Rickresource Rickenbacker Forum

JakeK wrote:Finally was able to get my board all together!

The Keeley Mod TS-9 is a loaner pedal from my guitar tech, and MUCH better than the stock TS-9. There's still the mid-hump, but there's more bass and gain. When stacked with the Llama, it's a huge sound...on 2

Jake --- if you're looking to make a Keeley Mod Tubescreamer a permanent pedal in your collection, (instead of a loaner) you can contact JB who has one listed here on the RRF: viewtopic.php?f=69&t=408814

This insanity does about everything...I can do an entire solo song live with it. I really need to get someone to take some decent video of that.



Pickups on my 370WB or other guitars go to the green Bad Monkey (like a tube screamer but has an additional bass EQ) on the right for overdrive to the Big Muff PI which I use like a treble boost. This then heads to the 4 channel mixer. The piezo from the 370WB goes to the blue Boss compressor sustainer then to the 4 channel mixer. I can also run a vocal mic with an EQ and one additional thing like synths (including a Roland GR30 guitar synth), stylophone or electronic toys to the mixer. Mixer is for setting basic levels and goes to the blue Alesis AirFx in the center which does my effects.

The AirFx makes a softball sized infrared orb so you can control things in an xyz axis. It was made for DJs but I find it perfect for guitar. I use it most for whammy bar like pitch shifts and dive bombs, trem with ring mod, phaser or flanger by moving a foot over it and at times I crouch down and use my hands on the drum sounds for making beats. This all goes to the volume pedal which goes to the Morley A/B box. A goes to the Line 6 and B goes to the Digitech Whammy then to the Line 6 which does delays, reverse and basic looping. The A/B box allows the straight sound or set bass and other pitches with the Whammy either alone or both. I have placed an additional Whammy after the Line 6 on occasion to mess with loops but usually it goes right to the Orange AD30 which is almost always on the clean channel.

I used to run this to a 4x10 cab, Ampeg 4x12 cab or both. I made a simple iso unit for recording out of two 10" car stereo enclosures face to face fitted with a mic. One has a speaker and the other is just the box with either an SM57 or MXL V900 inside. I usually use a 10" marshal cab from a mini stack on the mic box. At times I place a Fender Mustang 1 on top of the mic box when it is just guitar and I want different amp sounds. The mic goes to a PA or to my computer for recording. I'm in the process of cutting some foam and putting the whole deal in a box to avoid any feedback live with the new band. Small room, loud drummer with additional electronic pads & the bass keyboard/electronicist both need the PA.

I can loop with the Line 6 so using overdubs I can make a track & play over it. The volume pedal is mostly used when making loops. This setup is great for songwriting and working out vocal parts & harmonies. The whole idea evolved many years ago in wanting to do anything anytime and I've been using this setup for 5 years now.

Dom, with your pickups all "separate" on your 370WB, do you wire from the WB to the Effects in stereo, splitting the pickups going into to your first pedal (the Bad Monkey) or is this a single cable running the composite of the pickups to the pedal in Mono ?

8mileshigher wrote:Dom, with your pickups all "separate" on your 370WB, do you wire from the WB to the Effects in stereo, splitting the pickups going into to your first pedal (the Bad Monkey) or is this a single cable running the composite of the pickups to the pedal in Mono ?

I tried to go stereo but it didn't pan out that way. I could have spent a lot of money to do this in stereo including a Boomerang stereo looper but I used stuff I had on hand or had been given. Also at the time I started this setup I was playing a Johnson Millennium amp head which had stereo effects & panning to up to 4 separate cabs. Also the Johnson it had an additional pedalboard and I was also using the Roland guitar synth. It was like the guitar pedalboard equivalent of Neil Peart's drumset, it surrounded me.

Pedal placement came about by trial & error & even though there is a lot of ability (still too much) on the board I tried to keep it relatively simple to use. Playing guitar & singing is hard enough to do at the same time. Limitations in this setup provide focus. Three of the essential pedals for laying down loops from different sources are mono, the volume (which I could just rewire in stereo), the A/B box for separating pitches and despite having 2 separate ins & outs the Line 6 mixes everything to mono which is just the biggest letdown. I can also run one output from the Line 6 back to the AirFX and mess with the loop.

I did try a stereo setup with some of the gear to separate amps and found out that it produced hum that way. No hum direct into the computer or PA but neither has the mojo of a real tube amp. That Johnson was great but no matter how much fiddling it always sounded too antiseptic to my ears so I sold it for the Orange which is more organic sounding like an AC30.

Dom wrote:
I tried to go stereo but it didn't pan out that way....

Thanks for the details ---- sounds like you gave lots of alternative ideas for pedal-board setups a try here.

Here's mine. I've made it from a cheap suitcase, plywood, lift off thrust bearing hinges, black paint and velcro.
George L cables and a T-Rex fuel tank Jr.

Some great boards there guys, re doing mine currently(big surprise) to accommodate all my essentials.

This thread should be renamed the "What's Snowman got in his board this week" thread. . .

Here's my rig:

paologregorio wrote:This thread should be renamed the "What's Snowman got in his board this week" thread. . .

paologregorio wrote:This thread should be renamed the "What's Snowman got in his board this week" thread. . .

Bassists are allowed to play? Here's my mid-2013 update. The loop goes in this order: octave, distortion, fuzz, filter. I like to combine the octave and/or filter with one of the two in the middle for some really hairy stuff. The octave has to be in front to be useful, and opposite is true for the filter, I have found.

This is the latest incarnation of my board.

I strongly suspect that it may be going to be downsized again very soon!

Anybody here use either a Strymon Flint or a Fulltone Supa-Trem?