These days, there’s more time to spend in the pedal vortex. Behold the boards of fellow guitarists from around the world.
It’s that time of year, when Premier Guitar readers get the chance to show off their pedalboards and share how they approach these tools to unlock their sound. There’s no wrong way to wire up your effects—as we know, the options are virtually endless. But that’s the fun of it! Read on to see a completely blacked-out pedalboard created by a pro guitar tech, a repurposed Target dish-drying rack, a family tree of 12 (!!!) pedalboards, and much more. Some boards are painstakingly planned and arranged, and some are visually appealing. Whatever you like, stomp on!
Alec Palmer: Brand Loyalist
I use my board to practice and record from home, and I love jamming with a couple of my musician buddies every so often. I’d say my favorite pedals are the EarthQuaker Devices Plumes and the Big Ear Albie. I can get a ton of different effects out of the Albie, and the Plumes is the best overdrive I’ve ever played. I’m a bit of a brand loyalist. When I find a pedal I love, I tend to go back and buy more pedals from that specific company. Lately, that company has been Mythos Pedals!
Signal chain: Mythos Pedals Golden Fleece (Au79 Mass Street Music exclusive), Ibanez BigMini Tuner, Boss OC-5 Octave, EarthQuaker Devices Spatial Delivery, Mythos Pedals Positron Collider Fuzz, Mythos Pedals Wildwood Vipera, Onkel Amplification Stratoblaster, Ryra Klone, EarthQuaker Devices Plumes, Big Ear Pedals Albie (2), Mythos Pedals Oracle Analog Echo, and a TC Electronic Ditto Looper.
Brad Konick: Is It Humble, Though?
Here’s my humble pedalboard submission for your consideration. Each pedal is listed in order of the signal chain. I’m also including a photo of the electric guitar I use, which I made a few years ago. It’s a handbuilt custom solidbody, black walnut T-style electric guitar, with handcarved bas-relief and handmade steel inlay. Pickups are a Seymour Duncan Hot Rodded humbucker set: Jazz (neck) and JB (bridge). The guitar plugs first into the Boss volume pedal listed below.
Pedals - Signal Chain:
- Boss FV-30H Volume Pedal >
- Korg Pitchblack Mini Tuner >
- Kokko Mini Compressor >
- Electro-Harmonix Synth9>
- EarthQuaker Devices Arpanoid V2 Polyphonic Pitch Arpeggiator >
- DOD Carcosa Fuzz >
- Boss BD-2 Blues Driver>
- Death by Audio Echo Dream 2 Advanced Echo Modulation >
- TC Electronic T2 Reverb >
- Pedal Projects Undertow Tremolo >
- EarthQuaker Devices Organizer Polyphonic Organ Emulator >
- MXR Phase 95 >
- MXR Six Band EQ >
- EarthQuaker Devices Aqueduct >
- Electro-Harmonix Canyon Delay/Looper >
- Walrus Audio Slö Multi Texture Reverb >
- Roland JC-22 Jazz Chorus (amp)
Power and Cables:
- MXR M239 Mini Iso-Brick Power Supply
- Donner DP-2 Power Supply
- Snark 9-volt power adapters
- 1/4” Audioblast pancake patch cables (6", 8", 3')
- Fender tweed 1/4” TS 15' instrument cable
I’m also including a photo of the electric guitar I use, which I made a few years ago. It’s a handbuilt custom solidbody, black walnut T-style electric guitar, with handcarved bas-relief and handmade steel inlay. Pickups are a Seymour Duncan Hot Rodded humbucker set: Jazz (neck) and JB (bridge).
Chris Gibbs: Load In, Load Out
This is the pedalboard I use for gigs with my band, Triple Engine, in York, Western Australia. The board is actually the lid of a Craftright tool/accessory case.
When the gig is finished, I can pack leads, extra pedals, power supplies, and more into the case, flip the board so that it becomes a lid again, re-insert the removable hinge pins, and load out!
Here’s how it flows: DigiTech HardWire HT-6 Polyphonic Tuner > Outlaw Effects Hangman Overdrive > MXR Phase 90 >Vox Satchurator Distortion > Outlaw Effects Vigilante Chorus > Tech 21 Fly Rig 5 > Outlaw Effects Boilermaker Boost.Clint Roth: Vision Board
Hey PG,
Here’s my current small board I’m using for writing with my band, Big Jaw. I plug into a TC PolyTune 2 Noir that feeds a Loop-Master A/B Box. The “A” loop is my JHS Charlie Brown overdrive, and the “B” loop is my fuzz, which is an old EarthQuaker Devices Hoof fed by a TC Electronic Sub ’N’ Up Octaver. I usually use the octave and fuzz together so it’s helpful to have them on a loop like that so I can switch to both with one click. The output of the Loop-Master feeds my TC Electronic Flashback Delay, which is usually just giving me a little slapback. Thanks!
David Reaume: Bass and Bow
Here’s my bass board! I use it mostly for ambient music to create textures, but it covers a lot of territory as you can see. I use a cello bow frequently. Paired with the octave and additional reverb, it really makes for a convincing string section.
