Rig Rundown: Oz Noy
Born in Israel with a Stratocaster in his hand, this NYC transplant takes jazz to the Land of Oz.
Oz Noy met with Premier Guitar before his June show at Nashville’s 3rd & Lindsley where session ace Brent Mason joined him for a jam. Noy unleashes fun, non-pretentious blues-drenched jazz that’s fueled by classic Strat and Tele tones, tube amps, and a creative use of stomps.
Oz Noy is a full-on Fender player. His #1 is a 1968 Fender Custom Shop Relic Stratocaster, built to his specifications. This Strat features big frets on a rosewood fretboard and an alder body. Its neck and middle pickups are Custom Shop ’69s wound by Abigail Ybarra, and the bridge pickup is a Custom Shop Fat ’50s that was overwound by Lindy Fralin.
Noy’s #2 is a 1958 Fender Custom Shop Relic Telecaster with an ash body and stock Fender pickups. Its maple neck sports slightly larger frets like his Strat.
Amps and Cab
Although Noy was using backline amps on this show, his two amps were very similar to what he routinely plays. Noy rocks a custom Two-Rock Gain Master 100 that was built for him with old Fender transformers and parts. He uses a Mogami cable to connect the Gain Master 100 to a Two-Rock 2x12 cab featuring Celestion G12-65 speakers. In conjunction with the Two-Rock, Noy uses a 2x12 Fender Hot Rod Deville to fill out the stage sound.
Noy efficiently crams a whole lot of effects onto a relatively small board. His signal chain begins with his guitar going into a vintage Vox King wah that’s modded with a true bypass switch. From there the signal runs into a non-buffered L.A. Sound Design Interface that feeds a Dunlop Octavio, a Xotic Effects RC Booster, a Xotic Effects AC Booster, an Ibanez TS808 (with an Analog Man Brown Mod), a TC Electronic PolyTune, a Sweet Sound Mojo Vibe, a Monster Effects Swamp Thang Tremolo, and a DLS Effects RotoSIM. Next are two Boss DD-7 Digital Delay pedals (one for slap that remains on all the time, one for long delay that he turns on and off), a vintage Electro-Harmonix Deluxe Memory Man delay, and then the L.A. Sound Design Interface output.
From there, the signal hits a Line 6 M9 with two Line 6 Expression pedals—one to control the looper volume, the other to control such effects parameters as the amount of delay repeats, delay pitch, and delay volume. Noy has the option of running either mono or stereo out to his amps.
Picks and Cables
Noy wields purple Dunlop Delrin 500 2.0 mm picks and uses Mogami cables to connect his guitars and amps to the pedalboard. L.A. Sound Design’s Dave Phillips wires everything on Noy’s pedalboard with George L’s cable.