it or not but this is the only modulation pedal I have ever owned in 15 years of playing guitar. The ability to combine flange and chorus leads to a number of beautiful, shimmering accidents. Play and record in stereo if at all possible.
T-Rex Mudhoney: Unlike modulation pedals, I have owned my fair share of distortion boxes. From the ugly sounds of the BOSS MT-2 Metal Zone to the underwhelming overdrive and fuzz boxes from Electro-Harmonix, I have had a difficult time finding a sound that was right for me. It just so happened that I booked a recording session for I Heart Lung at Matt Wignall‘s Long Beach studio, Tackyland, when I found a Mudhoney pedal among the cables and wires. I plugged it in and ordered my own a few days later.
Ernie Ball VPJR: Volume pedals aren’t very sexy. They rank up there with DI boxes and power supplies as the last thing any musician wants to spend their money on. A volume pedal helps me add texture and thoughtful accompaniment to whatever style of music I am playing. It might be boring but it’s also my secret weapon.
Not Pictured
I still have two pedals that aren’t in this setup. One is the BOSS DD-20 Gigadelay, which I have used extensively for many years now. The other is a Digitech Synth Wah which is a decent/weird envelope filter. Depending on the setting, I’ll swap out the DD-20 for the RE-20 and if I’m feeling adventurous, I’ll plug the synth wah.