The Rig 

The board shown here is the result of many years of experimentation, much trial and error. I didn't start out to build such a monster, but things evolved and grew over time. As many of you know who own pedalboards, it's a process or a disorder depending on how you choose to look at it. Over the last few years, however, things have really settled down and stabilized. This setup has become my main studio/recording board. It never leaves the house, for obvious reasons.

The board may look overly complicated and/or intimidating, but it's actually fairly straight forward and simple to use once you understand the different stages the guitar signal flows through. In my mind there are six (6) stages: 5 stages or groupings of pedals and a final stage, amplification.

1. Stage 1: Dynamic and volume related effects. Also, "old-school" modulation effects (Uni-Vibe, and phaser).
2. Stage 2: The Gain Stages: Numerous distortion/overdrive pedals with an EQ at the end of this stage used for tone shaping (EQ-ing) and as a master volume.
3. Stage 3: Consists of two (2) pedals: An octave effects unit and a stereo chorus pedal which splits the guitar signal into a stereo signal.
4. Stage 4: Numerous stereo delay/reverb pedals. Also contains a stereo Delay/Looper pedal.
5. Stage 5: Stereo Clean boosts, amp switching/routing.
6. Stage 6: Amplification: a Carr Rambler and a Mojave Plexi 45. The pedalboard stereo signal can also be routed to an "amp in a box" pedal if I want to bypass my amps. In my case, I'm using the Strymon Iridium for this purpose.

An Aside: Compared to other boards, which use advanced switching systems, my board is a bit "old school" in the sense that I plug each pedal into the next, serially, one after the other. I'm not using a MIDI controller or any kind of programmable effects-switching device like a G2/3 GigRig or a Voodoo Lab Pedal Switcher. However much I may be intrigued by the newer switching and routing technologies I simply do not have a real compelling need to justify such a system. Maybe someday, but not today.

Let's talk signal chain from a high level. I'll go into greater detail later about what each pedal does and its purpose on the board below.

1. The Deja Vibe is the first pedal in the signal chain. It comes before any other pedal; my guitar plugs straight into it. The signal then travels to the Pete Cornish LD-2 Line Driver (preamp) pedal. It then hits a compressor, a Maxon phaser, a Fulltone Wah, and then a Lehle volume pedal. You can think of this first group of pedals as the "first stage" of the signal chain which relates to playing dynamics and volume. I want my pickups as close as possible to these pedals.
2. The second signal stage contains multiple distortion and overdrive pedals. You can think of each gain pedal as an "amplifier channel" or its own gain stage. This second signal stage also consists of a "guest loop" which can accommodate two pedals. This is a great way to demo or try other pedals without having to fuss with the main cabling for the main distortion/overdrive pedals. Currently, in the guest slot are a Mythos Mjolnir overdrive pedal which is a Klon clone and a Vick Audio Tree of Life Overdrive pedal. Sometimes a JHS PackRat resides there, or a Muff variant. You get the idea.
   
   After the guest-loop we go into the three main distortion and overdrive pedals that never leave the board: an American-made Proco RAT 2 pedal, an AnalogMan King of Tone, and a Pete Cornish CC-1 Overdrive. The signal then travels to a Pete Cornish 3Q-1 (EQ) pedal or sometimes a Cornish ST-2 (Tone Boost). I use them interchangeably and each can function as a master volume in addition to providing tone shaping capabilities.

3. From here we enter the 3rd stage, an octave up/down and/or modulation stage. This stage consists of two pedals: an Electro-Harmonix POG and a BOSS CE-3 Chorus pedal. I think both of these pedals sound great after my overdrive pedals as opposed to before. I think think they sound best here.
4. Stage 4 is consists of a series of delays and reverbs.
5. Finally, we enter the last stage before amplification, Stage 5. This stage consists of two Pete Cornish NB-3 (clean boost) pedals, one for each stereo channel (amp). The boosts route into the last pedal in the signal chain, a Lehle amp switcher/router. This pedal helps resolve the grounding problems (hum) associated with playing through two amps at the same time. If you want to play stereo, into two different amplifiers, you need a pedal like this to make sure your guitar signal is properly grounded.
   
   The two clean boosts at the end provide two functions. The first being a way for me to change the volume going to each amp. This helps me balance the stereo effect. The second function is to serve as a line buffer ensuring my guitar signal is strong enough before going into each amp.
   
   Remember, the buffer is active whether the pedal is engaged or not. It is not true-bypass and this is by design. I want high quality buffers at the end of the pedalboard and Cornish delivers this functionality beautifully.
6. The Lehle plugs into two separate amplifiers, a Carr Rambler, and a Mojave Plexi 45 both of which are equipped with 6L6 power tubes for plenty of clean headroom. Also, the Lehle can plug into an "amp in a box" pedal, in my case a Styrmon Iridium pedal which I feed into an interface for recording. It can also feed into a PA system for amp-less gigging.

