Guitars
Giraldo’s current favorite axe is a ’68 Guild Starfire dubbed “Pain.” It sports two custom-wound Seymour Duncan pickups, and Giraldo stuffed foam through the F-holes to cut down on feedback. He also has newer, similarly appointed Starfires, including one he keeps tuned to D. When he wants a bit more flash, Giraldo grabs his custom GMP Roxy, which—like his other touring guitars—also features custom Duncans and a Bigsby.
Two Gibson ES-135s are also on hand as backups. For acoustics, Giraldo switches between an Alvarez DY-88 12-string and an Alvarez DY88BKN 6-string.
Amps
Onstage, Giraldo uses a mix of old Marshall gear—JMP 100-watt 2104 Master Volume 2x12 combos (circa 1979–’81) and JCM900 Dual Reverb 100-watt heads driving Marshall 4x12 cabs modified with “half-back” panels to allow for greater sound dispersion and rear miking techniques that can address phasing issues. The 4x12s are loaded with 30-watt Celestion G12H speakers, and the combos are stocked with Electro-Voice EVM12L speakers. He also routes a JCM900 to a Leslie 302c cabinet for the rotary-speaker effects on “We Belong.” Each of Giraldo’s acoustic guitars goes through three signal paths: into a Radial Engineering JDI Passive direct box that feeds the board, into one of his old JMP combos that’s also driving a 4x12, and into a JCM900 (set to the crunch channel) feeding the Leslie cabinet.
Effects
Although Giraldo doesn’t use a lot of effects, he still has a rather sophisticated rig. His rack system was designed and built by Custom Audio Electronics/Bob Bradshaw, though it’s quite modest compared to most Bradshaw rigs. It controls Eventide TimeFactor and PitchFactor pedals, a Line 6 MM4 Modulation Modeler, a G-Labs Dual Reverb, a Fulltone Supa-Trem, and an Ibanez TS9 Tube Screamer. His rig also contains a couple of vintage rackmount units—a rare Ibanez AD-230 Analog Delay/Multi-Flanger and a Lexicon PCM 42 digital delay. Onstage, Giraldo has a CAE RS controller and a Dunlop Cry Baby wah at his feet.
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