Stompbox Book

STOMPBOX THE BRICK. BACK IN LIMITED STOCK🔥 The Ultimate Guitar Pedal Book. Perfect Gift For Every Guitar Player Over 950 Pages of Stompbox Insanity Available now!

🔥STOMPBOX THE BRICK. BACK IN LIMITED STOCK🔥 The Ultimate Guitar Pedal Book. Perfect Gift For Every Guitar Player Over 950 Pages of Stompbox Insanity Available now! . . . . . #stompboxbook #limitededition #stompbox #guitarpedals #guitarpedal #guitareffects #guitarfx #gearshots #pedalboard #effectspedals #geartalk #gearnerds #pedalporn #knowyourtone #gearnerds #pedalsandeffects #boutiqueeffectspedals #tone #allthegear #recordingstudio #vintage #iloveguitars #guitargear

It’s called The Brick for a reason. Stompbox + Vintage & Rarities: two of our best-selling pedal books bundled together for the guitar/bass player in your life. A way better gift than an Amazon card and a pack of boxers.

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Quotes from Stompbox: The Brick | Adrian Utley | BOSS DM-2 Delay “I was very much a tone purist in my earlier years of playing—and quite inappropriately so. Apart from the reverb and tremolo on my Fender amps, I didn’t like to use any effects. I had this very pure tone—slightly broken up, but not very. And no pedals.” During a recording session with Geoff Barrow in the early Nineties, however, Adrian had a revelation which reversed his outlook entirely. “I suddenly realized guitar tone has to fit with the track. Geoff and I were working together in the studio, and I was trying to force this sound that just wasn’t applicable. I’d play something, and he would immediately change the tone to something that would never have worked before on its own. It might be a wicked guitar sound, but does it sound right in the track? That was a big realization for me.” “I bought a DM-2 from a guy secondhand, and I loved it immediately. The one you see here is the same one I’ve always had. It’s my absolute favorite delay pedal, without question. With the DM-2, I can get anything from a gentle slap-back to vicious feedback—massive long echoes, rhythmic machine-gun noises, weird Wah Wah Watson–style echo stuff, or just really subtle repeats behind what I’m doing. I get pretty much everything I need out of it, echo-wise.” “You’ll hear it all over our records—particularly on the Roseland NYC Live album. I had it on my board then. I used it live a lot, because I tended to use tape echo in the studio quite a bit as well. The thing about the DM-2 is it doesn’t mess your sound up at all. I love the sound of the repeats as they get duller and duller—it sounds kind of tape-y. Analog delays are like tape echo emulations, to some extent…. –Adrian Utley (@adrian.utley ) Interview by Rod Brakes (@rodbrakes ) STOMPBOX: THE BRICK | Back in Stock in Limited Supply #stompboxbook #limitededition #stompbox #guitarpedals #guitarpedal #guitareffects #guitarfx #gearshots #pedalboard #effectspedals #geartalk #gearnerds #pedalporn #knowyourtone #gearnerds #pedalsandeffects #boutiqueeffectspedals #tone #allthegear #recordingstudio #vintage #iloveguitars #guitargear #delay #BOSS #portishead #jeffbeck

