Current Equipment Being Used???

Drew Howard · From: 48854

Pedal guitar gigs/sessions:

Fessy > Blues Jr. or Twin

Maybe use a pedal board if I'm feeling perky.

Non-pedal gigs:

T-8 Fender Stringmaster > Blues Jr.

Ditto on the pedal board.

Mark Hayes · From: The Villages, Florida, USA

Iam using a Nashville 112, Boss DD-3 Delay and a TASCAM DR-07 Portable Digital Recorder to practice and play back my practice. Hearing yourself is really a benefit. One believes we are playing OK but hearing yourself will truely let you know.

Stay safe and play well.

Mark Hayes
The Villages, FL
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1975 Emmons P/P, D-10, 8-5, Black, Nashville 112, Hilton Pedal, and Line 6 POD XT.

Nathan Golub · From: Durham, NC

For gigs, my Fessy through a Hilton pedal to a NV112 or Twin. Sometimes a Cmatmods Deeelay, if the music needs it. And now that I'm using a volume pedal that has to be plugged in, I make sure to bring an extension cord with two outlets on it, one for the pedal and one for the amp. It usually gets shoved in the back of the amp. An extension chord and a power strip are pretty essential for gigs.

Paul Wade · From: mundelein,ill

current: dekley d-10 slimeline 8+7 peavey session
400 boss rv-5 other : m.s.a classic xl 8+6 session
400 limited boss rv-5

p.w Smile

www.countyoutlaws.com

Tommy Shown · From: Denham Springs, La.

Shorty Smith · From: Columbus, Georgia, USA

I use my Emmons 73 P/P, Peavy 1000, Goodrich Dobro box, thats what I use for night clubs and it don't get much better than that. I like the real pedal steel sound and forget about the added gagets, Shorty

Jeremy Threlfall · From: now in Western Australia

I use a small orchestra lamp (one thats designed to clip onto music stands) which I set up over the steel somewhere convenient so I can always see what I am doing

and I always take a torch

Bill Cunningham · From: Atlanta, Ga. USA

My Carter D-10 is 10 years old and my Nashville 400 and Nashville 1000 are older than that. Smile

I use a Dan Electro stomp box for reverb or sometimes a POD xt if I need other effects.

This week I ordered a TC Furlong SPLIT. I have tried the pod with Tommy Dodd's program setup combined with the SPLIT. I am pretty confident I am going to be very happy for another few years

I also use a Peterson tuner, though any one of several less expensive ones do an equal job IMO.

I know the best thing I could do to improve my playing would be more practice as opposed to more/different gear. Now, if only I would execute THAT PLAN!
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Bill Cunningham
Atlanta, GA

Hook Moore · From: South Charleston,West Virginia

I still use the great revelation pre-amp, stewart world 1.2 amp and lately I been using a TC electronics M350. I still have a Session 400, Nashville 400 and Nashville 112 that I use at various times as well. I have worked hard through the years to play and sound as good as possible, good gear used right only adds to that.
Hook
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Blaine Moore

Don Drummer · From: West Virginia, USA

Also a big fan of the rev-pre. I've used it with 2 112 and 2 Yahmaha SPX 90's for the last couple of years. Just recently got 2 Evans RE 200's and use the same set up. I'm very surprised at how well they do the job considering my main reason for trying them was the weight factor. They really do the job tone wise, and the ten inch speakers for me give the sound that I am very comfortable with. Keep in mind however that the Rev-Pre is a major component in all of this. IMHO Don D.

Larry Bressington · From: Nebraska

Pod xt right into the board.
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A.K.A Chappy.

Jim Sliff · From: Lawndale California, USA

Seriously -

1. A tuner. I use a clip-on IMT-500 Intellitouch (the small one) but will probably pop for a strobe one of these days since I use one of the tunings that is not based on a straight-up needle (and my eyes Ned something easier to read!)