Signal Chain:
- TC Electronic PolyTune 3 >
- Boss OC-5 >
- Chase Bliss Audio Automatone Preamp MKII >
- Gamechanger Audio Plasma Pedal >
- Dunlop DVP4 Volume (X) Mini >
- Boss DC-2W Dimension C (split in stereo for the rest of the chain) >
- Strymon El Capistan dTape Echo >
- Strymon Flint Tremolo & Reverb >
- Neunaber Audio Immerse Reverberator MKII
All powered by a Strymon Zuma power supply on a custom board (made by yours truly) with custom-length Mogami patch cables. The Analog Endeavors Dual Favorite switch is for the Strymon pedals.
DeMatt Harkins: The Dishwasher
My name is DeMatt Harkins and I live in Jackson, Mississippi. I made my pedalboard out of a wooden dish rack from Target.
Signal Path:
- Guitar ->
- Boss TU-2 Chromatic Tuner ->
- Catalinbread SFT Overdrive ->
- TC Electronic Vortex Mini Flanger ->
- JHS 3 Series Chorus ->
- MXR Phase 95 ->
- Danelectro BLT Slap Echo ->
- Strymon Flint Tremolo & Reverb ->
- EarthQuaker Devices Dispatch Master
Thanks very much!
Jack Thompson: The Alan Parsons Project
I’m a musician based out of the Twin Cities, Minnesota, and I saw that you were taking pedalboard submissions! So, here’s mine. I’ve been refining and building this in a variety of ways the last seven years. I hope you enjoy and get a laugh.
High Level Overview:
The board consists of two loops (two different boards) controlled via EarthQuaker Devices Swiss Things. This sends the signal to a Mesa/Boogie Mini Rectifier 25 and Fender Hot Rod Deluxe III. The left board is pre-loop, and loop 1 (distortion based) with Dr. Evil in a moonsuit holding Austin Powers’ mojo. The right board is loop 2 (modulation based) with Dr. Evil holding Mr. Bigglesworth. My guitar cable is an orange Divine Noise Curly Cable, purchased from Chicago Music Exchange.
Pedalboard 1 (left):
- Pre-loop section:
- Guitar goes straight into an Emma Electronic Okto Nøjs.
- Then to a Pigtronix Philosopher’s Tone Germanium Gold Micro (this is an “always on” pedal).
- Next is the Dunlop Dimebag Cry Baby from Hell Wah.
- And then finally a MXR Uni-Vibe set at minimal settings (this is typically an “always on” pedal).
Loop 1 (via EarthQuaker Swiss Things):
- Behringer SF300 Super Fuzz
- Horizon Devices Apex Preamp
- Electronic Audio Experiments Model feT
- Boss DD-7 Digital Delay
- EarthQuaker Devices Afterneath V2
Pedalboard 2 (right):
Loop 2 (via EQD Swiss Things):
- JHS Bonsai (minimal drive settings, “always on”)
- Subdecay Quasar Phaser
- EarthQuaker Devices Rainbow Machine
- Moog MF Flange
- Dwarfcraft Devices Witch Shifter
- Black Cat Pedals Black Cat Vibe (Proline expression pedal on the far right is hooked up to it)
- EarthQuaker Devices Avalanche Run
- EarthQuaker Devices Astral Destiny
And that’s it! I’m fortunate to play with some of my best friends in a band called the Electric Honeycomb. Blessings to all of you.
Joe Grant Jr: Satisfying Symmetry
My pedalboard is a Temple Audio TRIO 43 Templeboard. All cables—patch, power, and MIDI—are hand-soldered. I have USB ports on the side to update firmware and program MIDI.
Underneath the pedalboard:
- Strymon Zuma
- Strymon Ojais (2)
- Voodoo Lab Control Switchers (2)
- Goodwood Audio Audition
On top:
- Goodwood Audio The TX Interfacer
- Kingtone Battery Box (2)
- Xotic RC Booster
- Dunlop Volume
- Origin Effects Cali76
- TC Electronic Ditto Stereo Looper
- Mythos Argo Octave Fuzz
- Peterson StroboStomp Tuner
- Mythos High Road Fuzz
- Wampler Ratsbane
- J. Rockett The Dude
- Analog Man King of Tone
- Walrus Audio Julianna
- Chase Bliss Automatone Preamp MKII
- Strymon TimeLine
- Chase Bliss Gravitas
- Chase Bliss Thermae
- King Tone The Duellist
- Walrus Audio Slö
- Chase Bliss CXM 1978
- Electro-Harmonix POG2
- Eventide H9 Max
- Universal Audio Golden Reverberator
- Universal Audio Astra
- Universal Audio Starlight
- DigiTech FreqOut
- Catalinbread Echorec
- Morningstar MC8 Midi Controller
Malcolm Carmichael: Like Angels Singing
So many pedals, so little time. I don’t think there’s one pedal I haven’t tried out at some point in time but now I just keep it as simple as possible to have everything I need for the setlist my band plays. Also, I’m terrible with patches and programming. All of these are powered just by a simple Power-All 9V/2A wall wart. I’ve tried lots of power supplies and this is light and reliable.
First, the Mooer Baby Tuner is very simple, works every time. Next, is the Dunlop Cry Baby Mini Wah. I’m the rhythm player in my band, but there are a couple tunes where I solo, and I use this when I’m just winging it. It helps and makes me sound better than I am! I think all distortion pedals are a trade-off, but the MXR Distortion III is as good as any and it’s tried and trusted.
