Finally we come to the end of our current run of gear posts, and we turn to the pedals currently on Nick’s board and how they came to be used on Ellipsism. Oh, and which ones he broke, obviously.
(Note from Richard: Please ignore the bit where he says he’s not good at guitar solos – he’s lying.)
Nordell Audio Power Core
Boss TU-3 Chromatic Tuner
Electro-Harmonix Micro Pog
Boss SD-1 Super Overdrive
Electro-Harmonix Small Stone
Dunlop Crybaby Wah
Boss DD-500 Delay
Pro Co Rat
Those of you who read my entry in our amp episodes will already be aware of my tendency to break my equipment, and pedals are no different.
Starting with tuners, I’d been using a Behringer pedal which was a clone of the reliable old Boss TU series, and it was serviceable, if flimsy, contraption. So flimsy in fact, that it fully disintegrated in my hand, moments before our set at a gig in Manchester, purely under the stress of my superhuman strength and the Velcro with which it was attached to my board. Naturally, it was now an unsalvageable handful of detritus, so I replaced it with an aforementioned Boss TU-3, which has been reliable ever since. Nice shade of white too.
Next in my chain is the Elecro-Harmonix Micro-Pog. I remember in the early days of Ba’al, our old guitarist Craig found one of these in our old practice room (I think he actually claimed it and may still have it) and the sound blew me away. I’ve always loved that lower octave sound, it adds so much girth to big, monophonic, bottom string riffs and I’ve never heard a pedal do it this well. Over time I’ve come to appreciate the upper octave setting more and more as well, especially as a little organ simulator. In truth, I actually barely used this on Ellipsism, mostly just as a means of adding ‘umph’ to some of the muddiest riffs. Nice shade of red too.
So, the majority of my distortion sounds come from the overdrive channel of my JCM which is, by all accounts, excellent. I use the SD-1 (which I bought off Tom for the price of a bus ticket) as more of a tube screamer, adding a little more frostbite to my tone which allows it to cut to through a little more. I rarely have the drive setting higher than 1, so the effect is subtle but definitely audible. It’s also great to use as a drive by itself to give clean chordy passages some grungy emo vibes as well, there are a couple of moments on the album that I made use of this, but not many. Nice shade of yellow too.
Now then, there’s a running joke between myself and Richard – the only remaining member who remembers the early days of Ba’al in which I would use a Joyo phase pedal on basically every track. Often more than once. Since replacing the Joyo (which obviously broke) with the EHX Small Stone, I’ve toned that tendency down somewhat. That being said, I simply cannot understate the satisfaction I get out of whacking this baby on during the second rotation of a beatdown style passage to give it some wub. You can hear it in action in particular towards the end of ‘Jouska’. Nice shade of orange too.
The crybaby wah is actually the first pedal I ever got, as a present from my dad. This was in my secondary school days when I wanted to do shredding guitar solos with the wind blowing my long hair through the air, like a milkmaid’s frock on a washing line. Those days are behind me though. I have short hair now, and guitar solos have lost a lot of appeal to me (mostly because I’m not that good at them). Nevertheless this pedal has a short feature in one short section in ‘Rosalia’, which is the closest thing you’ll get to a guitar solo you’ll get from me from now on. Nice shade of black too.
Now we’re talking. I bought the Boss DD-500 only a short time before we recorded Ellipsism, so my knowledge of the pedal’s capacities were sadly somewhat limited. In the time since however, I’ve spent a lot of time exploring this pedal and I have to say it’s my favourite that I own. The sheer scope for effects you can get out of this thing are bewildering. I bought it off a guy in France who’s saved effects banks are just mind boggling and I’m enjoying getting some bonkers, and beautiful, sounds out of the thing. Expect a lot more trippy delay weirdness on whatever we record next. Nice shade of cream too.
Ah yes, the Maxverb was an emergency purchase before a gig in which I was using a backup amp which didn’t have a built in reverb (yeah my usual amp broke, who saw that coming?). This thing has 3 settings; plate, spring, and hall. I’ve only ever used the hall setting because I simply don’t like the other 2, but for big washy reverb, it does the trick very nicely. As an added level of nonsense, the LED works approximately 4% of the time, so I have to constantly remember if it’s on or not, which is more difficult that you might think. I should really just buy another, better reverb pedal really. Regardless, I use reverb and delay an awful lot on this album. Most clean sections have one or both, all my lead parts use one or both, and I often use them to give the washy blackgaze sections more g a z e. Nice shade of blue too.
The Rat doesn’t normally sit on my board that much anymore since I started using the amp gain, but I do often like to use it in the studio for some of the bigger and more shrieky doom sections where there doesn’t need to be that much precision. It’s a raucous little thing, which I may use more in the future. Nice shade of black too.
And that’s my board. I used a few pedals that belong to Joe Clayton to add some little inflections to the album, but I largely stick to a fairly limited pool of sounds on this album.