Guitarists from around the globe (that would be you) share their stomping grounds of all shapes and sizes.


Masaki Murashita, singer/guitarist for the metal band Hemoptyis, uses this “all-in-one” pedalboard, which even includes a preamp (ISP Theta) and power amp (ISP Stealth). The signal goes from his guitar into an EHX Switch Blade and then into a Providence PEC-2 switching system. A Providence Delay 80’s goes before the preamp, and all other pedals reside between preamp and power amp for a cleaner sound on the crunch channel. The lead channel relies on a Providence Final Booster. All pedals and the amp’s channel status are programmed with an RJM Switch Gizmo and the Providence PEC-2. “As a metal guitarist, a built-in ISP Decimator G String II on my Theta preamp is a huge thing,” explains Murashita. “It kills all hiss/hum noise without losing sustain. My board is light, and I get the same sound everywhere I go—all I do is plug my guitar in and connect the speaker cable to the cab. No more carrying a refrigerator-sized rig to shows!”

One of our favorite pastimes is racking up good ol’ pedal envy by ogling the setups of our fellow players. It seems you don’t tire of it either, because pedalboard mail keeps rolling in!

Here are some of the latest board submissions, from a crafty all-in-one board to a fuzz-sick stomper to a bunch of boxes on a cutting board. There are plenty more where these came from (pedal lust has no end), so look for Reader Pedalboards Part 2 next week!

A compact pedal format preamp designed to offer classic, natural bass tone with increased tonal control and extended headroom.

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In their corner, from left to right: Wilco’s Pat Sansone (guitars, keys, and more), drummer Glenn Kotche, Jeff Tweedy, bassist John Stirratt, guitarist Nels Cline, and keyboardist Mikael Jorgensen.

Photo by Annabel Merhen

How Jeff Tweedy, Nels Cline, and Pat Sansone parlayed a songwriting hot streak, collective arrangements, live ensemble recording, and twangy tradition into the band’s new “American music album about America.”

Every artist who’s enjoyed some level of fame has had to deal with the parasocial effect—where audiences feel an overly intimate connection to an artist just from listening to their music. It can lead some listeners to believe they even have a personal relationship with the artist. I asked Jeff Tweedy what it feels like to be on the receiving end of that.

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Luthier Maegen Wells recalls the moment she fell in love with the archtop and how it changed her world.

The archtop guitar is one of the greatest loves of my life, and over time it’s become clear that our tale is perhaps an unlikely one. I showed up late to the archtop party, and it took a while to realize our pairing was atypical. I had no idea that I had fallen head-over-heels in love with everything about what’s commonly perceived as a “jazz guitar.” No clue whatsoever. And, to be honest, I kind of miss those days. But one can only hear the question, “Why do you want to build jazz guitars if you don’t play jazz?” so many times before starting to wonder what the hell everyone’s talking about.

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