Pedals And Effects had such a huge response to our 100 Pedals video that we asked ourselves what could be bigger than that? and the answer was let's set the world record! After doing a couple of hours of research on the largest pedalboard/most pedals chained, we found what we believe to be the world record at 142 pedals.
Nick and I are never shy of a challenge so after we went through the hard work of plugging in 100 pedals, we added a few more to surpass the existing claim of 142 pedals as the world record. I must note that the biggest difference was that we didn't use buffers and the sound of our result was more useless than the last world record holder, but we didn't care...we just wanted to smash the record! And we did!
Now this picture above does not show all the pedals in the video because we couldn't back up enough to fit all of them. There are some to the right of the shot and some on the left but we can assure you, if you add the 100 pedals from the last video and the two giant Earthquaker Devices demo boards, that put us at 136 (minus one pedal that we removed so 135) and then the 10 in the last row, we met the 145 we needed to pass their old record 142 pedals chained together.
Livingston Studio 1
We also want to note that the last world record holders probably spent way more time setting their accomplishment up, had a more professional board designed, did it at a Summer NAMM show, used several friends' pedals to achieve that number and donated some pedals to charity. We were not so valiant. Nick and I could have done this with just my pedals alone and the result was this awesome video for you all!
Shout outs go to the many pedal companies that have supported, and bestowed us with pedals to over the last few years. All this could not have happened without the mighty Earthquaker Devices, Red Panda, Godlyke, Mantic Conceptual, Digitech, MXR, Fairfield Circuitry, Dwarfcraft, WMD, Walrus Audio, Old Blood Noise, Keeley Electronics, Way Huge, Boss, DOD, Last Gasp Laboratories, Endangered Audio Research, Pigtronix, zVex, Big Ear, Source Audio, Idiot Box Effects, MWFX, Cog Effects, Chase Bliss, Mr.Black, Coppersound, Fuzzrocious, Gojira, and if I forgot your company, holler at me and I will add you to this list! Also shout out to Mogami for the best cables to do this with, GoPro for the cameras, Supro for the guitar rig and Ampeg for the bass rig in this video!Over the last few years, despite having plenty of outboard gear and plug‑ins to choose from, I’ve increasingly found myself using guitar pedals while mixing. It started as a way to access specific effects that I couldn’t find in software form, but my experiments have led me to realise just how much potential my pedalboard has as a mixing toolbox. In fact, so useful have I found pedals when mixing that I’ve developed an entirely new workflow to accommodate them.
In this article, I’ll take you through what you need to know if you want to use pedals in this way, explaining how to hook them up and offering some examples of how I like to use pedals when mixing.
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So what’s the attraction of pedals compared with plug‑ins or rackmount gear? I still use both of those, of course, but pedals inject more excitement into the process because they give me immediate hands‑on control of all the essential parameters. There’s no messing about with a mouse or configuring a MIDI controller and, unlike with rack gear, everything can be laid out in front of me. In fact, it’s rather like performing with a synth. This fun, experimental approach can lead you to rewarding results when mixing on your own, but it can also be a great way to involve clients: chain multiple pedals together, invite the artist (maybe not the bass player!) to take control of one and you might just capture something wonderful!
Producer/engineer Joe Barresi uses pedals as part of his mixing process. I’m not alone in enjoying this way of working. In fact, some of the world’s best‑known engineers, have been doing it for years. Joe Barresi (Queens of the Stone Age, the Melvins), for example, started down this road years ago, as he explained in a 2016 interview with pedal manufacturers EarthQuaker Devices: “Back in my early days it was out of necessity because you couldn’t afford a $4000 Eventide Harmonizer, or a $6000 reverb, or whatever, so you bought a $50 guitar pedal and turned your volume down going into it. This was before reamps. We didn’t know what reamps were. We just turned the signal coming off the tape machine down, or fed it off a send on the console.”
But he found more to enjoy than keeping the costs low: “When you have a piece of gear in a rack, it tends to sit in the back of the room on a preset or two, but you don’t really tend to play with it as much as you do when you’re reamping with guitar pedals. That, to me, is definitely a more performance‑oriented way of making of music.”
Guitar Pedal Photos And Premium High Res Pictures
If you’re new to using pedals in a mixing setup, you probably have questions about connecting unbalanced instrument‑level pedals to your audio interface. Googling for information might give you an idea, but there’s plenty of misinformation out there, so I’ll try to set that straight here.
First, note that, as when connecting any outboard gear to an audio interface, your interface must have at least three outputs, since you’ll need two for stereo monitoring. I can’t think of an interface with three outputs so, realistically, a two‑in, four‑out interface is the minimum requirement.
