From there, the signal goes to his Dunlop Bonamassa Fuzz Face, a Way Huge Pork Loin, an original Ibanez TS808 Tube Screamer (his primary effect for gain), an MXR Micro Flanger, and a signature MXR FET Driver. The signal from bluesman extraordinaire Joe Bonamassa’s guitars finds its way onto his pedalboard via a signature Dunlop Cry Baby wah feeding a Fulltone Supa-Trem and then a Tone Merchants/Rack Systems LLC splitter controlled by a Lehle A/B/C box. There’s also a Way Huge Green Rhino, an Electro-Harmonix Superego, a Boss RV-5 Digital Reverb, and another Korg tuner, all powered by a Furman SS-6B. Van Leeuwen also has a rack with two drawers holding Way Huge Green Rhino and Aqua-Puss pedals, an EarthQuaker Devices Dispatch Master, a Fuzzrocious Demon, and an MXR Q Zone.Ī third pedalboard for lap steel features two Jim Dunlop volume pedals, a DVP1 and a DVP3, the latter of which is used as an expression pedal for a Line 6 DL4 Delay Modeler.
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His main QOTSA pedalboard has a Voodoo Lab Ground Control Pro MIDI controller, a Custom Audio Electronics tap-tempo switch (for the reverbs and delays in his Fractal Audio Axe-Fx II rack unit, not shown), a Morley wah, Way Huge Supa-Puss and Pork Loin stomps, what appears to be a fourth-generation DigiTech Whammy, a Dunlop volume pedal, and a Korg Pitchblack tuner. So here we’ve got longtime guitarist Troy Van Leeuwen’s stomp setup. Queens of the Stone Age’s Troy Van LeeuwenĪt our Rig Rundown with Queens of the Stone Age, we were askedto refrain from showing bandleader Josh Homme’s pedalboard to the masses-despite the fact that there are plenty of pics online (hope you appreciate us keeping our word, Josh!). A fourth board near his amps features two more sample-loaded DigiTech JamMan pedals, and before Zinner’s signal hits his amps, it goes through a TC Electronic Classic Booster + Distortion. Zinner’s third board contains a second Line 6 DL4 and three Eventide pedals-a TimeFactor, a PitchFactor, and a Space.
A second board has a DigiTech Whammy, another DigiTech Jam Man, a Line 6 DL4 Delay Modeler, an Electro-Harmonix POG, and a TC Electronic Flashback delay. His main board is home to a DigiTech JamMan, Line 6 MM4 Modulation Modeler, Pro Co DeuceTone RAT (used for his primary fuzz tones), Boss DD-7 digital delay, HomeBrew Electronics Power Screamer, and Electro-Harmonix Graphic Fuzz. To compensate for the lack of a full-time bassist, Zinner uses several devices that enable him to conjure a broad spectrum of guitar tones, as well as more adventurous samples and loops. Nick Zinner, guitarist for New York City-based indie outfit Yeah Yeah Yeahs, uses an incredible array of stompboxes and other effects to weave the band’s eclectic mix of raw and ethereal tones. The up-close and personal views of these artists’ stomp stations are bound to get your creative juices flowing, and once you’re done here we suggest clicking over to our site (or /premierguitar) to take in the whole shebang-not to mention hundreds of other Rig Rundowns with the same mind-expanding potential. Here we highlight 10 pro pedalboards from the hottest Rig Rundown videos in recent memory. Even better, it may wedge a new, never-before-considered sound in your cranium and send you down new creative paths. Hearing someone play a particular pedal and seeing how they use it-what their settings are, where they put it in their signal chain, and how they adjust their attack or their instrument’s onboard controls-can reveal a previously mundane-seeming device to be a corridor into mind-blowing sonic realms.Įvery week, features a new Rig Rundown video with the potential to do this for the tones you hear in your head. Still, sometimes getting out of your own headspace and considering other players’ contexts can get the gears in your brain turning in ways that woodshedding can’t, even if that context sometimes comes from guitarists or bassists you don’t particularly dig or know much about.
But if it feeds our muse, how can that be a bad thing? Let’s face it-we’re impossible to please. We’re individuals with our own unique touch on the strings, a set of ears that’s heard things no one else has, and a guitar or bass rig that-due to our budget limitations, being finicky, or (hopefully) an insatiable longing for new tonal titillation-is never going to be exactly what we want. When it comes to finding fresh tones that inspire new song ideas or put the sonic palettes of your heroes at your fingertips, there’s simply no substitute for slogging it out and putting tons of time into experimenting with different instruments, techniques, effects, and amps.
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