Guitar: In The Studio

I thought I would give a little insight to the gear I used to record all of my parts on the record. As long as I’ve been playing electric guitar I’ve always wondered what gear was being used on the records I was listening to.

I’ll list the pedals in order of how they’re run on my board.

MXR Dyna Comp Compressor (Brian Beyt)
Divided By 13 Joyride Overdrive
Ibanez TS808 Tubescreamer
Ernie Ball 6166 Mono Volume Pedal
Boss TU-2 Tuner
Electro-Harmonix Holy Grail Reverb (the older model)
Ibanez TS9 Analog Delay
Boss DD5 Delay

E-Bow: I used the Bow on Revolving.

As far as my tone goes I typically enjoy a tame/compressed sound- clean cleans, and clean drive sound. For that I always have my compressor on along with my Joyride overdrive and tubescreamer.

My favorite pedal is the Joyride simply because of its versatility. When my compressor is on I have the Joyride’s drive knob dialed back a little from all the way and it serves as a nice clean boost, really fattening up my sound. When my tubescreamer is on along with the Joyride in the position it’s in, it serves as a nice simple drive. For acheiving the gainier parts of a song or usually the chorus i turn my Joyride drive knob up all the way- how that mixes with my compressor and Tubescreamer is great.

On the new record I’ve changed a couple things I’ve done between my Dyna Comp>Joyride>Tubescreamer. I’ve come to notice that if I turn off the compressor and Tubescreamer and crank the Joyride’s drive knob it serves as a huge, Black Keys type of fuzz sound. I use that sound throughout on certain parts for a fat fuzz tone.


I used an Electro-Harmonix Big Muff Pi Distortion pedal for the octave lead part.


I also used the Big Muff Distortion on the lead part here. For this song the guitar lead is carrying the feel of the song so I decided to turn up my DD5 level and Feedback Knobs up both to the 2 o clock position allowing the delay to just trail all through the verses and choruses and bridge. I also have my Holy Grail cranked to the 1 o clock position.

How We Know:

The song is quite wide open from the beginning, meaning we’re playing at full intensity. This is the only song on the record that I keep my Dyna Comp turned off while the Tubescreamer and Joyride remain fully cranked. It allows for a a more loose, open sound.


All except for one of the guitars I used on this record are mine. Let’s face it- I’m broke. My friends are awesome and have cool guitars.

Mexican Telecaster (mine) I added the Vintage 52 Lollar pick ups to both my neck and bridge. Great addition.
Gretsch Electromatic Hollowbody (Brian Edwards) I can’t thank Brian enough for letting me use this guitar all the time. Fairly inexpensive with a great sound.
Fender Jazzmaster (JD Ohlerking) I used this guitar a lot on layering rhythms and lead parts. I really love the versatility of this guitar.
Epiphone Sheraton II (Lyle Begnaud) Overall one of my favorite guitars I’ve ever played.
American Telecaster (John Beck) It’s what my Mexi Tele wishes it was.
American Custom Stratocaster (Brian Beyt) Simple beautiful strat tone. It’s what a strat was meant to sound like.



Stayed pretty simple as far as amps went on this recording.

Fender Deville Tweed 2×12 Combo
Vox AC-30 (Kris Neel)