The “A” Rig

The “A” rig, is a Wet/Dry/Dry rack that sports all the bells and whistles that any guitarist would need.  Controlled by the Skrydstrup SC-1 midi foot controller, it allows massive control over any of the 15 pedals via the two GCX rack effect loopers, or any number of processing from the subsequent rack effect units. The signal chain is actually fairly basic, starting with a “drive” section that includes various compressors, overdrives and fuzzes, then moving into a modulation section that includes chorus, phaser and a delay pedal, and finally into the rack effects, which continues various modulations.   Besides a few tricks, the rack is essentially a vertical pedal board.

The floor board begins with the Skrydstrup SC-1,Two Boss Expression pedals, and the CAE Line Driver/Boost. This is where the guitar signal starts.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

From here, I use a 25 foot cable snake that takes the MIDI signal, guitar signal, and a stereo cable for expression (this exists just in case I ever want to switch to a pure W/D/W system in the future) that plugs into the rack interface.

 

 

The Rack Interface is a gutted BBE Exciter rack that no long worked. The Input side includes Locking Neutrik jacks for the Guitar Input Signal, Midi IN, and the EXP In.

From here, the signal goes to the first of two Voodoo Labs GCX loopers.

I chose the Voodoo Labs GCX because I needed full control over signal flow between effect pedals, and since I was building this myself, I couldn’t really anticipate all the changes I would need down the road. Even though a patch cable is required between all loops, this small signal in/out is a very small price to pay for complete control. Whereas many custom loopers are built to order, oft needing to be sent back to the builder for changes.

 

 

I. The Compressor/Boost Section:

Loop 1:The Analogman Beano Boost is first in the chain. It’s primary use is to boost the treble in the Pete Cornish P2 pedal as well as other various overdrive pedals to achieve the “kicked around old amp and speaker combo” type sound.

 

 

 

 

 

 

 

 

 

Loop 2: is First half of the Analogaman Bi-Comp is the Orange Squeezer compressor clone. Used for squishy solos and country pickin’ stuff.

Loop 3: is Second half of the Analogman Bi-Comp is the compROSSer, the Ross Comp clone. I use this for solos and straight up classic comp tones.  (I have a specially modded Bi-Comp that has a send/return which allows me to split the one pedal into two, thus controllable by two GCX loops)

Also, I stack the two Bi-Comp sides quite a bit to get that “sizzle” compressor tone. It really is quite marvelous.

 

 

Loop 4: Is the Demeter Compressor. This I use it for cleans, and as its an opto comp, it works well when I use guitars with humbucker pickups.

 

 

 

 

 

 

 

 

 

 

Loop 5:

*Trick: Here is where the first rack trick happens in the signal chain. At this point the signal leaves the OUT of Loop 4 and before returning it splits in two via the Barber Launch Pad pedal. The First side, returns to the IN of Loop 6, and the other, proceeds to an Nobels MV-C Midi Volume Control and then a Alesis MiniVerb, then to a THIRD output on the rack interface, labeled “Shimmer.”

Essentially, the gain level of this highly saturated reverb signal is controllable from the Nobels MV-C. Bringing this third signal additionally into the stereo spread of the Right and Left channels, creates a huge sound reminiscent of The Edge of U2.

 

 

 

 

 

 

II. The Drive Section

Loop 6: Is a FoxRox Aqua Vibe. The reason its so early in the chain is just so I can get that Robin Trower style vibe into a drive pedal sound if I wanted too. Usually its run clean.

Loop 7: Is the Pete Cornish P2. This is a clone of the 1972 model big muff. I use it for sustained solos and massive low end rhythms.

Loop 8: Is a Boss GE7, running at a slight mid hump and bass boost, and the Pete Cornish G2 . This is one of my main fuzzes, I use is for more a classic distortion rhythm and leads.

(GCX Rack 2)

Loop 9: Is the Pete Cornish SS3. This is set for the creamy rhythms and dumble style leads. A truly inspirational pedal.

Loop 10: BK Butler Tube Driver (1) souped up with a bias knob and a classic 1977 tube, gives this the amp tube drive that I’ve always heard. Highly modern sounding overdrive, its setup significantly different than the stock models. Though, stock is great, I’m not looking for that bite, I want a much warmer tones that let guitar chords ring.

Loop 11: The Klon is set up to do the country jangle bite tone. This ROCKS with the Bi-comp

Loop 12: Is the Waldorf pedal. Its a highly modified MXR Distortion+ pedal. It is one of the most amazing pedals I’ve ever heard.

Loop 13: BK Butler Tube Driver (2) is setup similar to the 1st Tube Driver, however this one houses a Hugo EAX7 tube, and is set for a clean boost. This is primarily on for solos and provides increased volume, depth, and warmth. On occasions I use it by itself as an alternative to the SS3.

 

 

III. The Adrenalinn III section

This pedal is so amazing that it deserves its own section.

At this point the signal leaves the GCX (2) and goes into a Analogman Modded Boss GE7, and then goes on into the Adrenalinn III for processing. Even though this unit technically a pedal, it acts more like a rack unit. I’m using this unit for the Master Volume of the rack, controlled via midi (Boss EXP Pedal), for a tap tempo Tremolo, a tap dotted eight delay, and a clean boost that can be engaged just in case I need something a little extra. Moreover, this unit also really backbone of the rack’s tone acting as a master Pre Amp. In it, I can make an adjustments to EQ, overall volume, or increase the overdrive grit just in case I want it to act like a Marshall Plexi instead of a Fender, just to name a few of the myriad of options.

IV: The Modulation Section

*Trick: At this point I wanted to take advantage of two pedals that had stereo out options. This means, I needed to split the guitar signal into 3.

Using a Boss splitter, I then feed the signals to the IN of each of the subsequent GCX loops 13, 14, and 15 . Because the GCX’s loops are an “island to themselves” the guitar signal is not parallel between loops. Once the signal has left the prior loop, its gone for good. With the signal now split, the signal can leave each loop, and now be turned on and off individually.

 

 

 

 Loop 14: Is the Red Witch Phaser. It is set to a very mild setting and is only used for cleans. (Stereo)

Loop 15:  Is an Analogman Chorus. The rate is set low, but the depth is cranked, as well as the depth mod engaged. It is a massive chorus sound. I use it for Cleans that need it and have it on for most solos. (Stereo)

After loop 15, the signal goes through the T-Rex Replica Delay Pedal. The Tap Tempo is synced with most of the delays, however this is set for a slight slap back only, and it is on most of the time!

 

 

 

 

 

 

 

At this point the outputs of the Phaser, Chorus and Delay are all mixed together using an RJM Mini Mixer. This takes all the pedal outputs and places them into a stereo Left and Right.

 

 

 

 

 

 

 

 

 

 

V: The Rack Effect Section 

From the RJM Mixer the Left and Right Signal go into a pair of Lexicon MXP-1.

Lexicon MXP-1 (1): This is Primarily used for additional modulation effects. I tap tempo sync an eighth note delay with the Adrenalinn III’s dotted eighth delay to get a U2 The Edge dual delay style. I also use a Flanger modulation too.

Lexicon MXP-1 (2): The second Lexicon is used for Long Delay, set at 630mil, and is NOT effected by the master system tap tempo. I wanted this to be independent for solos. This also provides a plate reverb, and then when selected, the verb depth can be increased to triple.

The Right Signal then goes to a Rocktron Hush II rack system, and then…

Loop 16 (GCX):

*Trick: At this point, probably the craziest trick of the rack happens. While the Right signal goes on to the Rocktron Hush rack like normal, the Left signal goes back the the GCX for one last Loop. Connecting in the Send/Return is an old Peavey Ultraverb Rack that is set to a mildly-deep Chorus (I’d say half of what the Analogman Chorus is set at.)  By doing this, you can add in at will a chorus just on the left side. With the Right signal unaffected, this creates very cool depth with the Left signal. The results are huge sounding. I use this a lot, mainly for cleans, solos, and for just a good time.

At this point the Left Signal rejoins the Right signal into the Rocktron Hush II and then proceeds to the OUTPUT section of the rack interface. This has Neutrik locking jacks for Left, Right, and Shimmer (from the output of the Loop 5/Alesis) for the outputs.

 

 

 

 

 

 

 

 

 

 

The Left, Right and Shimmer can then go to amps or DI boxes.

 

 

 

 

 

 

 

 

 

 

 

See Related Post: Rig Building FAQ