:)

For those of us that use guitars and amps to play our effect pedals, I feel its
only fair to fill new wine skins with new wine and toss the old ones under the
train.

anyone like me grow up with Dave Gilmour's crying space guitar cacaphony of brilliance?
with Jimmy Page playing fuzz and workin an echoplex like a woman in climax, the Edge from U2 making math rock out of a deluxe memory man,boss FET-boost and tubescreamer? Robert Smith of the Cure playing a fender bass six into Boss pedals like a guitar? Johnny Marr of the Smiths using two fender amps tremelo effects to create stuttered stereo guitars of doom? Eddie Van Halen using an MXR Flanger for molten shredding eruption?

I really believe that all guitarist from the glory days of blues, jazz,cowboy and hillbilly roots music would have jumped at the chance to outdo the next cat in the battle of "making it" had guitar effects been available marketed affordably.
:p:;)

:)

For those of us that use guitars and amps to play our effect pedals, I feel its
only fair to fill new wine skins with new wine and toss the old ones under the
train.

anyone like me grow up with Dave Gilmour's crying space guitar cacaphony of brilliance?
with Jimmy Page playing fuzz and workin an echoplex like a woman in climax, the Edge from U2 making math rock out of a deluxe memory man,boss FET-boost and tubescreamer? Robert Smith of the Cure playing a fender bass six into Boss pedals like a guitar? Johnny Marr of the Smiths using two fender amps tremelo effects to create stuttered stereo guitars of doom? Eddie Van Halen using an MXR Flanger for molten shredding eruption?

I really believe that all guitarist from the glory days of blues, jazz,cowboy and hillbilly roots music would have jumped at the chance to outdo the next cat in the battle of "making it" had guitar effects been available marketed affordably.
:p:;)
To a lot of the old Jazz cats effects of any sort were anathema. Reverb may have been added in the studio but it was usually somewhat sparing. Later on. chorus pedals became accepted but I think that most of the old-school Jazz players didn't care for effects.

How'bout Daniel ash from Bauhaus, Geordie walker from killing joke, John mcGeoch from siouxsie & the banshees, Helios creed from chrome or even Wayne hussey from sisters of mercy. I would love to know what was in there pedal setup! was it bari bari on the first christian death album? there was a cool flanger set on chorus sound that was unique only to him and when he was in mephisto walz.

yeah. strangly i grew up on all that and waded through a lot of crap that came out since it was all released to get to it.

Gilmour used a Flanger of some sort on the wall. Listen closely on "Young Lust" only one that really comes to mind. I really dig his sound, and always find myself replicating it by mistake. I was gonna buy an MXR Flanger, but changed my mind at the last minute towards the Ibanez AF2 Airplane Flanger.

My thoughts on old pedals versus new.
The old is time tested and thats why its still around, every once and a while, the new improves upon the old and it sticks around. Although just like music, there is all that new crap in between that you pick up for a minute, and then throw it under the tracks as you say.

To a lot of the old Jazz cats effects of any sort were anathema. Reverb may have been added in the studio but it was usually somewhat sparing. Later on. chorus pedals became accepted but I think that most of the old-school Jazz players didn't care for effects.


It wasnt the norm back then and wasnt developed enough, nor affordable or widely available.. it was just a different time but our time was a changing of the guard when it came to the expressionist side of being a guitarist in a band.
Surf music would NEVER have really surfed with the reverb tank, we would have never touched the sky without the fuzz face and wah wah, nor would we have "really boogied" without cascading gain circuits. :)