Then we have the Electro-Harmonix Holy Grail Nano. Everybody needs a Holy Grail! I’m always surprised how many pro pedalboards I see it on. Very versatile pedal and easy to use. Next is the Hotone Eko delay: I go through all sorts of these little pedals. I find them in bargain bins. This delay is perfectly fine with all the adjustment you need. The Donner Echo Square is a little gem. It’s got everything, including a reverse, which is what I use it for on an original song we play, but it’s got a lot of other great options as well. I like the TC Electronic Stereo Ditto Looper because it’s so simple.
Lastly, I have one of the best ABY switchers in the game, the Radial BigShot. With this, I send out into a Fender Blues Deluxe Reissue and a Vox AC15. Together they are like angels singing. All we have to do now is get this craziness behind us so we can get gigging again. Cheers!
Matt Straw: The Blackboard
I saw the all-white pedalboard from last year’s reader pedalboards, and it reminded me of my black one. My pedalboard(s) are constantly in a state of evolution: I’ve since ditched most of these and gone back to basics. I was using this board from 2014-2016 back when I lived in Nashville and was in the band Things That Crawl. I’ve always hated branding of any type, and I found the varied colors and designs kinda messy and a distraction.
I’m also a professional guitar tech (Robert Plant, Bonnie Raitt, Jack White, Shania Twain, etc.) and am used to fans trying to sneak a peek at the pedals onstage, so I liked the idea of keeping a bit of mystery there (not that anyone could care less about what I was using).
Here’s the list of pedals:
- Boss Tuner
- Boss NS-2 Noise Suppressor
- Ernie Ball Volume Pedal
- ZVEX Super Hard On
- Electro-Harmonix POG
- Tech 21 NYC SansAmp
- Electro-Harmonix Bassballs
- Electro-Harmonix LPB-1
- Boss DD-7 Digital Delay
- Red Witch Medusa Chorus Tremolo
- Electro-Harmonix POG2
- MXR Classic 108 Fuzz
- Marshall The Guv’nor
I eventually added two EarthQuaker Devices pedals (Organizer and Talons), plus a TC Electronic Alter Ego and an MXR Ten Band EQ.
In 2016, I formed a short-lived band called Buffalo (before moving to Joshua Tree) and built a totally new pedalboard with the El Rey Mystic Fuzz, El Rey Fuzz De La Muerte, Electro-Harmonix POG, TC Electronic PolyTune, and a Lehle Dual. Both the El Rey pedals remain unpainted as I think they look super cool! Enjoy.
Nedim Kirlic: Streamlining in Sweden
I’m a guitarist in Sweden. As a 40-year-old, I decided to build my first pedalboard because I wanted to simplify my rig and give myself fewer options than there are in my Line 6 modeler products. Having said that, I quickly realized that it’s not as simple as just putting a few pedals on there. I wanted a pedalboard with a simple pitch shifter-overdrive-distortion-chorus-delay-reverb setup. But it turns out I needed four utility pedals, and more than one overdrive. I was never into fuzz, but I decided to go for it.
The board right now consists of the list below, with the signal chain in order. Though the Boss delay will probably be moved early in the chain, along with a second reverb that I haven’t gotten yet.
- T-Rex pedalboard, 70 cm wide
- T-Rex Fuel Tank Chameleon isolated power supply, mounted underneath with a rail (two pieces)
- Boss TU-2 Chromatic Tuner
- TC Electronic Brainwaves Pitch Shifter
- MXR Uni-Vibe
- Boss GE-7 Graphic Equalizer
- Donner Noise Killer Noise Gate
- Donner Ultimate Comp Compressor
- MXR GT-OD Overdrive
- Boss BD-2 Blues Driver
- Mad Professor Fire Red Fuzz
- ProCo RAT
- Boss DD-8 Digital Delay
- Electro-Harmonix Canyon Delay & Looper
- TC Electronic Hall of Fame 2 Reverb
- Ibanez Tremolo Mini
- Boss RC-3 Loop Station
- The empty spot is reserved for a Boss IR-200 Amp & IR Cabinet
The signal chain right now is going straight into the front of the amp, but sometimes I use the FX loop. In that case, I put the delay, reverb, and tremolo pedals into the loop. And lastly, the loop pedal is last in my signal chain for trying out quick ideas: I record a riff, loop it, and see what bass notes and what sort of bass line I’m going to play over it. The bass line makes a huge impact on the idea and on the finished song.
Ronald Caminati: Aesthetically Pleasing
Here’s my list of pedals: Dunlop Cry Baby Mini Wah, TC Electronic PolyTune3 Mini, Sweet Sound MoFaux Vibe, Toms’line Cream Distortion, Stax Phaser, Mooer Hustle Drive, Rowin Chorus, and finished off by a Boss FB-2 Feedbacker Booster. All powered by a Pedaltrain Volto.
Steve Kellett: The Family Tree
I recently decided to take a family portrait of my pedalboards. I had to take two photos to get it all covered! Spoiler Alert: I have 12 pedalboards.
In the first image, there’s a custom-built flight case containing a TC Electronic Nova System plus extension footswitch and a Dunlop Mister Cry Baby Super Volume/Wah.
Pictured above that, is a Gator Pedal Tote board with the following on it:
- Boss TU-2 ->
- Barber Tone Press ->
- Fulltone Ultimate Octave ->
- Fulltone Full-Drive 2 FM ->
- Om Labs Sahasrara Overdrive ->
- Fulltone Mini-Deja’Vibe ->
- ZVEX Box of Rock Vexter
(Just to prove that nothing is permanent in the pedal world, the Sahasrara has since been replaced by a Fulltone GT500.)
