This Berklee-educated, Venezuelan-born guitarist with a unique tapping technique plays self-designed 16-string instruments that are two guitars in one.
If youāre unfamiliar with Venezuelan guitarist Felix Martin, your first reaction to his technique might be, āSeriously?!ā
Martin, who is left-handed, plays an upside-down, extended-range/multiple-string, doubleneck guitar. But his guitar is no ordinary upside-down, extended range/multiple-string doubleneck: The two necks are conjoinedāalthough the fretboards are separateāand create an almost contiguous 16-string playing surface.
On top of that, Martin is a bona fide virtuoso. He plays using an eight-finger tapping style, one hand per neck, and the parts he plays are often contrapuntal, polyrhythmic, and piano-like in their harmonic richness. He insists that he doesnāt practice two-handed independence, but your ears may tell you otherwise.
This complicated style isnāt a gimmick. Martin is a diverse musical talent who graduated from Berklee College of Music, where he studied composition, orchestration, production, arranging, and transcribed music from around the globe. His genre home base is post-Dream Theater prog, but heās fluent in multiple styles including classical, world, and jazz fusion.
On his latest album, Mechanical Nations, Martin chose to focus on that which makes him different: two-handed tapping and percussive techniques. Despite his formidable picking chops, he stopped using a plectrum three years ago. He also doesnāt currently use distortion, a traditional amp, or stompboxesāinstead deriving his tones from a Fractal Axe FX II, which he runs direct to the board both live and in the studio.
And still, his new album is heavy. The musicās rhythmic intensity and powerful percussive element help maintain his metal credentials. Using clean tones means he can showcase his musicās complexity without sacrificing aggressiveness (or muddying up the mix).
Left-handed, conjoined, doubleneck guitars arenāt commonplace, obviously, and Martinās instruments are custom built (see the accompanying sidebar to learn about his latest collaborator, Polish luthier Skervesen Guitars).
We spoke with Martin as he was about to embark on a 10-city tour with Middle Eastern fusion masters Consider the Source. Martin discussed his innovative approach, building his unique instruments, his deep musical roots, and whyādespite what looks like compatible techniqueāhe doesnāt play a Chapman Stick.
What is the genesis of your approach?
I started when I was 12 or 13 years old. For me as a beginner, it was very hard to play fingerstyle guitar. For some reason, tapping was a lot more natural. I started playing these classical tunes, pop songs, and everything using tapping instead of classical fingerstyle. Then I started playing with two guitars at the same time.
I feel if you have one hand on each guitar, thereās more freedom. You can play chords in one hand and then melodies in the other hand and your hands wonāt overlap. I spent a lot of time when I was in high school playing like thatātaking a regular Ibanez 6-string guitar and a Stratocaster, and playing them at the same time.
Did you take lessons at the beginning?
I grew up in a small town in Venezuela, so there werenāt teachers there. Nobody played electric guitar; just three guys in town. It was hard for me to learn guitar but, at the same time, it made me creative, because I had to discover everything for myself. Fingerstyle was extremely hard for me. It didnāt make sense for me at all. Thatās when I started tapping, basically. Tapping was more natural. It made more senseāeverything was more organized.
Did you ever try a regular doubleneck guitar?
No. Iām left-handed, so to find a left-handed guitar like that is impossible. My guitars are different from a traditional doubleneck.
Your music incorporates so many different influences. What do you listen to?
I grew up listening to everything, from classical, to jazz, to metal. I was into world music a lot when I was growing up, too. When I was at Berklee, at the Berklee library, I would take music from each country and transcribe it.
Felix Martinās latest album, Mechanical Nations, was recorded with his trio, which consists of bassist Kilian Duarte and drummer Victor A. Carracedo. Martin prefers no layering or backing tracks on his studio recordings.
Music from Greece, Venezuela, Brazil, Colombia, and all of Europeāworld music was a big passion I had. When you want to be a professional musician and have music as a career, you want to learn every style. Thatās what I did for many years. Even traditional jazz and death metal ⦠everything.
So, you can play everything from Charlie Parker to Napalm Death, and everything in between?
I could play it, but Iām not a jazz musician. Iām mainly a rock and metal guitar player. Thereās a video of me playing Charlie Parkerāand itās cool and it sounds goodābut Iām not a jazz player.
