“I have enough pedals now that I’ve run out of room on my actual pedalboard, which is kinda fun because I can sub one for another to get a variety of combinations while still giving myself some limitations to work within. I’ve had a few mods done that may be difficult to see – the Dunlop Crybaby has true bypass, a circuit matched to the original crybaby specs and a little LED light installed so I know when it’s on, because before that sometimes I’d have it on for an entire part of a song accidentally. The Tube Screamer has a circuit matched to original Ibanez TS9 specs, a “phat” switch that allows a lot of bass frequency to come through when switched on, giving it more of a fuzz quality than its typically hollow overdrive, and pots that have an extended range in both directions, so you get less gain and volume when you’re turned all the way down and more gain and volume when you’re turned all the way up. I painted the Line 6 DL4 white, had new switches installed and souped up with a feedback switch, a 2nd preset switch and and automatic loop switch so I never have to reach down and turn the looper on manually. Everything else on the board is pretty stock. Off the board, I have a Digitech Whammy that was modded as well, with true bypass and a blend knob that blends the original signal with the effect to any degree you want.”
In previous “Show Me Your Pedalboard” posts, we’ve seen different approaches to sequencing pedals. The last entry had a dual chained pedalboard that was split by a Boss LS-2. Re-chaining, however, isn’t the only way to create a your own unique pedalboard, and today’s “Show Me Your Pedalboard” entry (from Michael) features a few modifications to some of the pedals.
Michael’s signal starts with an Ernie Ball volume pedal. It then goes into a Dunlop Crybaby that has been modded to have a true bypass signal with a circuit board that matches the original 1966 wah pedal. I love that Michael also placed an LED light on it. I think we’ve all been in that position where we are unknowingly playing a wah before finally turning it off 30 seconds later. A Rothwell compressor comes next, and it’s a great idea to place a compressor after a wah pedal, where the high and low filters of a frequency can get noisy. A classic Ibanez TS9 tube screamer comes after and these are great guitar overdrives, but I’m very interested in hearing the “phat” modification that’s meant for the low bass frequencies. The overdrive is earlier than I usually place it, and I normally put the wah afterwards, but I’m sure the compressor fixes any issues that may come in between.
An Xotics Effects RC booster follows, which is great after an overdrive pedal. His signal then goes into a Hughes and Kettner Tube Rotosphere, which is inspired by Leslie cabinets that rotate between speakers, creating a doppler effect that almost resembles a flange-like sound. The Ring Modulator by the always inventive Moog Music comes next. With so many modifications to this board, I’m surprised the volume pedal hasn’t been modded with an expression option to fully utilize this pedal. Either way, the Moogerfooger has a great line of modulators.
The Fulltone 69 Fuzz pedal and MXR Phase 90 come right before the Boss Digital Reverb and Delay pedal. The board ends with a very clean white-painted Line 6 DL4. I can’t stress how much I love the instant looper modification at the top. I usually use the DL4 specifically for the looper, but having this mod allows you to make the most of its very versatile delay options. Don’t forget to check out the video with Nick from Tera Melos to see just how useful the loop function is.
Michael also has a modded Digitech Whammy (shown in the picture below) that has a true bypass signal and an extra knob that blends with original signal with the effect.
Thanks, Michael, for sharing your pedalboard with PedalsAndEffects! Let him know what you think of his board and modifications in the comments section below.
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