The second photo (do I really have to do this?) ... DEEP BREATH.
Top row from top left we have my Leftovers Board:
- A beat-up CNB case containing a cheapo tuner
- XFX Boutique Destroyer (Friedman BE-OD clone)
- DemonFX King of Drive (clone of a guess what)
- Twinote Pi Fuzz
- Reverend Drivetrain II
- Twinote BBD Chorus
- Twinote BBD Delay
- Ibanez TS-9 RI
Moving clockwise to the right is my Workhorse Board 1:
- Cry Baby Wah
- LY-Rock King of Tone clone
- ProCo Vintage RAT
- Korg G4
- Rowin tuner
- Ammoon Nano Delay
- TC Electronic Spark Mini Booster
Next, to the right, Grab and Go Board 1:
- Boss BCB-30 board
- Boss DS-1 40th Anniversary Edition (which I won from PG’s Stomboxtober giveaway in 2018)
- Keeley-modded Boss BD-2
- ’80s Ibanez AD9
- Fender in-line tuner that gets used when required
Moving on to the second row and starting on the very left is my Chopping Board 1:
- Rowin tuner
- Muslady Golden Horse (Klon Klone)
- Mosky Red Fox (Timmy-based overdrive, CE-2-based chorus, and a delay; FX loop between overdrive and chorus)
- Mosky Black Rat in the FX loop
- Mosky Spring Reverb
Moving to the right is Chopping Board 2 (Yes, they really are bamboo chopping boards that fit into laptop slip cases):
- Rowin tuner
- Rowin Frenzy fuzz
- Mosky DTC (Suhr Riot-based distortion, TS-9-based overdrive; FX loop, and delay)
- Rowin Nano Phaser in the FX loop
Poor Person’s Pink Flow Board:
- Ghost Fire case
- Tomsline AGF-3 G-Fuzz (Germanium Fuzz Face clone)
- Mosky Mini Muff
- Rowin Tuner
- Mosky Tone Bus (Dyna Comp, TS-9, and OCD clones plus power supply for the board)
- Tom’sline AMS-3 Mod Station
- Mosky Tone Makestation (Plexi distortion, FX loop, EP booster, and delay)
- Mastersound Flanger in the FX loop
- Tom’sline ASR-3 Shaper (cab sim)
- Mosky Mini Clean Buffer
Grab and Go Board 2:
- Ammoon pedalboard (containing all XFX Boutique pedals)
- Nine O Nine (TS-based low-gain overdrive)
- Tikus (RAT clone)
- Classic 741 Distortion (MXR Distortion+ clone)
- Slowpick Analog Delay
Bottom row from left to right:
Workhorse Board 2:
- Boss BCB-60 board
- Korg Pitchblack Mini Tuner
- Boss CS-3 Compression Sustainer
- Keeley DS-1 Ultra Mod
- Keeley SD-1 Overdrive
- Boss JB-2 Angry Driver
- Orange FS-1L
- Boss CH-1 Super Chorus
- Boss DD-8 Digital Delay with Mosky tap tempo
- Mooer Pure Boost
The Cheese Board:
- Pedaltrain Mini
- cheapo tuner
- 6 ModTone Mini-Mod pedals (Fuzz, Distortion, Overdrive, Chorus, Delay, and Boost)
The Hendrix Board:
- Ammoon pedalboard
- Dunlop Hendrix 70th Anniversary Fuzz Face
- Hendrix Octavio
- Hendrix Univibe
Whew! And that concludes my family tree of pedalboards. Strewth!
Taylor Schlupp: Tom Bukovac Inspo
Hey guys! Here’s a pic of my studio board that I use for recording music and YouTube videos. It’s got a bit of Tom Bukovac inspiration here after seeing his Rig Rundown lol.
Signal Chain:
- TC Electronic PolyTune
- J. Rockett Blue Note Overdrive (always on)
- Wampler Belle Overdrive
- Nobels ODR1 Natural Overdrive
- Boss GE-7 EQ
- Joyo Ironman Molo-Trem
- Wampler Faux Tape Echo
- Electro-Harmonix Oceans 11 Reverb
- Truetone 1 Spot Pro CS7 Power Supply
Tom Foreman: Tone Hunters
Hi Folks,
I hope all is well with each of you. I look forward to seeing the issue with these photos because it’s always nice to hunt for ideas. I made the pedalboard out of some hardwood sugar maple wood bits left over from a “music-lesson-for-lumber” trade I did with a local forester. It is roadworthy and weighs a ton (just in case I ever need to stun a drummer with it, I suppose).
This board serves a dual purpose with supporting my acoustics and electrics. For acoustic, I run a 1963 Gibson J-50 and a Crafter D6/N through the Radial Tonebone PZ-Pre Preamp with a SolidGold FX Horizon Compressor in the effects loop.
For the electric side, I run a Gibson ES-339 or my Tele into the following:
- Boss TU-3 Chromatic Tuner
- Midnight 30 Music Upstate Drive (Always on, always awesome! Josh Eiler makes some absolutely killer gear, and this pedal was one of the earlier ones.)
- Late 1980s Pro Co RAT (I got it from Not Just Another Music Shop in Vancouver, BC, while on tour sometime in the early ’90s ... I think)
- Stomp Under Foot Civil War Fuzz (sometimes it sits in for the RAT)
- Barber Electronics Barb E.Q. (boost, grit, chime)
- MXR Six Band EQ (for when I blow a string on my 339 and have to shift over to the Tele mid song)
The effect-loop chain includes: a Line 6 Roto-Machine or TC Electronic Thunderstorm Flanger, a Line 6 DL4, and a Marshall RF-1 Reflector Reverb.
Everything goes into a Dr. Z MAZ 18 NR and a Port City Waves 2x12 cab that I think has one vintage Greenback and one WGS Veteran 30 speaker, but I haven’t looked under the hood in a long time so who knows? Love the magazine and I look forward to it showing up each month!
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Is this the most affordable (and powerful) modeler around?
Very affordable way to get into digital modeling. Excellent crunch and high-gain tones.
Navigating many modes through limited controls means a bit of a learning curve for a pedal this small.
$179
IK Multimedia Tonex One
ikmultimedia.com
Resistance to digital amps might just be futile at this point. Many tunes you hear—and an increasing number of live gigs—feature a bit of faux-tube tone somewhere in the mix. But while the sound of pro-level modelers can be nearly indistinguishable from their analog counterparts in a mix, the feel and simplicity of a real amplifiers remain appealing and even indispensable to many players. That said, modelers that make usability, convenience, and price priorities can convince even die-hard tube users to see what’s on the other side of the fence. IK Multimedia’s TONEX ONE is one modeling device that might make the cut. It’s likely the smallest, most portable modeler out there. And at $179, it’s easily the most affordable.
Big Tones, Tiny Controls
The TONEX ONE isn’t designed to put a million different options at your feet, and that economy may be the unit’s strongest feature. It features several different modes, but the primary operating mode allows you to either switch between two different models, or simply use the unit as a stompbox. Each model can be an amp, an amp and cab, a pedal, or a pedal driving an amp and cab. Judging by how deep the online repository tone.net is for user-created presets, the options are nearly endless, which speaks to the already sizable user base. It’s a little strange to consider a modeler in a package this small with so few controls. There’s a large main knob that controls volume and gain (when you’re in ALT mode), and above that are three illuminated mini knobs that control the 3-band EQ, gate, compression, and reverb. You can also plug your headphones directly into the pedal, which makes it a dynamite silent practice amp.
My experience with modelers is that high-gain tones and clean tones are relatively easy to achieve and typically very good. After unboxing the TONEX ONE, I loaded up a slightly dirty Vox-style amp to evaluate the edge-of-breakup tones. I paired the pedal with humbuckers (with a coil split option), Stratocaster single coils, and P-90s in a T-style solidbody. With each one, the Vox-style amp was punchy and clear but could also range to very nice higher-gain sounds. Naturally, each version of a modeled amp offers different gain structures, so it pays to experiment. Combining the humbuckers in a PRS SE DGT with a few hot-rodded Marshall emulations and the growl offered tones nearly as good as those from much more expensive modelers. In a blind test, I’m not sure I could hear—or feel—much of a difference. As I explored further and fine-tuned things a bit more, the ToneX One felt more alive in my hand,s and sounded much less shrill in the top end than other digital solutions I’ve encountered.
One of the most obvious tone fixers in a modeler—and maybe one of the most underutilized—is the EQ section, and kudos are due to IK for placing those controls at the fore. Being able to adjust the most immediate tone-shaping options without having to dig through menus or touchscreens is a pleasure.
There are many possible uses for the TONEX ONE. It can serve as a high-quality direct solution on your pedalboard, a portable recording interface, and a plug-and-play practice solution when high volume is a no-go. One handy setup I tried was disabling the cabinet emulation in the pedal and then plugging into the effects return of a combo amp, in this case, a Fender Hot Rod Deluxe. I immediately imagined many backline amp headaches being a thing of the past. You can always plug directly into a flat-response cabinet or PA system too.
Because it has such a small footprint and streamlined controls, harnessing the unit’s full potential, and accessing all the different modes, takes a bit of effort. You can store 20 different presets within the pedal and assign them to any of the three active slots (two for dual mode and one for stomp mode). And although doing this on the fly is handy, I found it much easier to program the presets via the easy-to-use desktop editor.
The Verdict
TONEX ONE benefits from a rather singular focus and its biggest advantage is that it’s not shrouded in unnecessary layers of tweakable options. You can simply load up a base sound or two, drop it at the end of your pedalboard, and go.The included software allows you create your own models and makes swapping presets easy. I did find the multitude of modes, and their color-coded indicators, a bit confusing at times, but IK’s documentation was very clear and got me through any trouble spots. The TONEX ONE would serve well to those who want to explore digital modeling but still hold on to their analog pedalboards, and at $179 it’s a steal.
Beauty and sweet sonority elevate a simple-to-use, streamlined acoustic and vocal amplifier.
An EQ curve that trades accuracy for warmth. Easy-to-learn, simple-to-use controls. It’s pretty!
Still exhibits some classic acoustic-amplification problems, like brash, unforgiving midrange if you’re not careful.
$1,199
Taylor Circa 74
taylorguitars.com
Save for a few notable (usually expensive) exceptions, acoustic amplifiers are rarely beautiful in a way that matches the intrinsic loveliness of an acoustic flattop. I’ve certainly seen companies try—usually by using brown-colored vinyl to convey … earthiness? Don’t get me wrong, a lot of these amps sound great and even look okay. But the bar for aesthetics, in my admittedly snotty opinion, remains rather low. So, my hat’s off to Taylor for clearing that bar so decisively and with such style. The Circa 74 is, indeed, a pretty piece of work that’s forgiving to work with, ease to use, streamlined, and sharp.