What did you do to develop your two-handed independence? It looks like your hands do very different things.
Mainly, a lot of practice. I actually donāt practice independence that much; I just do stuff. If I have a musical idea or a solo thing that Iām working on, I try to mix it with both hands. It just happens. One thing Iāve noticed: When youāre playing two things at the same time, youāre not thinking ātwice.ā Some people think, āYouāve got two brains.ā That doesnāt exist. You have one brain. The two things youāre doing, youāre doing as one thing. Youāre thinking one thing, but youāre doing it with both hands.
You hear it as one idea.
Itās just one idea. When Iām playing these complicated lines with both hands, Iām playing it as a regular guitar player. Iām thinking just a single thing in my brain. Itās easier than people think.
Felix Martinās first doubleneck guitars were built by Canadian luthier JP Laplante. Martin still plays his custom Laplante models, including this doubleneck with a 9-string and 7-string configuration. Photo by Mary Escalona
Which is harder: complicated independent parts or a unison line on both necks?
It depends on what youāre playing, but I think theyāre the same. At this point, youāve just got to play them well. Thatās the hardest part: Make whatever your playing sounds good. Obviously, if you want to play a Bach fugue, thatās really hard. Iām transcribing a Beethoven piece and itās really challenging on guitar. Itās a piano piece, not a guitar piece. Itās so fast and the arpeggios are with just one hand and then the other hand is doing something else.
You play a lot of cool polyrhythms between your two hands. Talk about learning how to do that.
I was really into them when I was a teenager and when I was at Berklee. I used to listen a lot to Dream Theater and jazz fusion groups like the Bad Plus. Nowadays, Iām more into focusing on trying to discover new sounds on the guitar rather than music-theory-related things. Iām really influenced by drummers, too. For the polyrhythms, I would listen to Virgil Donati [Allan Holdsworth, Planet X] and Marco Minnemann [the Aristocrats, Joe Satriani], and then Mike Mangini and Mike Portnoy [Dream Theater]. Nowadays, Iām more influenced by the gospel chops guys like Tony Royster Jr. and Thomas Pridgen [the Mars Volta]. I really like drummers and I get a lot of inspiration from them.
You recorded with Marco Minnemann, too?
Yeah, that was long ago. That was fun.
In addition to tapping, you also use many different picking techniquesāslap guitar, and things like that.
Yeah, but I donāt do that anymore. I havenāt played with a pick since three years ago. That was the last time I touched a pick.
Really?
For the new album and the new set list for the live shows, Iām not using a pick at all. On the older material, sometimes I use a pick. I used a pick for shred lines and power chords, but nowadays I will play them with my index finger. I developed a technique where I use my index finger as a pick.
It was painful at the beginning, but I can play lead lines and power chords with the index finger. I play tapping all the time. It bothers me a lot to play tapping and then to grab the pick. If youāre playing live, youāve got to put it in your mouth or somewhere else. So, I decided not to play with a pick anymore.
In addition to playing sans pick, thereās also no distortion on the new album. Why is that?
Itās not that I didnāt want to use distortion; itās more that I wanted to focus on what makes me different. It was a challenge to write a guitar-based album where youāre not using distortion, playing power chords, or soloing and playing lead lines.
There are a lot of people already doing that, so I focused on tappingāthe chords I do with tapping, the percussive techniques, and then the whole scale of things that I do with the tapping and also the slapping. I wanted to do something different that sounds really different. It was a big challenge and for the next album I think itās probably going to be the same. Iām going to focus on pushing myself a little further, pushing the technique more and more, and make it better.
Youāre able to get some heavy sounds, which is pretty surprising.
That was another challenge. We play shows with progressive metal bands, and we belong to the metal community. I was like, āMan, Iām going to do this tapping, but I have to make it sound heavy.ā The first song, the first groove on the album, Iām just tapping, but Iām playing hard and focused. Iām playing two chords at the same time, like two minor chords, but Iām playing them really fast and really hard. It sounds pretty heavy and Iām not using any distortion. That was the idea; to do something heavy, but that sounds different.
