
The self-proclaimed pedal geek lists his faves in five categories.
I am writing this column for two reasons: One, I was asked to and I thought "why not?" and two, I am a pedal geek. But I am serious about pointing out that, with all the chatter and obsessiveness surrounding equipment generally, and effects pedals specifically, all that matters is what you like.
That could just as well be an amplified wire hooked to a eucalyptus tree going into an old radio or some fabulous overpriced vintage guitar combined with a boutique amp and 23 Illuminati-approved effects pedals. Freedom of expression is what I am about, and gear is innocent fun! But please, let me invoke the brilliant Neil Young lyric that opens "Hippie Dream" before I undertake my arduously-considered mini-list of "essential" effects pedals" (I wish the number had been 10, and I already cheated and combined distortion, fuzz, and overdrive as one!): "Take my advice: don't listen to me"....
1. Volume
I have owned several volume pedals since the '70s. My first was a Morley with the photo-sensor system, and though cumbersome as hell and AC-powered, it was great. After compromising over the years with ones that are lighter and rather structurally unsound, I have ended up with the Boss FV-500. It looks like something on Buck Rogers' spaceship, and I have only broken two of them—which, for me, feels like victory. I use the volume pedal constantly and have ever since I got wind of Steve Howe and Robert Fripp in the early '70s. Constantly shaping/changing volume while keeping the same tone, the "violin effect" (swelling up just after picking), and keeping any single coil-derived 60-cycle hum at bay are just a few reasons why I rely on this item so heavily. That said, holding one foot on the volume pedal while keeping my weight on my other foot has taken a bit of a toll on my aging skeleton, though I am able to use either foot.
2. Distortion/Fuzz/Overdrive
This could quickly become overly complicated ... but I like distortion, and nowadays we delineate between "fuzz," "overdrive," and "distortion," so I will cave and do it as well.
Fuzz: I own a zillion fuzzboxes. I don't often acquire them as part of a search for "classic" fuzz sounds, however. This is a beautiful time for boutique effects pedals, and there are so many great ones out there, and I love them: the Fulltone '69 (classic), Uglyface (ultra-wild), Creepy Fingers MkI (classic), Catalinbread Octapussy (classic), Mid-Fi Electronics Random Number Generator (super sick), and the Devi Ever Soda-Meiser and/or White Spider (classic and sick) are just a few favorites. But the one I always bring along is the Z.Vex Fuzz Factory. Henry Kaiser turned me onto this thing ages ago, and I use it both in its wild, aleatoric mode and in a narrowed, "castrated" mode (after other pedals, which tames it) with equal effectiveness and joy. With Wilco, I use it in "tamed" mode for near-infinite controlled feedback and serious grunge. The pedals themselves are now rather legendary for their fabulous look—I treasure my custom-painted little Z.Vex boxes. I also use the Fuzz Factory on many an improvised music gig for all kinds of sonic mayhem—from sublime to vile. I rely on it!
Overdrive: I am one of those Klon Centaur cultists. This is another box that Henry Kaiser turned me on to years ago—when one could actually buy one! Back then (late '90s), it was the most expensive pedal I'd ever bought at more than $300, but now ... forget it! The thing is so great sounding, versatile, has plenty of gain, cleans up nicely, yet can drive hard. But what to do if you can't spend $650+ on the rare one you might see on eBay? Simple: get a Sarno Music Solutions Earth Drive. I have never seen one in a store, and I am not sure that Brad Sarno and his lovely wife are ready for an onslaught of orders (should I be sorry?), but the thing is inexpensive and almost as fabulous as a Centaur. It's much smaller, so it's what I bring on trips with my own band/improvisers (I must travel with lots of little pedals wrapped in socks in a little Pelican case when not with mighty Wilco).
I admit to not understanding the Tube Screamer thing—that mushy, underpowered green box. Sorry! So take this (and everything I write here) with several grains of salt. I've also enjoyed overdrive items by Crazy Tube Circuits, Fairfield Circuits, JAM Pedals, Catalinbread, and Walrus Audio. Henry K. even showed me the delights of the Tech 21 Randy Bachman pedal! But again, just use what works for you.