The key or "secret weapon" to this pedalboard are the four Pete Cornish pedals strategically placed throughout the signal chain. Each pedal contains an exceptionally high-end buffer. A good buffer makes your guitar tone sound "natural" with good playing dynamics. In short, it preserves the strength of the signal running through a pedalboard.

The LD-3, a line driver/preamp pedal, is the first pedal of this type. It boosts my guitar signal and also provides some RFI filtering which is essential considering how dirty power sources can be or how lights or other electromagnetic sources can interfere with one's guitar pickups, etc.

I also make use of an ST-2 Tone Boost which acts mainly as an EQ pedal and is placed just after my overdrive/distortion pedals. Here are some sample ST-2 settings.  NOTE: I sometimes interchange the ST-2 for a Cornish 3Q-1 pedal instead. Both of these pedals, however, serve essentially the same function on my board.

As stated previously, I run the stereo signal through two NB-3 Clean Boost pedals. Cornish does not believe in true-bypass and instead uses very high quality buffers and other electronic technology to massage and control the guitar signal.

My logic works like this: Because I have so many pedals on the board I employ 4 buffers in the signal chain to ensure the signal is strong enough by the time the signal hits the amps: one up front (the LD-3), one after the gain pedals (the 3Q-1 or the ST-2), and finally two NB-3s at the end (one for each channel) before hitting the amps.

The board sounds extraordinarily clean with a deeply rich tone. I couldn't be happier with it and I know I'm extremely lucky to own such a powerful tone shaping tool. I would feel lost without it!

TIP:  Click on pedal numbers in the image below to jump to each pedal description listed below.

TIP:  Click on pedal numbers in the image below to jump to each pedal description listed below.

They say a picture is worth a thousand words, so here's a schematic illustrating the pedal order and connections.

NOTE: Many of the patch cables were custom made and hand-built by Gary Mulder of Mulder Audio. His X-Cable is wonderful and I really like it much better than the George-L's I used for many years. Compared to the George-L's Gary's cable makes the board sound more open and natural, like a blanket was lifted off the amps.

I also use Gary's snuffers and speaker cables too. The snuffers help cleanup the guitar's overall sound. Very subtle stuff, but noticeable too when you're paying attention. (Honestly, who the hell really knows if these things make a difference? I bought a set years ago and I figure they can't hurt.)

Over the last few years a growing number of cables have become Evidence Audio SIS cables, which are an excellent solderless guitar cable. All the pros use them today. And here's a little page that shows you how to make these cables.

The short answer is to start where you already are. That is to say, the guitars, amps, and effects pedals you already have are probably already good enough. Stop buying new gear and instead, focus on making music. If you keep switching out pedals/amps for different ones, you're not going to ever really master your gear and you won't ever really make progress on developing your signature sound.

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Playing through two amplifiers really does open up your sound. It really gives you a 3-dimensional effect which just sounds so much bigger than if you were only playing through a single amp. Both amps in combination create a surround sound effect even at low volumes. In fact, you might even be able to set each amp's individual volume a little lower than a single amp's volume because the combined amp sound just fills the room more, is less directional or focused. Of course, the stereo chorusing, reverb and delay effects sound amazing and that's how these effects should really be heard - in stereo. After all, we have two ears and were designed/evolved to hear sounds in this way.

Having the Cornish pedals throughout the signal chain really does prevent any signal loss from the board. If you have a chance to play or purchase a Pete Cornish effects pedal, I highly recommend that you do. I have found that his pedals really have taken my sound to the "next level". I couldn't be happier with them. There's a reason why all of the famous rockers employ Cornish technology as an integral part of their guitar rigs. Be sure to check them out! You won't be disappointed.

So you might being thinking, what the hell do I use when I want to go play a regular gig or go jam at a friend's house? I use a smaller pedalboard, of course!

The Jam Board is compact and has everything I need to go play a respectable gig. The pedal lineup is as follows:

1. A Fulltone Mini Deja Vibe MDV-2 pedal which sits off of and to the right of the board. (Remember, not all pedals need to sit on your board in order for them to work.)
2. A Fulltone Deluxe Clyde Wah.
3. A (smaller-sized) Ernie Ball Volume pedal.
4. The obligatory Pete Cornish LD-3 Line Driver pedal.
5. A Diamond Compressor Jr. pedal, same as a regular Diamond Comp but in a smaller format.
6. The undefeated and current heavyweight champion... the AnalogMan King of Tone pedal.
7. The most excellent JHS PackRat Distortion pedal.
8. The Secret Weapon: A Pete Cornish ST-2 pedal.
9. The indisputable BOSS DD-2 Digital Delay pedal, Made in Japan.
10. And finally, the lovely Immerse Reverberator (MK II) pedal.

20-Nov-2023:

18-Dec-2017:

31-Dec-2013:

30-Dec-2012: