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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Note the cavity cover on the back, which houses the components of Andy Summers’ mid-boost system.
In general, you can use any Telecaster and convert it to Andy Summers’ specs. If you want to stay as close as possible to the original guitar, the way to go is an alder body—just like Andy’s, which is 2-piece—with a 3-tone sunburst finish and white double binding.
The neck should be quarter-sawn, 1-piece maple with a C profile, 21 vintage-style frets, and a 7.25" fretboard radius. Of course, you can choose your own specs here, too. The original guitar has a brass nut rather than bone or plastic, and it should be no problem to find a brass nut blank for a Telecaster. You will need different tools to work on it compared to bone, plastic, or graphite, so keep this in mind. If you do not have the right tools or don’t feel comfortable making nuts, you should leave this task to your local guitar tech. Summers’ guitar has Schaller M6 tuning machines, which are still available from the German Schaller company, and two chrome butterfly string trees. You may not really need two of them—usually one for the B and the high E string will do the trick, especially with a well-made nut.
The original has a heavy brass bridge plate with six individual brass saddles, which will increase overall weight significantly. You can still buy this type of brass bridge from several companies, but there are much lighter bridges on the market.
The stereo output jack is installed in a rectangular chrome plate, like on a Les Paul, which I think is superior to the typical Telecaster jack cup. Interestingly, the plate on Summers’ guitar is only held by two of four screws, but do yourself a favor and use all four to make this spot as strong as possible. You should attach the plate really tight, especially when you use an output jack with a tight grip for the plug.
“Electronically, there is nothing too specialized that you will need for the controls.”
The rest of the hardware is chrome and standard: two regular strap buttons, a standard Telecaster control plate, ’60s Telecaster flat-top knobs, a black ’60s-style top-hat switch knob on the 3-way pickup selector switch, and two flat-lever mini-toggle switches. You should have no problem getting all of these parts from any guitar shop. The pickguard is a 3-ply mint green pickguard with a standard humbucker routing for the neck pickup.
Electronically, there is nothing too specialized that you will need for the controls: a standard 3-way pickup selector switch, two 250k audio pots for master volume and master tone, a gain control pot for the booster, and two additional mini DPDT on-on toggle switches for switching the booster on and off and for the phase control of the bridge pickup. The resistance of the gain control pot depends on the booster you want to use: e.g. for the Fender Clapton mid-boost kit, a 500k type will work great.
For the bridge pickup, there is a standard early-’60s-style Telecaster single-coil pickup, and every pickup company will have something like this in their catalog. Because the bridge pickup is installed to an out-of-phase mini-toggle switch, your pickup will need three conductors, with the metal base plate separated from the pickup’s common ground, and a third wire that connects the bridge plate individually to ground. If you have a regular two-conductor model, you need to break this connection, soldering a third wire directly to the base plate.
Interestingly, the bridge pickup on Summers’ Tele is installed directly into the wood of the pickup’s cavity. I see no reason why you shouldn’t install it the regular way on your guitar.
Here’s a close-up of the bridge on Summers’ historic Tele.
Photo courtesy of Ten-Guitars (https://ten-guitars.de)
In the neck position, there is a ’59 PAF humbucker with a conventional two-conductor wiring installed directly into the pickguard in the standard way, with the open pole pieces facing towards the neck. The choice of late-’50s PAF copies has never been better than it is today. You can buy excellent versions from a lot of companies, just make sure to choose the correct string spacing, which is usually called “F-spacing” or something similar, and is usually 2.070" (52.6 mm). (Gibson spacing, or G-spacing, is 1.930" or 49 mm.)
You’ll need humbucker routing on your body to make it fit. If you don’t have a body with humbucker routing and don’t want to get your Tele body re-routed, you can consider one of the numerous stacked humbuckers that will fit into a standard Telecaster neck pickup cavity. My experience is that there is a noticeable difference in tone compared to a full-sized humbucker, and it will be a compromise.
Next is the active booster. Finding a good booster module and wiring it up is much easier than fitting it into the tight space of a Telecaster body. There are a wide range of available booster options. There are complete DIY sets available that include the PCB and all of the necessary parts to build your own, and there are also drop-in PCBs that are already populated, like the well-known Fender mid-boost circuit kit. You can also find mini-sized booster modules using high-quality SMD parts, which only require a fraction of space compared to the regular PCBs.
“Finding a good booster module and wiring it up is much easier than fitting it into the tight space of a Telecaster body.”
