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wfs1234 wrote:There are a few reasons I no longer tote around a 40lb pedalboard:

It can be distracting/counterproductive if you're trying to work on something. If you spend an hour trying to line up the phased signal with both the tremolo and the delay just right for the song you're working on, you're no longer workin on the song, you're just experimenting with pedals.

Even if you know exactly how you want something to sound and how to adjust each pedal, with a big board making the necessary knob adjustments in between songs can take a long time and still not come out just right. And sometimes it's physically challenging to stomp on all the necessary switches, mid-song, to get that cool sound.

And then there's the whole "smaller board makes you think more creatively" argument, which I guess makes some sense. For me it was sometimes just about, "hey that pedal looks crazy! Maybe if I fill up a huge pedalboard with crazy shit I can come up with an original/cool sound." A small board forced me to think in terms of "what would sound cool here" as opposed to "I don't know what to do...so, let's play around with knobs until we find something that sounds cool." Though, I still am partial to the sonic experimentation leading to song creation thing.

Last thing: if I want to make my guitar sound like a synthesizer, why don't I just pull out a synthesizer? I could make a pedalboard with lots of octaves and fuzzes and filters and compressors and volume pedals and choruses/phaser/flangers and ring mods to give my guitar that atmospheric sound that only gets crazier as you add crazy delays and reverbs...but why? While it is pretty cool and an accomplishment to do something like that, why should I go through the herculean effort involved when I can just pull out a synthesizer instead?

So that's why my pedalboard is five pedals, a mixer and a looper; that I use with my guitar and my synth.

wfs1234 wrote:There are a few reasons I no longer tote around a 40lb pedalboard:

It can be distracting/counterproductive if you're trying to work on something. If you spend an hour trying to line up the phased signal with both the tremolo and the delay just right for the song you're working on, you're no longer workin on the song, you're just experimenting with pedals.

Even if you know exactly how you want something to sound and how to adjust each pedal, with a big board making the necessary knob adjustments in between songs can take a long time and still not come out just right. And sometimes it's physically challenging to stomp on all the necessary switches, mid-song, to get that cool sound.

And then there's the whole "smaller board makes you think more creatively" argument, which I guess makes some sense. For me it was sometimes just about, "hey that pedal looks crazy! Maybe if I fill up a huge pedalboard with crazy shit I can come up with an original/cool sound." A small board forced me to think in terms of "what would sound cool here" as opposed to "I don't know what to do...so, let's play around with knobs until we find something that sounds cool." Though, I still am partial to the sonic experimentation leading to song creation thing.

Last thing: if I want to make my guitar sound like a synthesizer, why don't I just pull out a synthesizer? I could make a pedalboard with lots of octaves and fuzzes and filters and compressors and volume pedals and choruses/phaser/flangers and ring mods to give my guitar that atmospheric sound that only gets crazier as you add crazy delays and reverbs...but why? While it is pretty cool and an accomplishment to do something like that, why should I go through the herculean effort involved when I can just pull out a synthesizer instead?

So that's why my pedalboard is five pedals, a mixer and a looper; that I use with my guitar and my synth.

tareh wrote:

the whole band's.

warwick.hoy wrote:I downsized my board quite a bit. The way I look at it is why tie up the cash in stuff that isn't getting used. Some pedals I kept and some pedals I sold/traded. Gear goes out in order for gear to come in and I'm really jonesin for a Strat.



Signal chain = Bass (or guitar)->LS-2->Supercollider->CA Ring Mod->Drasp DL-4->TU-2->Amp.

In the LS-2 set to A<->Bypass is the OC-2->WSOU->Source Audio Bass Envelope Filter. Esentially a 3 pedal synth loop.

warwick.hoy wrote:I downsized my board quite a bit. The way I look at it is why tie up the cash in stuff that isn't getting used. Some pedals I kept and some pedals I sold/traded. Gear goes out in order for gear to come in and I'm really jonesin for a Strat.



Signal chain = Bass (or guitar)->LS-2->Supercollider->CA Ring Mod->Drasp DL-4->TU-2->Amp.

In the LS-2 set to A<->Bypass is the OC-2->WSOU->Source Audio Bass Envelope Filter. Esentially a 3 pedal synth loop.

warwick.hoy wrote:I downsized my board quite a bit. The way I look at it is why tie up the cash in stuff that isn't getting used. Some pedals I kept and some pedals I sold/traded. Gear goes out in order for gear to come in and I'm really jonesin for a Strat.



Signal chain = Bass (or guitar)->LS-2->Supercollider->CA Ring Mod->Drasp DL-4->TU-2->Amp.

In the LS-2 set to A<->Bypass is the OC-2->WSOU->Source Audio Bass Envelope Filter. Esentially a 3 pedal synth loop.

warwick.hoy wrote:I downsized my board quite a bit. The way I look at it is why tie up the cash in stuff that isn't getting used. Some pedals I kept and some pedals I sold/traded. Gear goes out in order for gear to come in and I'm really jonesin for a Strat.



Signal chain = Bass (or guitar)->LS-2->Supercollider->CA Ring Mod->Drasp DL-4->TU-2->Amp.

In the LS-2 set to A<->Bypass is the OC-2->WSOU->Source Audio Bass Envelope Filter. Esentially a 3 pedal synth loop.