2. A pedalboard. using more than one effect it's FAR easier to have your effects prewired and a single power cord. My effects have some odd voltages, so the "normal" ones are wired with a One-Spot daisy-chain, the others have the wall warts on Dr. Ferd's Wart Removers, all plugged into a short (6') grounded "snake" that fits in the pedalboard case (I use Pedaltrain products exclusively - there John, another plug to earn my keep!). I keep the volume pedal (which I rarely use, but it's hooked up) and guitar cable AND amp output cable all hooked up - I open the case, set down the pedalboard and volume pedal (oh - and sometimes a wah as well) , plug in the guitar, plug in the amp, and plug in the power. I'm set up in 5 minutes if I carry my guitar assembled.

Essential pedals (for me): 1) Electoharmonix Knockout - a real sleeper that works magic on your tone - the clarity and ability to cut through when needed without increasing volume is stunning. It's ALWAYS on. 2) Distortion - I play a lot of rock slide-type leads and use an MXR Distortion+. Only thing I've found better is a $00+ BJF Dyna Red. 3) Overdrive (NOT a distortion - for pushing the AMP into a bit of distortion; I have 2 hooked up at all times, a Lovetone Brown Source and Way Huge Green Rhino. They're expensive collector's items - a good sub is the Fulltone Fulldrive; 4) clean boost - I use one with 3 stages (it CAN be used as an overdrive, but only with a cranked tube amp), the ZVex Super Duper or a Klon Centaur (the best ever - just a little big). Closest subs are the MXR Micro Amp (old one - NOT the new one) and the Bad Bob; 5) a "swirly" pedal - Korg G4 rotary, Ibanez FL9 Flanger, Ibanez soundtank Phase Shifter or EH Flanger Hoax (again, the best but pretty big); and last, delay (instead of reverb, which sounds washed out - save it for surf music) - an Ibanez Em5 Echomachine set short with long repeats AND a SIB Mr. Echo analog, set for 250-300ms and just a few repeats. The combination really fills out the sound with no "mud". I have about 30 other pedals I throw in from time-to-time, but those are almost always on the board.

3. My seat (at least on steel gigs)

4. A gig box. I use a rolling toolbox from Home Depot (around $35). Key point - I can use it if I forget my seat (I use a saddle-type drummer's throne). In it are strings, picks, bars, guitar cables, speaker cables with every type of connector, paper, pens, business cards, coat hangers (amazing what emergency repairs can be done with a coat hanger!), extension cords, small medical kit, soldering iron and a full set of small tools, fuses, spare tubes for the amps, a multimeter, a direct box, cable adaptors of all types, extra wall-wart, business cards, a few extra parts (nuts, bolts, screws) and four items EVERY player should carry - Super Glue, Duct Tape, a pocket-size circuit tester and a shot GFCI (ground fault circuit interrupter), which is used EVERY time the power source is even slightly questionable - and you use that tester EVERY time before you plug in - EVERY time!

I've used everything at some point - and on at least 50% of the gigs I do, I loan an item to someone who has a problem but is only carrying a guitar, cables, a few pedals and an amp.

And on 6-string gigs I carry at least 3 guitars.

Last - 2 amps. I always carry a backup.
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No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Stan Paxton · Posted 4 Jul 2009 10:51 am

Well, so much for keeping it simple - KISS principle. Jim, I have to admire you, it takes a genious to know what to do with all that, and make it work. Cool

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Mullen Lacquer SD 10, 3 & 5; Mullen Mica S 10 1/2 pad, 3 & 5; BJS Bars; LTD400, Nashville 112, DD-3, RV-3, Hilton VP . -- Gold Tone PBS sq neck; Wechter Scheerhorn sq neck. -- "Experience is the thing you have left when everything else is gone." -anon.-

Jim Sliff · From: Lawndale California, USA

It's not as complicated as it sounds - I just listed *everything* rather than the basics. The effects are the basics used by many 6-string players (I'm one of the few that uses two delays, which I highly recommend, but most 6-stringers I know use at least two different OD units). I play 6-string as well so I can use the same board for both.

Most players I know carry most...but not all...of what I do. Lots of players carry an "emergency kit" with tubes, strings pliers, allen wrenches (oops - left those off the mandatory list!), but I'm surprised at the number of tube amp users who do not carry spare tubes. More than once I've had some semi-roadie or someone manage to swing a mic stand end or something, smack it into one of the slots on the back of an amp and bust a tube -or simply had a tube fail. It's common-sense to me to carry spares.