The available options include treble boosters, mid-boost circuits, full-range boosters, etc. Choose what you like best. The problem will be that you need to stuff it into a Telecaster body. As you know, there is not much space inside a Telecaster, and you need to add the booster itself, the 9V battery, an additional pot for controlling the booster, and two additional mini-toggle switches—one for turning the booster on and off, and the other to get the bridge pickup out of phase. This is a lot of stuff! On Summers’ guitar, this problem was solved by adding a large cavity on the back and closing it with a plastic back plate, as on a Gibson Les Paul.
A look inside the cavity for the mid-boost unit.
Photo courtesy of TeleManDon from Vancouver Island, BC (https://tdpri.com)
You can clearly see the two big routings for the booster’s PCB and the 9V battery, plus the additional pot to control the amount of boost as well as the mini-toggle switch to turn the booster on and off. If you are not afraid of routing two big chambers into your Telecaster’s body, this is a suitable way to go.
On a Telecaster, there are not many alternatives I can think of to fit all these parts. One possible way of saving space would be to use a stacked pot with two 250k pots for volume and tone, so you have the second hole in the control plate available for the gain control pot of the booster. Between the two pots, it should be no problem to place the two mini-toggle switches. Or you use a push-pull pot for the gain control to save one of the mini-toggle switches. The guitar will look much cleaner, at least from the front side. But you still have to put the booster PCB and the battery somewhere. A customer of mine did this by completely routing the area under the pickguard. But even with only a regular single-coil neck pickup, it was a really tight fit, so with a regular-sized humbucker, it will be close to impossible. So, you or your luthier will have to be creative, and I wouldn’t be surprised if a company offers Andy Summers Telecaster bodies with all chambers already routed.
Here we go for the wiring. Wherever possible, I tried to keep the diagram as clean as possible. The wiring of the booster is only an example and depends on the booster you want to use, but the basic wiring is always the same.
Here’s a helpful schmatic of the Andy Summers‘ Telecaster wiring.
Illustration courtesy of SINGLECOIL (www.singlecoil.com)
That’s it. Next month, we will take a deep look into guitar cables and wires, what really makes a difference, and how you can use this to reshape your guitar tone. So stay tuned!
Until then ... keep on modding!
Grammy-nominated session guitarist, producer, mixer, and engineer Paul Moak stays busy on multiple fronts. Over the years he’s written, played, produced and more for TV sessions (Pretty Little Liars, One Tree Hill) and artists including Third Day, Leeland, and the Blind Boys of Alabama. But most recently he’s worked with Heart and Ann Wilson and Tripsitter.
Time Traveler
Moak is most loyal to a 1963 Stratocaster body that’s mated to a 1980s-vintage, 3-bolt, maple, bullet-truss-rod, 1969-style Fender Japan neck. The bridge has been swapped as many as four times and the bridge and neck pickups are Lindy Fralins.
Cool Cat
If there’s one guitar Moak would grab in a fire, it’s the Jaguar he’s had since age 20 and used in his band DC Talk. When Moak bought the guitar at Music Go Round in Minneapolis, the olympic white finish was almost perfect. He remains impressed with the breadth of tones. He likes the low-output single-coils for use with more expansive reverb effects.
Mystery Message Les Paul
Moak’s 1970 L.P. Custom has a number of 1969 parts. It was traded to Moak by the band Feel. Interestingly, the back is carved with the words “cheat” and “liar,” telling a tale we can only speculate about.
Dad Rocker
Almost equally near and dear to Moak’s heart is this 1968 Vox Folk Twelve that belonged to his father. It has the original magnetic pickup at the neck as well as a piezo installed by Moak.
Flexi Plexis
This rare and precious trio of plexis can be routed in mix-and-match fashion to any of Moak’s extensive selection of cabs—all of which are miked and ready to roll.
Vintage Voices
Moak’s amps skew British, but ’60s Fender tone is here in plentitude courtesy of a blonde-and-oxblood Bassman and 1965 Bandmaster as well as a 2x6L6 Slivertone 1484 Twin Twelve.
Guess What?
The H-Zog, which is the second version of Canadian amp builder Garnet’s Herzog tube-driven overdrive, can work as an overdrive or an amp head, but it’s probably most famous for Randy Bachman’s fuzzy-as-heck “American Woman” tone.
Stomp Staff
While the Eventide H90 that helps anchor Moak’s pedalboard can handle the job of many pedals, he may have more amp heads on hand than stompboxes. But essentials include a JHS Pulp ‘N’ Peel compressor/preamp, a DigiTech Whammy II, DigiTech FreqOut natural feedback generator, a Pete Cornish SS-3 drive, Klon Centaur, and Electro-Harmonix Deluxe Memory Man.