@w'gang ...I've been searching for a site that focused on the genre of guitarist you listed. Its a strange one because they cared about their sound, but knew they were part of a team and tried to either fill holes between the voices and electronic sequencing be it beat boxes or synth.
E. Easton kept a distinct tone in the Cars for example but he didnt carry the bands sonic spectrum like say the Edge.
I guess some didnt care as well but by default created a unique sonic footprint within the band.
One weird ass sound that seems to be over prevalent is the Roland Jazz Chorus amp. An amp I hated until 2 summers ago at a session in Nashville when I had an engineer put it in front of me with a crybaby wah demanding funk riffs with a gretsch annie. Live its a moving experience and it helps me further understand an artist seeking more media to bring forth new expression. I dont say that at ALL from some hippie ass, tree hugger mindset but rather a guitarist thought process of "hmmm.. I know I got
some skills and original riffs but I needs something to give me 10% more of what the other guy cant".. Chet Atkins IMMEDIATELY comes to mind with all the odd gear that was thrown at him and he embraced. He was always
Chet and his style and technique instantly recognizable but as the albums progressed... so did some of the recordings. He wanted to take his expression further even as a minimalist.

It wasnt the norm back then and wasnt developed enough, nor affordable or widely available.. it was just a different time but our time was a changing of the guard when it came to the expressionist side of being a guitarist in a band.
Surf music would NEVER have really surfed with the reverb tank, we would have never touched the sky without the fuzz face and wah wah, nor would we have "really boogied" without cascading gain circuits. :)What I was getting at is that these guys took a lot of pride in not using affects even into the era of inexpensive, compact pedals. They wanted the sound of the guitar and the amp with nothing else in between. There are still plenty of old-school Jazz cats that play rhythm acoustically and turn up the pickup for solos.

As I said recently I just put together a board. Actually my first big board! Now all I have to root thru a figuire what it is I don't need on there. It's a big board to fill too. My mainstays are the Peterson, the Nocturne and the Tim. I rest I could do without. Tavo you should of all people know how I was with those Clubs. The first thing anyone complained about was no reverb! That amp didn't need any freekin' reverb! All that would do is screw with the harmonics that amp puts out. It took some time but I gave in and bought the Ambassador with REVERB with no regrets other then I miss those Club series! OK! the delay stays on the board The Kendrick ABC too. I have to have the 3 amps going at the same time so it stays!

The Nocturne and Tim ruined me as far as being plugged straight in but i think a Tophat Vanderbilt 33 could get me back in that mode. Turtle dude! How do you think that would sound thru the JBL? Just joking! If that were to happen i would do a 1x12 with a Celestion Gold.:D

Ahh the roland jazz chorus .. One of my first amps I bought as a kid with lawn mowing and paper route money. at first I was mad as hell because I didn't sound like black sabbath, eddie van halen or judas preist.. then as the early 80's came around and I discovered siouxsie & the banshees, killing joke, billy duffy .. well it was deathrock goth heaven..

I went on a quest for the perfect pedal set up .. remember those cheap arion pedals? what I ended up with was a vox wah wah, boss ce-2, bf-2 flanger, pe-2 phaser, a dual blue digitech delay pedal that I used like a roland space echo, a roland space echo that would faithfully break down once every two months. I also Had a old boss heavy metal pedal that was constant battle to get the tone I wanted. at first it was great because I sounded like all the other up and coming metal bands of the early 80's. but at the end of the day I would be frustrated and keep asking my self: what would billy duffy do/use?

Ahh the roland jazz chorus .. One of my first amps I bought as a kid with lawn mowing and paper route money. at first I was mad as hell because I didn't sound like black sabbath, eddie van halen or judas preist.. then as the early 80's came around and I discovered siouxsie & the banshees, killing joke, billy duffy .. well it was deathrock goth heaven..

I went on a quest for the perfect pedal set up .. remember those cheap arion pedals? what I ended up with was a vox wah wah, boss ce-2, bf-2 flanger, pe-2 phaser, a dual blue digitech delay pedal that I used like a roland space echo, a roland space echo that would faithfully break down once every two months. I also Had a old boss heavy metal pedal that was constant battle to get the tone I wanted. at first it was great because I sounded like all the other up and coming metal bands of the early 80's. but at the end of the day I would be frustrated and keep asking my self: what would billy duffy do/use?

