I run the two wireless units into Inputs A and B, and the tech switches inputs with a footswitch when he hands me the guitar. It has several switchable inputs and outputs as well as reamp capabilities. The third space is a Radial JX44, which is essentially a complicated but very sturdy guitar splitter (or distributer if you’re fancy). Two is good in case one fails, but also, there are very fast guitar changes onstage, and having two separate units means the tech can flip between each unit without having to change belt-packs. The Shures have a one-space antenna that sticks out the back of the rack on bigger stages, having the antenna prevents dropouts of signal. The second space is two Shure wireless systems, which take up a half-rack space each. Most places you play have shit power, so as I’m running a ton of computers - which is the most efficient solution for where I’m at currently - I need to make sure I get protection for the devices from power spikes and fluctuations. The first space is a Furman power conditioner. I think just one case exceeds 50 pounds, you pay mega overage, and you’d be surprised how little gear totals 50 pounds. Shipping gear costs a goddamm fortune, so you have to be careful. I prefer passive pickups (and low output ones at that…) for clean sounds, but right now there’s not a lot of that happening live (that will change as it grows though).įor local shows I use a 10-space shock-mount rack, while for flying or distant gigs, I split it into two 4-space racks and omit some pieces. For what I’m doing live as of right now, they all have EMG 81 pickups in them. Also, I have a tele they made for me in B (B F# B F# B D#) and a strat type guitar in open C. I made some stainless steel tips for the wings as well, because it’s almost impossible to be careful with gear on tour, and those tips are the first things to go.
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I have 3 V’s on tour, 1) a black one in C (with a low G) Tuning: G C G C G C E, 2) a white prototype with a homemade bridge as a backup, and 3) a grey one that is a semitone lower. It’s taken a long time but has been a good learning process. It was supposed to come out a while ago, but I think it’s still being worked on.
![planet waves patch cables tone suck planet waves patch cables tone suck](https://online.pubhtml5.com/zhka/ojvx/files/large/1.jpg)
It’s a 7-string baritone flying V, hilariously metal, IMO. After three years, they have decided to put out a ‘heavy metal guitar’ with me, and although the heavy sound is only a fraction of what I do, it’s a cool guitar for that purpose. I was with ESP for 15 years and they made me some of my favorite guitars ever, but Peavey offered a signature model, so I went with them. At the end of every jam, I back up my sounds via the function in Axe Edit called “synch”.įor the past three years I’ve been playing Peavey, and I am currently as well. Again, the options and fine tuning are specific and almost endless, so for me it’s not a “set it and forget it” kind of deal. I keep it on top of my rack and continuously futz with it while I’m jamming.
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The interface for the Axe is called “Axe Edit” and is a program I run on my Mac laptop and attach to the Axe through a USB 2 cable.