Soldering equipment is the other thing that gets used a lot - often on bandmate's instruments. Wires can come loose in guitar electronics and a soldering iron is worth its weight in gold. Oh - another thing I forgot is tissue paper...and nail polish. No, I don't want to look pretty (that's hopeless) - but 4 times I've had someone on stage knock something into the back of an amp and tear a speaker cone.

This is where my two-amp rules solves the problem - but if I really would rather use the other amp, I can fix a cone tear in 5 minutes with tissue and nail polish (or contact cement, but I need about 15 minutes for it to dry enough to use). My '68 Pro Reverb has been victimized *twice* - and the two repaired speaker are still working fine after over 10 years (and it's one of my main amps).

The rolling toolbox is the key thing. Lots players carry a case, box, or something with some spare items - but this way I can keep it all in one place and it's ready to go at any time.

Footnote - carrying fuses is smart, but I recommend taping them to the inside of your amp cabinet(s) - then they are ALWAYS easy to find.
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No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Rick Campbell · From: Sneedville, TN, USA

Mike Perlowin · From: Los Angeles CA

Mike Perlowin · From: Los Angeles CA

As far as gear goes, it depends on the situation. Sometimes you need to have a lot of different soudns at your disposal, sometimes you don't.

When I was gigging or playing in bands, I wanted as many textures as possible, so I used (pre volume pedal) a compressor, a phase shifter, a fuzz tone, and a 6 band equalizer. These were all on bypass loops, and I frequebntly used the EQ unit with the fuzz box to shape the distorted sound, but noit the clean one,

Then post volume pedal I had a stereo chorus, a delay on one line, an organ simulator and a Mutron Bi Phase, all going into 2 amps.

But when I joined an all instrumental experimental music group about 8 years ago, I left that all that stuff at home and just used my steel and one amp.

Today, playing with my classical music group, I also leave all that stuff at home. I have several rigs, one of which includes the use of a POD as a preamp, going into a Carvin stereo power amp and two Carvin cabinets with 12' Black widow speakers. I also have a Crate Power block and Alisis Midiverb that can power just one of those, my Music Man HD-212, and a Yamaha G100-112.

I think I'll mostly be using the Yamaha from now on and only use the POD/Carvin combination and 2 speakers for large rooms. I might sell the Music Man.

I use the Crate/Alisis and single cabinet setup for woodshedding, but it certainly is good enough to use for gigging.
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Please visit my web site and Soundcloud page and listen to the music posted there.
http://www.mikeperlowin.com http://soundcloud.com/mike-perlowin

Mickey Adams · From: Bandera Texas

Besides of course my >>>S12 Mullen G2<<<
Revelation Preamp
TC Electronics Processor
A good Power Conditioner
BJS Bars (of Course!)
TC Furlong Split Cabs (2)
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ARTIST RELATIONS: MSA GUITARS
2017 MSA LEGEND XL D10, S10, Studio Pro S12 EXE9
Mullen G2, Rittenberry S10, Infinity D10, Zumsteel 8+9
Anderson, Buscarino, Fender, Roman Guitars, Sarno Octal, Revelation Preamps, BJS BARS, Lots of Blackface Fenders!

Jim Sliff · From: Lawndale California, USA

Rick Campbell · From: Sneedville, TN, USA

E = I X R where E=Volts, I=Amps, R=Resistance.

Watts = E X I

AC is alternating current, as opposed to DC direct current. In the US we operate on AC 60 cycles, therefore the current changes polarity (direction of current flow) 60 times per second. In Europe they operate on a 50 cycle system. An AC clock motor from Europe will show an hour in 50 minutes, if used in the US. DC motor speeds can be controlled with controllers that first convert the AC voltage to DC and then vary the DC voltage to the motors. AC motor speed can be controlled with VFD's (Variable Frequency Drive) that vary the frequency (cycles) of the power to the motor.