Quotes from Stompbox: The Brick | Vernon Reid | ProCo The RAT “I bought The RAT at Manny’s Music on 48th Street in New York City in the early 1980s, during the first week it became available. The thing about Manny’s was that it would be the first music store on Music Row to get any kind of crazy, untried piece of gear.” “The RAT was one of the first pedals that enabled you to get amplifier-like overdrive, but even more extreme. You could plug it into a fairly clean amp like, say, a Fender Twin Reverb, and get a heavy distortion tone like you’d get from a Boogie or a Marshall. It was a real breakthrough.” “People were freaking out. Hard rock dudes, metal dudes, funk dudes—everybody. It was insane. I think boutique pedal distortion started with The RAT, because before that there were mostly just fuzz boxes like the Electro-Harmonix Big Muff. The kind of clipping and tone that you got previous to The RAT was very specific, but it didn’t really emulate an overdrive channel of an amp. Even in today’s distortion modeling pedals and processors, you’ll usually find several presets based on the various versions of The RAT.” “To dial in the tone I wanted I would set The RAT’s Distortion control to two o’clock, the Filter control to just a little bit less than 12 o’clock, and the Volume control to around one o’clock. Those were the settings that I used to record ‘Cult of Personality’ and other tracks on the album.” “I’m the original owner of this Version 2 ‘big box’ The RAT pedal. It eventually started getting crumbly inside, so I sent it to [pedal guru] Robert Keeley, who rescued it from oblivion and also installed a much-needed LED that lights up when the pedal is engaged. I love The RAT. It’s a very significant thing!” –Vernon Reid Interview by Chris Buono (@chrisbuono ) STOMPBOX: THE BRICK | Back in Stock in Limited Supply #stompboxbook #limitededition #stompbox #guitarpedals #guitarpedal #guitareffects #guitarfx #gearshots #pedalboard #effectspedals #geartalk #gearnerds #pedalporn #knowyourtone #gearnerds #pedalsandeffects #boutiqueeffectspedals #tone #allthegear #recordingstudio #vintage #iloveguitars #guitargear #overdrive #livingcolour

Quotes from Stompbox: The Brick | Thurston Moore | Ludwig Phase II Synthesizer “I was never really big on going to guitar shops while we were on tour,” says Thurston Moore. “I was more into going to record shops and book shops. I was never a gearhead.” But one day in 1994 Moore somehow found himself in a second-hand guitar store, where he was immediately drawn to a Ludwig Phase II Synthesizer. “It was on an upper shelf of the store, gathering dust. I was like, ‘What in god’s name is that?’ It was absolutely bonkers-looking. The guy behind the counter told me that it was someone’s early idea of a synthesizer pedal for a guitar. I said, ‘Can I try it?’” In the course of his experimentation, Moore eventually hit upon a setting that gave him “this strange kind of warble, which sounded totally happening with this guitar line I was working on.” That warbling guitar line became the basis of “The Diamond Sea,” the 19-minute epic that closed Sonic Youth’s 1995 album Washing Machine, and which would serve as the band’s live finale for the next two years. “I kind of liked the absurdity of this monolithic, 2001: A Space Odyssey-looking pedal sitting there onstage, that only did one thing no other pedal could do. To me, it was of equal value as a cosmetic object as it was as a sonic object. I just loved having it there, and having people in the audience look at it and go, ‘Huh? What is that?’” –Thurston Moore Interview by Dan Epstein (@dockfidrych ) STOMPBOX: THE BRICK | Back in Stock in Limited Supply #stompboxbook #limitededition #stompbox #guitarpedals #guitarpedal #guitareffects #guitarfx #gearshots #pedalboard #effectspedals #geartalk #gearnerds #pedalporn #knowyourtone #gearnerds #pedalsandeffects #boutiqueeffectspedals #tone #allthegear #recordingstudio #vintage #iloveguitars #guitargear #phase #sonicyouth @thurstonmoore58