Guitars
Skervesen Goliath double 8-string
JP Laplante assorted custom models
Amps and Effects
Fractal Axe FX II
Keith McMillen SoftStep 2 MIDI Controller
Strings and Picks
Ernie Ball 8-String sets with a .074 for the 8th string and a .064-.068 for the 7th string
What is the role of the bass player in your band and why donāt you just play those parts yourself on your 8-string guitars?
Well, first, my guitars are just guitars. I donāt have bass strings on them. But mainly, I donāt like to do the bass parts on my guitarāthatās why we have a bass player. I want to find different sounds using both hands for the guitar. The bass player is mainly playing the roots, just like in any band, and taking care of the low end.
Do you enjoy getting harmonically adventurous, pushing parameters, and exploring dissonance?
I donāt experiment with dissonance much these days. Iām experimenting with chords and with tensions. I have this thing where I can play a chord and then I can play the same shape on the other neck and get all the tensions. For example, you can play a regular Cm7 [on one neck] and an AbMaj7 [on the other]. Itās the regular shapes of those chords, but itās another voicing. Nowadays, I play more in the key than outside the key, but I have a lot of older stuff online. I was a big fan of diminished scales, where I would harmonize the whole thing and all the melodies were on the diminished scale.
Do you improvise or is most of your music worked out?
Itās pretty worked out, though live I improvise a lot. I think more like a drummer. I play fills in between. I donāt always play the same thing live. I change things. I think itās more fun for me. I donāt know if itās more fun for the audience, but I feel like having fun onstage.
Berklee-educated Felix Martin can play anything from Charlie Parker to Dream Theater to Bach or Beethoven, but his preferred genre is progressive metal and rock. Photo by Mary Escalona
Who built your guitars and helped you with the concept?
Iāve got many guitars and they were built by a few luthiers, but the one who built the most is JP Laplante. He is a luthier in Canada. He helped me with the concept and to design it better, too. The lower horn was a big problem and then the weightāhe helped me a lot in the beginning. Nowadays, I play a Skervesenāthey are a Polish companyābut I still play the guitars JP made me, too.
Were you in Venezuela when you built the first one or were you already at Berklee?
I was at Berklee. I was kind of building on it in Venezuela, because I had the idea already. I did a few experiments in Venezuela, but not officially. I was a teenager and I didnāt have access to luthiers and all that.
Do you vary your pickup choices and do you keep both necks activated all the time?
I mostly use the middle positionāwhich is weird for guitar playersāon both fretboards. Sometimes I use the bridge pickup for distortion when playing lead lines. I donāt play many lead lines nowadays, but when I play lead lines, like with a pick, I use the bridge. For some stuff, I use the neck, but 95 percent of the time itās the middle. And both fretboards are always on. Iām always using them.
Do your guitars have two outputs?
The guitars have two outputs, but I always use both outputs on mono. Right now, Iām using the Axe FX II.
āMonoā meaning both outputs go into the same amp and itās the same tone on both necks?
Yeah. I can do different stuff on both necks, but I prefer to play mono, as one guitar.
Your guitars have different string combinations, like seven and seven, or eight and six. what are you using now?
Eight and eight is my main setup right now. The other ones are cool, but eight and eight fits my style a little more. I can write more stuff and I have more freedom.
Are both necks tuned the same way?
Yeah, all the time. I just use regular tuning. The lowest string is Gb/F#. Itās F#āBāEāAāDāGāBāE.
I saw a picture of you with an 11-string. Do you use that?
That was just joking, man. If you see me with a different guitar, like an 11-string or a 9-string or some weird bass, Iām joking with that.
Have you ever experimented with a Chapman Stick?
Yeah, but theyāre not a guitar. Iām a guitarist. Itās a whole different thing. Itās not even a bass. I canāt play a Chapman Stick. You would be surprised, because my technique is similar, but the Stick is just a total different thing. I like it. Iām friends with a lot of Chapman Stick players. I just canāt play it.
Your Skervesen has fan frets. What do you like about them?
Theyāre just a different instrument. I donāt want to say itās better or worse; itās just the feeling of the instrument is different. Technically, you get a better sound on the lower strings because you get more tension because of the fan frets, but for me I see it more as a different tool for writing. I write different, because the instrument feels different. My next guitar probably wonāt have fan frets. Not because I donāt like itāI just need different tools for writing.
What are you using to mute the strings?
I donāt play open strings that much. To play tapping, without getting too much noise, I use Velcro.
In the studio, do you record everything live?
Everything live. I donāt like to do double-tracking or layers of guitars. I like to play one thing and thatās it. The new album is just like a live trio. I donāt like to use backing tracks or strings in the background. I just like the sound of a trio.
Do you sit in the same room together when you record?
No, we record everything separated. Thatās the way we record it, but the album feels live because we arenāt doing layers of guitars.
Do you plug your Axe FX II into the board or do you mike a set of speakers?
It depends, but mostly the Axe FX just going into the board.
Do you do the same thing live?
I plug the Axe FX into the PA all the time. I donāt use amplifiers anymore. Someday, I want to start using amps again, but not any time soon. When you use an amplifier, you get a little distortion and the clean tone wonāt be as clean as a direct sound. I do a lot of clean tapping, so it sounds better if I go direct. Itās cleaner for me.
Watch Felix Martin in action on his custom Skervesen 16-string doubleneck at NAMM 2017. Martin doesnāt currently use pedals in his regular rig, but this live clip from the Jim Dunlop booth is a good example of his incredible tapping technique.
Felix Martinās green, headless, double 8-string guitar was built by Skervesen Guitars in Poland. The guitar is called āthe Goliath,ā and features fanned frets, which Martin says help him write differently. Photo by Mary Escalona
Sidebar headline: Strength in Numbers
Felix Martinās left-handed, doubleneck, conjoined guitars arenāt something you just walk into a store and buy. He must seek out daredevil luthiers, convince them he isnāt crazy, and work with them to craft instruments that fit his needs.Martinās first instruments were built by Canadian builder JP Laplante. Laplante was instrumental in refining Martinās original concept and built many of his guitarsāincluding his 7+7-, 9+7-, and 8+6-string configurations.
Martinās most recent collaboration, however, is with Skervesen Guitars, a small shop based near GdaÅsk, Poland. Skervesen built the green, headless, double 8-string beast called the Goliath that Martin is using on his current tour and on Mechanical Nations.
āEverything was a bit different because of his unusual playing technique,ā says Skervesen company spokesman Maciek Horaczko. āThe main thing was shaping both the upper and lower horns so Felix can access both the upper neck and also play easily in the sitting position.ā
Building the necks also proved to be a challenge. āShaping the profiles of two necks, which are connected together, was one of the biggest problems,ā Horaczko says. āItās not obvious, but when you look at the back of the guitar, you can see the necks are not parallel. We had to recalculate the placement of the frets so that the guitar is playable and that all the notes are in place.ā Each neck is seven pieces of woodāa combination of rosewood, maple, and ebonyābound together to form a 15-piece doubleneck. Each neck also sports a truss rod plus additional carbon rods to compensate for the extra tension. āThe tension of so many strings is enormous,ā Horaczko says. The fretboards are maple.
Skervesen also took pains to craft an instrument that was not only light, but wasnāt top-heavy. āWe went with a headless construction,ā Horaczko says. āWhen you have 16 tuners, no matter how small they are, the number 16 makes it heavy. We also used lightweight pieces of wood. The body is swamp ash, which is lightweight and has a nice sound.ā The top green piece is made from poplar burl.
The biggest challenge, though, was testing the final product. āOnce we finished the guitar, it was such a crazy and unusual custom guitar that there was no one who could try it,ā Horaczko says. āIt is also left-handed. Iām left-handed, but I really couldnāt play anything that made sense.ā
Martinās guitar is a one-of-a-kind instrument, though you can order one, too. āIt costs about ā¬5,500, which is still less than two 8-string guitars,ā Horaczko says.
MayFly Le Habanero Review
Great versatility in combined EQ controls. Tasty low-gain boost voice. Muscular Fuzz Face-like fuzz voice.
Can be noisy without a lot of treble attenuation. Boost and fuzz order can only be reversed with the internal DIP switch.
$171
May Fly Le Habanero
A fuzz/boost combo thatās as hot as the name suggests, but which offers plenty of smoky, subdued gain shades, too.
Generally speaking, I avoid combo effects. If I fall out of love with one thing, I donāt want to have to ditch another thatās working fine. But recent fixations with spatial economy find me rethinking that relationship. MayFlyās Le Habanero (yes, the Franco/Spanish article/noun mash-up is deliberate) consolidates boost and fuzz in a single pedal. Thatās far from an original concept. But the characteristics of both effects make it a particularly effective one here, and the relative flexibility and utility of each gives this combination a lot more potential staying power for the fickle.
āLe Habaneroās fuzz circuit has a deep switch that adds a little extra desert-rock woof.ā
The fuzz section has a familiar Fuzz Face-like tone profileāa little bit boomy and very present in that buzzy mid-ā60s, midrangey kind of way. But Le Habaneroās fuzz circuit has a deep switch that adds a little extra desert-rock woof (especially with humbuckers) and an effective filter switch that enhances the fuzzās flexibilityāespecially when used with the boost. The boost is a fairly low-gain affair. Even at maximum settings, it really seems to excite desirable high-mid harmonics more than it churns out dirt. Thatās a good thing, particularly when you introduce hotter settings from the boostās treble and bass controls, which extend the boostās voice from thick and smoky to lacerating. Together, the boost and fuzz can be pushed to screaming extremes. But the interactivity between the tone and filter controls means you can cook up many nuanced fuzz shades spanning Jimi scorch and Sabbath chug with tons of cool overtone and feedback colors.
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
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TONEX Pedal
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TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
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TONEX ONE
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Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
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Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
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Darkglass Electronics unveils ANAGRAM, a flagship bass platform designed to redefine tone, flexibility, and performance. The pedalās extraordinarily deep feature set includes multiple effects and modeling, an on-board looper and tuner.
Best of all, ANAGRAM brings together these creative tools in a streamlined, rugged format thatās designed for ease of use. Onstage and in the studio, bassists can quickly access and fine-tune their sound via the ANAGRAM interface:
- 7-inch high-brightness touchscreen for clear and intuitive control.
- Three footswitches for live performance control.
- Six high-resolution endless rotary knobs for precise parameter adjustments.
- Flexible input and output configuration.
With ultra-low latency, extensive customization, and seamless integration into the Darkglass ecosystem, it supports both studio precision and stage performance. Combining 15 years of innovation with cutting-edge processing power, ANAGRAM offers a purpose-built solution for bassists seeking unparalleled sound-shaping capabilities.
Anagram
Powered by a state-of-the-art hexacore processor and 32-bit/48kHz audio processing,ANAGRAM delivers ultra-low latency, pristine clarity, and studio-grade sound. Its intuitive blocks-based architecture lets players create signal chains in series (12 blocks) or parallel (24blocks) using a high-resolution touch display. ANAGRAM features three control modesāPreset,Scene, and Stompāfor instant switching, parameter adjustments, and traditional pedalboard-style operation. With a curated collection of distinct preamps, 50+ customizable effects, a looper, tuner, and user-generated IR support, ANAGRAM delivers unmatched creative flexibility.Seamless integration with the Darkglass Suite allows for expanded control and functionality. Additionally, Neural Amp Modeler (NAM) integration provides access to thousands
of high-quality amp and effect models, expanding tonal possibilities from analog warmth to futuristic textures.
"Anagram represents the culmination of years of research and development," says Marcos Barilatti, Managing Director of Darkglass Electronics. "We set out to create a product that not only pushes the boundaries of bass tone but also inspires musicians to explore new sonic territories."
Housed in a rugged anodized aluminum chassis, ANAGRAM is road-ready, compact, and powered via 9V or USB-C (PD). With flagship features at a compelling price, ANAGRAM represents the new standard for bassists seeking a modern platform for their performance.
Street $1199.99 USD
Alongside Nicolas Jaarās electronics, Harrington creates epic sagas of sound with a team of fine-tuned pedalboards.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trioās latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashvilleās Brooklyn Bowl, where Harrington broke down his complex signal chains for PGās Chris Kies.
Brought to you by DāAddario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with DāAddario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harringtonās backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, thereās less loss of definition and competition for frequency space.
Dave Harringtonās Pedalboards
Harrington says he never gives up on a pedal, which could explain why heās got so many. Youāre going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLĆN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slƶer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harringtonās beloved Line 6 DL4āhis desert-island, must-have pedalāalong with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.