Boxing Beyond Utility
Any discussion of trees or wood with Bob Taylor is a gas, and highly instructive. He loves the stuff and has dabbled before in amplifier designs that made wood an integral feature, rather than just trim. But the Circa 74 is more than just an aesthetic exercise. Because the Taylor gang started to think in a relatively unorthodox way about acoustic sound amplification—eschewing the notion that flat frequency response is the only path to attractive acoustic tone.
I completely get this. I kind of hate flat-response speakers. I hate nice monitors. We used to have a joke at a studio I frequented about a pair of monitors that often made us feel angry and agitated. Except that they really did. Flat sound can be flat-out exhausting and lame. What brings me happiness is listening to Lee “Scratch” Perry—loud—on a lazy Sunday on my secondhand ’70s Klipsch speakers. One kind of listening is like staring at a sun-dappled summer garden gone to riot with flowers. The other sometimes feels like a stale cheese sandwich delivered by robot.
The idea that live acoustic music—and all its best, earthy nuances—can be successfully communicated via a system that imparts its own color is naturally at odds with acoustic culture’s ethos of organic-ness, authenticity, and directness. But where does purity end and begin in an amplified acoustic signal? An undersaddle pickup isn’t made of wood. A PA with flat-response speakers didn’t grow in a forest. So why not build an amp with color—the kind of color that makes listening to music a pleasure and not a chore?
To some extent, that question became the design brief that drove the evolution of the Circa 74. Not coincidentally, the Circa 74 feels as effortless to use as a familiar old hi-fi. It has none of the little buttons for phase correction that make me anxious every time I see one. There’s two channels: one with an XLR/1/4" combo input, which serves as the vocal channel if you are a singer; another with a 1/4" input for your instrument. Each channel consists of just five controls—level, bass, middle, and treble EQ, and a reverb. An 11th chickenhead knob just beneath the jewel lamp governs the master output. That’s it, if you don’t include the Bluetooth pairing button and 1/8" jacks for auxiliary sound sources and headphones. Power, by the way, is rated at 150 watts. That pours forth through a 10" speaker.Pretty in Practice
I don’t want to get carried away with the experiential and aesthetic aspects of the Circa 74. It’s an amplifier with a job to do, after all. But I had fun setting it up—finding a visually harmonious place among a few old black-panel Fender amps and tweed cabinets, where it looked very much at home, and in many respects equally timeless.
Plugging in a vocal mic and getting a balance with my guitar happened in what felt like 60 seconds. Better still, the sound that came from the Circa 74, including an exceedingly croaky, flu-addled human voice, sounded natural and un-abrasive. The Circa 74 isn’t beyond needing an assist. Getting the most accurate picture of a J-45 with a dual-source pickup meant using both the treble and midrange in the lower third of their range. Anything brighter sounded brash. A darker, all-mahogany 00, however, preferred a scooped EQ profile with the treble well into the middle of its range. You still have to do the work of overcoming classic amplification problems like extra-present high mids and boxiness. But the fixes come fast, easily, and intuitively. The sound may not suggest listening to an audiophile copy of Abbey Road, as some discussions of the amp would lead you to expect. But there is a cohesiveness, particularly in the low midrange, that does give it the feel of something mixed, even produced, but still quite organic.
The Verdict
Taylor got one thing right: The aesthetic appeal of the Circa 74 has a way of compelling you to play and sing. Well, actually, they got a bunch of things right. The EQ is responsive and makes it easy to achieve a warm representation of your acoustic, no matter what its tone signature. It’s also genuinely attractive. It’s not perfectly accurate. Instead, it’s rich in low-mid resonance and responsive to treble-frequency tweaks—lending a glow not a million miles away from a soothing home stereo. I think that approach to acoustic amplification is as valid as the quest for transparency. I’m excited to see how that thinking evolves, and how Taylor responds to their discoveries.
The evolution of Electro-Harmonix’s very first effect yields a powerful boost and equalization machine at a rock-bottom price.
A handy and versatile preamp/booster that goes well beyond the average basic booster’s range. Powerful EQ section.
Can sound a little harsh at more extreme EQ ranges.
$129
Electro-Harmonix LPB-3
ehx.com
Descended from the first Electro-Harmonix pedal ever released, the LPB-1 Linear Power Booster, the new LPB-3 has come a long way from the simple, one-knob unit in a folded-metal enclosure that plugged straight into your amplifier. Now living in Electro-Harmonix’s compact Nano chassis, the LPB-3 Linear Power Booster and EQ boasts six control knobs, two switches, and more gain than ever before.
If 3 Were 6
With six times the controls found on the 1 and 2 versions (if you discount the original’s on/off slider switch,) the LPB-3’s control complement offers pre-gain, boost, mid freq, bass, treble, and mid knobs, with a center detent on the latter three so you can find the midpoint easily. A mini-toggle labeled “max” selects between 20 dB and 33 dB of maximum gain, and another labeled “Q” flips the resonance of the mid EQ between high and low. Obviously, this represents a significant expansion of the LPB’s capabilities.