Quotes from Stompbox: The Brick | Lee Ranaldo | Ibanez AD-80 Analog Delay “Around 1989, I was using a very weird Fender digital delay called a DGL-1, which was probably my first delay pedal. I got the Ibanez a few years later when that one busted, and it was love at first sight.” “In the early days with Sonic Youth, things were moving so fast that we were just grabbing what we needed. At some point we even had entire sets of equipment in both America and Europe, so I have no idea what became of the very first AD-80 or where it may be now.” “I almost always keep the Delay Time control on the longest setting, the Blend control right in the middle, and the Repeat control somewhere between nine o’clock and ten o’clock so that there’s a little bit of regeneration but it doesn’t go crazy.” “And when I want to get the swoopy flying saucer sounds that I’ve used quite a bit live and on recordings, I just bend down and turn up the Repeat control until the pedal begins to self-oscillate, then play around with the Delay Time control to change the speed of the oscillations.” “I tend to like pedals that are super simple and do one thing really well. Throughout the Eighties, Sonic Youth didn’t use any effects pedals at all; we just plugged straight into the amplifiers, and if we wanted a different sound we’d drive the amp harder. It was in the Nineties that we began to get more interested in all the colorations that were available.” “But I think it is interesting that, although we have a closet with hundreds and hundreds of pedals in it, the pedals that we’ve used regularly have always been very limited in number and they haven’t changed much over the years.” –Lee Ranaldo Interview by Barry Cleveland STOMPBOX: THE BRICK | Back in Stock in Limited Supply #stompboxbook #limitededition #stompbox #guitarpedals #guitarpedal #guitareffects #guitarfx #gearshots #pedalboard #effectspedals #geartalk #gearnerds #pedalporn #knowyourtone #gearnerds #pedalsandeffects #boutiqueeffectspedals #tone #allthegear #recordingstudio #vintage #iloveguitars #guitargear #ibanez #delay #sonicyouth

Quotes from Stompbox: The Brick | Joe Satriani | Chandler Tube Driver “I was trying to see how I could make a certain pedal my own. I mean, how do you buy a Talk Box, and come up with something Joe Walsh hasn’t done already? But an overdrive pedal is easier in that regard, because no one is going to think you’re trying to sound like another famous player. So the pedals that keep coming back—the ones I’ve never sold—are my original Chandler Tube Drivers. That’s the sound from my early records.” “I’d get a Tube Driver from Paul [Chandler], and when I’d see him a couple of weeks later, he’d ask how it sounded. I’d say, ‘It’s really cool, but can you make one with a little more or less gain?’ He tweaked each new pedal in ways I didn’t know, so I ended up having to categorize them in order to identify which one I’d need for a particular sound. There’s writing all over my Tube Drivers to chart each one’s differences. I’d jot down notes on colored tape, with white grease pencils and regular lead pencils, such as ‘Dirty,’ ‘Light and Sweet,’ and ‘Most Gain.’ Then, I’d know which pedal to pair with which amplifier.” “I also developed a star system using silver Sharpies. It wasn’t very scientific, and I think it had a lot to do with how well the session went on the day I wrote the stars on the pedal. Later on, I’d plug in a Tube Driver with four stars and go, ‘What was I thinking?’ This isn’t going to work at all!’” “...If a pedal is homogenizing your personality, you have to unplug it. But when a pedal sets an artist free, the audience is on the receiving end of this great moment where the artist is able to give them something really unique. The Tube Driver has provided me with countless moments like that.” –Joe Satriani Interview by Michael Molenda STOMPBOX: THE BRICK | Back in Stock in Limited Supply #stompboxbook #limitededition #stompbox #guitarpedals #guitarpedal #guitareffects #guitarfx #gearshots #pedalboard #effectspedals #geartalk #gearnerds #pedalporn #knowyourtone #gearnerds #pedalsandeffects #boutiqueeffectspedals #tone #allthegear #recordingstudio #vintage #iloveguitars #guitargear #tubedriver #overdrive

Quotes from Stompbox: The Brick | Dave Navarro | BOSS DD-3 Digital Delay “Jane’s Addiction has always been a hypnotic band.” “I was actually using a rackmount unit, an Ibanez DM 1000. And on my very first day working with Jane’s Addiction, I noticed that Perry [Farrell] was singing through the exact same rack. It was an aligning of stars where we both looked at each other, like, ‘Wow, you like getting lost in this, too?’” Though Navarro started out with a rackmount unit, he soon moved on to a pedal, the BOSS DD-3 Digital Delay. “To me, it’s the one pedal that I wouldn’t ever want to give up. One reason why is that I like to manipulate the speed of the delay in the moment. And with a rackmount unit it’s very difficult to do that…During the insanity of a show, I don’t want to have to walk back to my rig and do, like, math. I just want to turn a knob and make the effect sound the way I want it to.” In his formative years, Navarro was heavily influenced by post-punk and goth-rock acts like Joy Division, Bauhaus and the Cure, but he says he was first turned on to the joys of delay by, of all bands, Iron Maiden. “It was the song ‘The Ides of March,’” he recalls. “I heard that in high school and, ever since, delay has been my best friend.” –Dave Navarro Interview by Richard Bienstock STOMPBOX: THE BRICK | Back in Stock in Limited Supply Thanks, Dan Cleary (@dancleary79 ) for helping out with the photo shoot! #stompboxbook #limitededition #stompbox #guitarpedals #guitarpedal #guitareffects #guitarfx #gearshots #pedalboard #effectspedals #geartalk #gearnerds #pedalporn #knowyourtone #gearnerds #pedalsandeffects #boutiqueeffectspedals #tone #allthegear #recordingstudio #vintage #iloveguitars #guitargear #janesaddiction #delay #boss davenavarro