Now, the important question. You mentioned washing machines. Will a washing machine daisy chained in my guitar setup give me a better or worse tone. Would you recommend a Maytag, or would a Whirlpool, Kenmore, do just as well?

Yep, my high school science program may have been a little weak, but I made up for it with my college engineering degree and I graduated with honors.

Don't mean to hijack the thread. Just having a little fun. Hope you're not scared anymore.

Laughing

Jerry Overstreet · From: Louisville Ky

Mike P. makes a good point. A lot of players work with a strictly classic country format and a sweet, pure steel sound is what is required. As much as I love that thick, rich, creamy sound there are times when the music almost demands something different.

I am so fortunate to play with an extremely diverse group of musicians and nearly any style of music may be called up at any time.

FI, the 4th of July show set list included everything from Smoky Mt. Rain to Zero Weather, Jumpin' Jack Flash, Wicked Game, All my Exes, Jenny Jenny, Route 66 etc.

I try my best to inject a sound that fits the mood and range of these tunes. Not always easy, but the bands appreciate and encourage the effort.

Generally, my main instrument is the pedal steel, with a lap steel or slide as a second and sometimes standard tuned 6 string electric. I've been using this rig since the early 90's. It allows me to complement the music with a range of appropriate sounds as called for as I see it.
In addition, an SE70 on my seat contains horn and string synth patches along with a plethora of std. guitar programs from deluxe clean to metal.

If I'm doing a strictly country show, the sound still stands head and shoulders above anything I've ever found. I use TubeWorks 1203 and 1501 cabs on opposite sides of the stereo config.

Just depends on what the musical requirements are and how efficient you are at coaxing appropriate sounds out of your existing gear. For me, these tools are essential despite the inherent bulk and weight.

Someone else might find this collection of gear excessive, but it's what works for me and keeps an old man working in a young man's world Exclamation

Tommy Shown · From: Denham Springs, La.

Jim Sliff · From: Lawndale California, USA

Thanks Rick, for filling us in on your electronics know-how and letting us know you graduated with honors. That certainly clears things up.

You not only got the attention you wanted, you got the opportunity to let us know just how much of an expert you are you are. Mom must be proud.

Personally, I'm not interested in someone posting their resume to try to justify a post that caused concern. What I AM interested in is innocent questions from players who have no electronics knowledge - there have been countless such posts on various forums. And those types of posts send up a red flag - indicating someone who stand a good chance of being hurt...or killed...because they don't understand the dangers of their "toys".

It's a scary subject. People die on stage or by touching something like a screen door at home while their other hand is on their strings.

So, apparently you posted it as a joke. IMO there was nothing the least bit funny about it, and followup attempt showed poor manners.. You certainly managed to draw attention to yourself, so maybe you accomplished your goal...but you wasted my time with a BS post, and I don't appreciate it.
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No chops, but great tone
1930's/40's Rickenbacher/Rickenbacker 6&8 string lap steels
1921 Weissenborn Style 2; Hilo&Schireson hollownecks
Appalachian, Regal & Dobro squarenecks
1959 Fender 400 9+2 B6;1960's Fender 800 3+3+2; 1948 Fender Dual-8 Professional

Charles Davidson · From: Phenix City Alabama, USA

Man you guys are showing me up,Maybe that's the reason I can't play worth a damn,I just grab a guitar,amp,and two little stomp boxes,load it in a 83 Dodge Colt[sweet pea] and away I go,[A country boy can survive] Ya'll sure confuse me with all this scientific,technical,electrical,gargon,Hell I don't know the difference between electrochemistry and electrokineties,The little South Alabama school I went to never taught us that stuff,maybe because the school did'nt have any electricity,Anyway I learned to play on an old National resonator,did'nt have to plug it in.Think I'm going to log on Musicians Friend and order me a bunch of these new gadgets,I'm retired so have plenty of time to figure out which one makes me sound like my hero,Mr. Seymour.DYK?BC.
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Hard headed, opinionated old geezer. BAMA CHARLIE. GOD BLESS AMERICA. ANIMAL RIGHTS ACTIVIST. SUPPORT LIVE MUSIC !

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