More than just a booster with a passive tone, the LPB-3 boasts a genuine active EQ stage plus parametric midrange section, comprising the two knobs with shaded legends, mid freq and mid level. The gain stages have also been reimagined to include a pre-gain stage before the EQ, which enables up to 20 dB of input gain. The boost stage that follows the EQ is essentially a level control with gain to allow for up to 33 dB of gain through the LPB-3 when the “max” mini toggle is set to 33dB
A slider switch accessible inside the pedal selects between buffered or true bypass for the hard-latch footswitch. An AC adapter is included, which supplies 200mA of DC at 9.6 volts to the center-negative power input, and EHX specifies that nothing supplying less than 120mA or more than 12 volts should be used. There’s no space for an internal battery.
Power-Boosted
The LPB-3 reveals boatloads of range that betters many linear boosts on the market. There’s lots of tone-shaping power here. Uncolored boost is available when you want it, and the preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.
“The preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.”
I found the two mid controls work best when used judiciously, and my guitars and amps preferred subtle changes pretty close to the midpoint on each. However, there are still tremendous variations in your mid boost (or scoop, for that matter) within just 15 or 20 percent range in either direction from the center detent. Pushing the boost and pre-gain too far, particularly with the 33 dB setting engaged, can lead to some harsh sounds, but they are easy to avoid and might even be desirable for some users that like to work at more creative extremes.
The Verdict
The new LPB-3 has much, much more range than its predecessors, providing flexible preamp, boost, and overdrive sounds that can be reshaped in significant ways via the powerful EQ. It gives precise tone-tuning flexibility to sticklers that like to match a guitar and amp to a song in a very precise way, but also opens up more radical paths for experimentalists. That it does all this at a $129 price is beyond reasonable.
Electro-Harmonix Lpb-3 Linear Power Booster & Eq Effect Pedal Silver And Blue
Intermediate
Intermediate
• Learn classic turnarounds.
• Add depth and interest to common progressions.
• Stretch out harmonically with hip substitutions.
Get back to center in musical and ear-catching ways.
A turnaround chord progression has one mission: It allows the music to continue seamlessly back to the beginning of the form while reinforcing the key center in a musically interesting way. Consider the last four measures of a 12-bar blues in F, where the bare-bones harmony would be C7-Bb7-F7-F7 (one chord per measure). With no turn around in the last two measures, you would go back to the top of the form, landing on another F7. That’s a lot of F7, both at the end of the form, and then again in the first four bars of the blues. Without a turnaround, you run the risk of obscuring the form of the song. It would be like writing a novel without using paragraphs or punctuation.
The most common turnaround is the I-VI-ii-V chord progression, which can be applied to the end of the blues and is frequently used when playing jazz standards. Our first four turnarounds are based on this chord progression. Furthermore, by using substitutions and chord quality changes, you get more mileage out of the I-VI-ii-V without changing the basic functionality of the turnaround itself. The second group of four turnarounds features unique progressions that have been borrowed from songs or were created from a theoretical idea.
In each example, I added extensions and alterations to each chord and stayed away from the pure R-3-5-7 voicings. This will give each chord sequence more color and interesting voice leading. Each turnaround has a companion solo line that reflects the sound of the changes. Shell voicings (root, 3rd, 7th) are played underneath so that the line carries the sound of the written chord changes, making it easier to hear the sound of the extensions and alterations. All examples are in the key of C. Let’s hit it.
The first turnaround is the tried and true I-VI-ii-V progression, played as Cmaj7-A7-Dm7-G7. Ex. 1 begins with C6/9, to A7(#5), to Dm9, to G7(#5), and resolves to Cmaj7(#11). By using these extensions and alterations, I get a smoother, mostly chromatic melodic line at the top of the chord progression.
Ex. 2 shows one possible line that you can create. As for scale choices, I used C major pentatonic over C6/9, A whole tone for A7(#5), D Dorian for Dm9, G whole tone for G7(#5), and C Lydian for Cmaj7(#11) to get a more modern sound.
The next turnaround is the iii-VI-ii-V progression, played as Em7-A7-Dm7-G7 where the Em7 is substituted for Cmaj7. The more elaborate version in Ex. 3 shows Em9 to A7(#9)/C#, to Dm6/9, to G9/B, resolving to Cmaj7(add6). A common way to substitute chords is to use the diatonic chord that is a 3rd above the written chord. So, to sub out the I chord (Cmaj7) you would use the iii chord (Em7). By spelling Cmaj7 = C-E-G-B and Em7 = E-G-B-D, you can see that these two chords have three notes in common, and will sound similar over the fundamental bass note, C. The dominant 7ths are in first inversion, but serve the same function while having a more interesting bass line.
The line in Ex. 4 uses E Dorian over Em9, A half-whole diminished over A7(#9)/C#, D Dorian over Dm6/9, G Mixolydian over G9/B, and C major pentatonic over Cmaj7(add6). The chord qualities we deal with most are major 7, dominant 7, and minor 7. A quality change is just that… changing the quality of the written chord to another one. You could take a major 7 and change it to a dominant 7, or even a minor 7. Hence the III-VI-II-V turnaround, where the III and the VI have both been changed to a dominant 7, and the basic changes would be E7-A7-D7-G7.
See Ex. 5, where E7(b9) moves to A7(#11), to D7(#9) to G7(#5) to Cmaj9. My scale choices for the line in Ex. 6 are E half-whole diminished over E7(#9), A Lydian Dominant for A7(#11), D half-whole diminished for D7(#9), G whole tone for G7(#5), and C Ionian for Cmaj9.