Distortion: I ended up loving the '70s-era Marshall Guv'nor distortion after many Pro Co Rat years. But the input/output jacks disintegrate and nothing fits into those big holes left after that plastic decays. The Z.Vex Box Of Metal almost stole my heart with its super-shaping tone knobs and cool gate option (it is good). Then I discovered the Crazy Tube Circuits Starlight, which is just as rich and creamy as a Rat or Guv'nor but has even more oomph—more presence (whatever that means). Made in Greece and marketed by Tone Concepts in Toronto, it's a killer. I am still a bit baffled as to why there are so few "distortion" options as opposed to "fuzz" and "overdrive," but as a previously-admitted Howe and Fripp guy, sometimes I want loud, creamy-with-definition, sustaining distortion for soaring, non-screeching melodic wailing. Between my old Guv'nors and the Starlight, I can get it.
Cline's late 2011 Wilco pedalboard is home to some of his favorite overdrive, distortion, and fuzz pedals: the Klon Centaur, Z.Vex Fuzz Factory, and Crazy Tube Circuits Starlight, among other tone toys.
3. Compression
I use the humble and sometimes maligned Boss CS-3 compressor pedal and have for ages. I played with two guitarists in the '80s who turned me on to the advantages of the compressor pedal: Nick Kirgo (in a band I was in called BLOC) and Bill Frisell (when we played together with Julius Hemphill). I usually use the compressor as a clean boost plus sustainer. It brings idiomatic sounds out of my guitar such as harmonics and string sounds behind the bridge and above the nut. It enables me to play a clean sound over any looping (my old looper requires a constant balancing act between the loop and the playing levels). And sometimes the compressed tone is just damn pleasing. I like the latch on/off on Boss pedals a lot—especially on the compressor when one can kick it in midstream and it just squishes on rather than pops on. I also really dig the Pigtronix Philosopher's Tone, which Jimmy Vivino turned me on to. I think it sounds better than the CS-3. but I'm an old dog.
4. Delay/Echo
The inimitable Electro-Harmonix 16 Second Digital Delay on Cline's board.
I used to always use an Echoplex for delay until it became too unwieldy—and back in the late '80s people actually ridiculed me for using it along with "stompboxes" instead of rack units and MIDI controllers. I sigh sadly as I ponder how many of those alleged "essentials" are rusting in landfills as I write this. Anyway, I now prefer a Keeley-modded Boss DD-3 pedal. The Keeley modifications provide some "warmer" delay effects choices while I am still able to get my old DD-3 weirdness happening (as in, really fast, heavy repeat-laden, digital-sounding, electro spazz-outs that I can cut on and off with no trail off). And, of course, I can get simple, tasteful bounce. I can get by with a plain old DD-3, too, but the Keeley one is just a bit better. I am not married to delay and reverb the way many guitarists seem to be, but I do want it when I want it. I also adore the Electro-Harmonix Deluxe Memory Man, Fulltone Tube Tape Echo, and the like, but try carrying all that stuff around in an under-50-pound suitcase! Runner up in the "Super Cool" and "Original Delay Dept.": the new Catalinbread Echorec, which has wild multi-delays and warble modeled on the classic Binson Echorec—beautiful. And it's small!
5. Looper
This last pick was almost a tie between the DigiTech Whammy Pedal and the mention of my antiquated and super-scarce Electro-Harmonix 16 Second Digital Delay (which would have been even more cheating on my part). I use them both all the time. I much prefer the original Whammy (the smaller red one) and have had some really aggravating experiences with the newer, "reissue" (the big red one that's not really a reissue at all—it's just red). But I am so lost without my old EH 16 Second. I have used it since Bill Frisell showed me his (he is the master) back in 1985. It's always recording, one can drop sounds into the loop non-destructively, do reverse (everything does reverse these days, but alas), it's small, It's magic. It's also rare as hens' teeth, and after writing this column it may be even more difficult to get! Too bad. To me, it's one of the coolest things ever, and I rarely leave home without it. I have tried other things; the nice folks at Electro-Harmonix even gave me a wonderful 2880 to mollify me since their "reissue" also wasn't a reissue and didn't do what the old one did at all, and I'd whined loudly and irritatingly about it. I think it was the first gratis piece of gear I ever got, and it came with a sweet note from Mike Matthews and everything—amazing! But sadly for me, the EHX 16 Second DD is all I like (try to find one and then try to afford one—my first one I got used for $225). It's become a part of my playing and my sound, especially in my own music (The Nels Cline Singers, et al), and with improvisers.
Well, that's it. Take from it what you will. I am just ... me. I hook up all my stuff and think to myself every time: "I have so much fun wherever I go!" Enjoying, making, manipulating, surrendering to the world of sound. You can do it with almost anything—clap your hands together, or hum, or whatever it is you do ... just enjoy.
[Updated 11/8/21]
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Two Iconic Titans of Rock & Metal Join Forces for a Can’t-Miss North American Trek
Tickets Available Starting Wednesday, April 16 with Artist Presales
General On Sale Begins Friday, April 18 at 10AM Local on LiveNation.com
This fall, shock rock legend Alice Cooper and heavy metal trailblazers Judas Priest will share the stage for an epic co-headlining tour across North America. Produced by Live Nation, the 22-city run kicks off September 16 at Mississippi Coast Coliseum in Biloxi, MS, and stops in Toronto, Phoenix, Los Angeles, and more before wrapping October 26 at The Cynthia Woods Mitchell Pavilion in The Woodlands, TX.
Coming off the second leg of their Invincible Shield Tour and the release of their celebrated 19th studio album, Judas Priest remains a dominant force in metal. Meanwhile, Alice Cooper, the godfather of theatrical rock, wraps up his "Too Close For Comfort" tour this summer, promoting his most recent "Road" album, and will have an as-yet-unnamed all-new show for this tour. Corrosion of Conformity will join as support on select dates.
Tickets will be available starting Wednesday, April 16 at 10AM local time with Artist Presales. Additional presales will run throughout the week ahead of the general onsale beginning Friday, April 18 at 10AM local time at LiveNation.comTOUR DATES:
Tue Sep 16 – Biloxi, MS – Mississippi Coast Coliseum
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Sat Sep 20 – Charlotte, NC – PNC Music Pavilion
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Wed Oct 01 – Burgettstown, PA – The Pavilion at Star Lake
Thu Oct 02 – Clarkston, MI – Pine Knob Music Theatre
Sat Oct 04 – Cincinnati, OH – Riverbend Music Center
Sun Oct 05 – Tinley Park, IL – Credit Union 1 Amphitheatre
Fri Oct 10 – Colorado Springs, CO – Broadmoor World Arena
Sun Oct 12 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
Tue Oct 14 – Mountain View, CA – Shoreline Amphitheatre
Wed Oct 15 – Wheatland, CA – Toyota Amphitheatre
Sat Oct 18 – Chula Vista, CA – North Island Credit Union Amphitheatre
Sun Oct 19 – Los Angeles, CA – Kia Forum
Wed Oct 22 – Phoenix, AZ – Talking Stick Resort Amphitheatre
Thu Oct 23 – Albuquerque, NM – Isleta Amphitheater
Sat Oct 25 – Austin, TX – Germania Insurance Amphitheater
Sun Oct 26 – Houston, TX – The Cynthia Woods Mitchell Pavilion
*Without support from Corrosion of Conformity
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Introducing The Pro Plus Series Misha Mansoor 6-String Juggernauts | Jackson Guitars - YouTube
“The Archon Classic is not a reissue of the original Archon, but a newly voiced circuit with the lead channel excelling in ’70s and ’80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types and a juiced up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design." - Doug Sewell, PRS Amp Designer