You know my first awakening to guitar efffects was as a kid in 6th grade sittin out on the swings with a little AM radio watching the jr High girls do P.E. (so I could see boobies bounce). All of a sudden this song came on that just floored me
by a guy they called Peter Frampton doing "show me the way", totally strange throaty wah sound (i later learned was a "Golden Throat " talk box.
I was smitten (btw great talk box reference: http://www.blamepro.com/talkboxI.htm )

as far as pedals in the amp,
I started out with the very first Arion Stereo Chorus, Arion SAD-1 analog echo, along with the grey DOD flanger. I had 3 amps avail to me because my dad is a guitarist but my Peavey was my gig amp. I was sort of naive to how effects worked because in my home hippies were dirty apes and if you were gonna play guitar, you needed to use your hands to and amp to create the sound.... rockabilly reform school :)
So I think that shaped my non conventional use of effects. I always liked it when George Jones guitarist would use a flanger, its so out of place but twangy cool or the Edge would distort his EH deluxe memory man by setting the level too high (maybe the fet boost was beating it up)

Hehe, I used to do that that with " Spirit in the sky" & " Stranglehold" while turning the tv down and watching 20 minute workout before in went to junior high. I thought hmm.. those hippies and David gilmour are onto something.

Just waiting for the chance to hear what a nocturne will sound like with 2 orange 4x12 with a vox head, re-20 & a few other pedal combo's.. I'm thinking once I get my hands on the brain seltzer I'm going to try this combo .. A 5120 with tv jones classic plus and powertron, compton titanium bridge. then my vox head/4x12 and marshall 4x12. then the Brain seltzer, boss ce-20 & boss re-20.

I should be ready to go then use all my other pedals on my keyboards.. hey wait.. hmm ..why not try it?

before I first started out playing. The only effects I knew of were distortion and wah...which I called cry baby...oh and the "whammy bar".

When I got my first actual amp, a Mesa rect-o-verb combo, I didn't think I needed anything else...it had two channels and reverb (which I never used anyways). I started out playing punk pop-punk...so I didn't need anything but max crunch. I played straight in, guitar volume on 10 on the bridge pickup

Then I fooled around with a buddy's GT-3 one day...and I got the bug...so I got a GT-3 (still sitting on the shelf) a year after I started playing and never understood it fully...and I still don't.

After discovering that it's more fun to not play powerchords all of the time, and play with textures of sound, that's when the effects ( and a couple more amps) started piling up. Line 6 DL4 and MM4, (used) Distortion + were my long time effects board going into a Vox AC15 or a Twin reverb RI. Then I got into some fulltone ( a used 69 and a Fulldrive II). This is what I used for the power pop/indie rock I was doing at the time.

Now and days I'm just using my TopHat Club Royale, and I am currently going on a pedal selling binge to focus on the "necesseties" Currently that is my Nocturne, TR-2 (when it's not fussy), and DL4. I'm definitely working on getting a Clark/Barber Gainster, Skreddy Screwdriver, DM-3, and a better trem/vibrato...and a 6G6-B and maybe a small vintage combo (fender, magnatone)...someday! I think this rig could very well do anything I look to play.

I pretty much stick with a solo boost of some kind. Years ago, it was my trusty Microamp. I switched to a DOD EQ, and now I'm back to using my TS-9.

Actually, been looking for a nice compressor. The DynaComp I have is not quite doing it for me. Any suggestions would be most appreciated!

I like A litle slap back delay some reverb but not really needed a great amp and I'm good to go. I prefer the sound of "good" amplifier to any pedal.

I stick with 4 pedals (boost, OD, trem, & delay) and a tuner and that's the most my simple little mind can keep up with ;)

Brickwall, consider the Barber Tone Press. A great compressor, and you can mix in as much dry signal as you need.

Brickwall, consider the Barber Tone Press. A great compressor, and you can mix in as much dry signal as you need.

I totally agree.. one of the best for those of us that hate being squished.