Ex. 7 is last example in the I-VI-ii-V category. Here, the VI and V are replaced with their tritone substitutes. Specifically, A7 is replaced with Eb7, and G7 is replaced with Db7, and the basic progression becomes Cmaj7-Eb7-Dm7-Db7. Instead of altering the tritone subs, I used a suspended 4th sound that helped to achieve a diatonic, step-wise melody in the top voice of the chord progression.
The usual scales can be found an Ex. 8, where are use a C major pentatonic over C6/9, Eb Mixolydian over Eb7sus4, D Dorian over Dm11, Db Mixolydian over Db7sus4, and once again, C Lydian over Cmaj7(#11). You might notice that the shapes created by the two Mixolydian modes look eerily similar to minor pentatonic shapes. That is by design, since a Bb minor pentatonic contains the notes of an Eb7sus4 chord. Similarly, you would use an Ab minor pentatonic for Db7sus4.
The next four turnarounds are not based on the I-VI-ii-V chord progression, but have been adapted from other songs or theoretical ideas. Ex. 9 is called the “Backdoor” turnaround, and uses a iv-bVII-I chord progression, played as Fm7-Bb7-Cmaj7. In order to keep the two-bar phrase intact, a full measure of C precedes the actual turnaround. I was able to compose a descending whole-step melodic line in the top voice by using Cmaj13 and Cadd9/E in the first bar, Fm6 and Ab/Bb in the second bar, and then resolving to G/C. The slash chords have a more open sound, and are being used as substitutes for the original changes. They have the same function, and they share notes with their full 7th chord counterparts.
Creating the line in Ex. 10 is no more complicated than the other examples since the function of the chords determines which mode or scale to use. The first measure employs the C Ionian mode over the two Cmaj chord sounds. F Dorian is used over Fm6 in bar two. Since Ab/Bb is a substitute for Bb7, I used Bb Mixolydian. In the last measure, C Ionian is used over the top of G/C.
The progression in Ex. 11 is the called the “Lady Bird” turnaround because it is lifted verbatim from the Tadd Dameron song of the same name. It is a I-bIII-bVI-bII chord progression usually played as Cmaj7-Eb7-Abmaj7-Db7. Depending on the recording or the book that you check out, there are slight variations in the last chord but Db7 seems to be the most used. Dressing up this progression, I started with a different G/C voicing, to Eb9(#11), to Eb/Ab (subbing for Abmaj7), to Db9(#11), resolving to C(add#11). In this example, the slash chords are functioning as major seventh chords.
As a result, my scale choices for the line in Ex. 12 are C Ionian over G/C, Eb Lydian Dominant over Eb9(#11), Ab Ionian over Eb/Ab, Db Lydian Dominant over Db9(#11), and C Lydian over C(add#11).
The progression in Ex. 13 is called an “equal interval” turnaround, where the interval between the chords is the same in each measure. Here, the interval is a descending major 3rd that creates a I-bVI-IV-bII sequence, played as Cmaj7-Abmaj7-Fmaj7-Dbmaj7, and will resolve a half-step down to Cmaj7 at the top of the form. Since the interval structure and chord type is the same in both measures, it’s easy to plane sets of voicings up or down the neck. I chose to plane up the neck by using G/C to Abmaj13, then C/F to Dbmaj13, resolving on Cmaj7/E.
The line in Ex. 14 was composed by using the notes of the triad for the slash chord and the Lydian mode for the maj13 chords. For G/C, the notes of the G triad (G-B-D) were used to get an angular line that moves to Ab Lydian over Abmaj13. In the next measure, C/F is represented by the notes of the C triad (C-E-G) along with the root note, F. Db Lydian was used over Dbmaj13, finally resolving to C Ionian over Cmaj7/E. Since this chord progression is not considered “functional” and all the chord sounds are essentially the same, you could use Lydian over each chord as a way to tie the sound of the line together. So, use C Lydian, Ab Lydian, F Lydian, Db Lydian, resolving back to C Lydian.
The last example is the “Radiohead” turnaround since it is based off the chord progression from their song “Creep.” This would be a I-III-IV-iv progression, and played Cmaj7-E7-Fmaj7-Fm7. Dressing this one up, I use a couple of voicings that had an hourglass shape, where close intervals were in the middle of the stack.
In Ex. 15 C6/9 moves to E7(#5), then to Fmaj13, to Fm6 and resolving to G/C. Another potential name for the Fmaj13 would be Fmaj7(add6) since the note D is within the first octave. This chord would function the same way, regardless of which name you used.
Soloing over this progression in Ex. 16, I used the C major pentatonic over C6/9, E whole tone over E7(#5), F Lydian over Fmaj13, and F Dorian over Fm6. Again, for G/C, the notes of the G triad were used with the note E, the 3rd of a Cmaj7 chord.
The main thing to remember about the I-VI-ii-V turnaround is that it is very adaptable. If you learn how to use extensions and alterations, chord substitutions, and quality changes, you can create some fairly unique chord progressions. It may seem like there are many different turnarounds, but they’re really just an adaptation of the basic I-VI-ii-V progression.
Regarding other types of turnarounds, see if you can steal a short chord progression from a pop tune and make it work. Or, experiment with other types of intervals that would move the chord changes further apart, or even closer together. Could you create a turnaround that uses all minor seventh chords? There are plenty of crazy ideas out there to work with, and if it sounds good to you, use it!