Quotes from Stompbox: The Brick | Adrian Belew | fOXX Tone Machine “A year or two after I heard ‘Purple Haze,’ I started to play guitar a lot more. When I finally became the guitar player in bands, I started rooting around for pedals.” “I found this little fuzzy box, and said, ‘Look at this. There’s a fuzz pedal, and it’s actually got fuzz on the box— how clever. I plugged it in, and there it was—it sounded just like ‘Purple Haze.’” “You have to play through the neck pickup to get the high octave—if you play through the treble pickup, you don’t get it. I found the volume control of the guitar affected the sound more than with any other stompbox.” “If you back the guitar volume down, you get a completely different effect. It’s great to use your little finger on the volume knob to make various sounds. It’s unlike anything else.” “I think I had it when I was in Talking Heads, maybe at the very end. I don’t remember using that sound in early King Crimson because it didn’t seem to fit what we were doing.” –Adrian Belew Interview by Michael Ross STOMPBOX: THE BRICK | Back in Stock in Limited Supply #stompboxbook #limitededition #stompbox #guitarpedals #guitarpedal #guitareffects #guitarfx #gearshots #pedalboard #effectspedals #geartalk #gearnerds #pedalporn #knowyourtone #gearnerds #pedalsandeffects #boutiqueeffectspedals #tone #allthegear #recordingstudio #vintage #iloveguitars #guitargear #foxx #fuzz

Quotes from Stompbox: The Brick | Mike McCready | Ibanez TS-9 Tube Screamer “I’m not good at talking about pedals,” says Mike McCready. “More pedals equals better sound, right? I thought that for years, until a tech told me that I’d been cancelling myself out all this time.” Way before he joined forces with Stone Gossard and Jeff Ament to form Mookie Blaylock, the band that would become Pearl Jam, McCready was a metal-obsessed kid growing up in 1980s Seattle. “I played Iron Maiden–type rock for years,” he recalls. It would be the warm, buttery tone of Texas bluesman Stevie Ray Vaughan that led him to discover his own soulful style. “I saw him four times. My playing changed when I went down the blues road. I didn’t need to play a million notes.” “I read that he used a Tube Screamer, and I have been using one ever since the beginning of [Pearl Jam], since 1990. I got the Tube Screamer, and Stone gave me Cry Baby wah. That was it. I had a JCM 800 thirty- watt amp with four-by-twelves, and a Fender Bassman with an A/B box.” McCready, who has used a Tube Screamer on every one of Pearl Jam’s albums, estimates that he has owned dozens of TS-9s over the years, and has probably gifted just as many. “It’s so reliable. It’s my yardstick for distortion that I compare everything else to.” –Mike McCready Interview by Whitney Petty STOMPBOX: THE BRICK | Back in Stock in Limited Supply #stompboxbook #limitededition #stompbox #guitarpedals #guitarpedal #guitareffects #guitarfx #gearshots #pedalboard #effectspedals #geartalk #gearnerds #pedalporn #knowyourtone #gearnerds #pedalsandeffects #boutiqueeffectspedals #tone #allthegear #recordingstudio #vintage #iloveguitars #guitargear #Pearljam #Ibanez #tubescreamer