You can connect the output of the last pedal in your chain to your interface’s high‑impedance (or ‘Hi‑Z’) instrument input, just as when recording a guitar/pedal setup direct. If your interface doesn’t have such an input, you’ll need a DI box between the pedal and the interface’s mic input. Level mismatches are more of a problem at the other end, where the line‑level signals from a typical audio interface are much higher in level/voltage than the instrument‑level signal most pedals are designed to receive. Some digital pedals from manufacturers like Eventide and Strymon can be set to operate at line or instrument level, but really, you want the option to use any pedal. Creative distortion has its place, but feeding a full line‑level signal into a pedal that expects a much lower level will generally just sound bad. To avoid overloading most pedals, then, you need a way to turn down that signal.
Bar String 스트링바 :: Home Recording Of Electric Guitar With Pedalboard (hum Noise & Ground)
Another potential issue is that professional audio interfaces are generally intended to work with balanced signals, whereas pedals have unbalanced inputs. In practice, most interfaces are happy working with unbalanced gear but it does depend on how their outputs have been designed, so it’s a good idea to check the manual, to see if a specific type of cable is required.
If you intend to use pedals a lot, I strongly recommend buying a reamp box. These take care of the level drop and the (un)balancing for you...
If you intend to use pedals a lot, I strongly recommend buying a reamp box. These take care of the level drop and the (un)balancing for you, and usually have a transformer inside, which can be useful in preventing ground loops. I’ve recommended some reamp options in the box elsewhere in this article; they needn’t be expensive, but if you just want to experiment, you may be able to get by with what you already have.
Sweetwater And Guitarist Rob Scallon Break The Guinness World Record For World's Largest Guitar Effect Pedalboard
If you use a mixer, for example, you can try hooking the pedal(s) up to the mixer’s line I/O as a send effect, and use a channel’s aux send to control how much signal is sent to the pedal. If your audio interface has a headphone amp with an independent feed from the main stereo mix, you could try using a Y‑lead (ie. TRS to two TS jacks) to split the stereo headphone output and feed one channel to your pedal chain, using the headphone level knob to set the signal level. You could also simply attenuate the signal digitally, inside your DAW or audio interface routing software, and just use a standard line output from your interface. Alternatively, if you have one to hand, you can put a passive attenuator, such as a cheap monitor controller, between your interface and the pedal’s input. A passive DI box used ‘in reverse’ can make a workable substitute for a reamp box, as can a buffered‑bypass pedal with the bypass engaged. But, as I said earlier, a proper reamp box is my preferred option: it guarantees that you can hook up any pedal quickly and easily, and many also offer useful facilities like level adjustment.
Figure 1 shows a basic interface/pedal setup. I actually use an SSL 2+ (two in/four out) interface, which allows me to create two mono send/return loops or one stereo/mono‑stereo loop, while leaving a stereo out for monitoring. But as the SSL’s unbalanced RCA outputs 3+4 aren’t the norm, I’ve shown a more typical Audient iD14 MkII, with all four outputs on TRS jacks. In the diagram, the interface’s outputs 1 and 2 are used for
If you’re new to using pedals in a mixing setup, you probably have questions about connecting unbalanced instrument‑level pedals to your audio interface. Googling for information might give you an idea, but there’s plenty of misinformation out there, so I’ll try to set that straight here.
First, note that, as when connecting any outboard gear to an audio interface, your interface must have at least three outputs, since you’ll need two for stereo monitoring. I can’t think of an interface with three outputs so, realistically, a two‑in, four‑out interface is the minimum requirement.
You can connect the output of the last pedal in your chain to your interface’s high‑impedance (or ‘Hi‑Z’) instrument input, just as when recording a guitar/pedal setup direct. If your interface doesn’t have such an input, you’ll need a DI box between the pedal and the interface’s mic input. Level mismatches are more of a problem at the other end, where the line‑level signals from a typical audio interface are much higher in level/voltage than the instrument‑level signal most pedals are designed to receive. Some digital pedals from manufacturers like Eventide and Strymon can be set to operate at line or instrument level, but really, you want the option to use any pedal. Creative distortion has its place, but feeding a full line‑level signal into a pedal that expects a much lower level will generally just sound bad. To avoid overloading most pedals, then, you need a way to turn down that signal.
Bar String 스트링바 :: Home Recording Of Electric Guitar With Pedalboard (hum Noise & Ground)
Another potential issue is that professional audio interfaces are generally intended to work with balanced signals, whereas pedals have unbalanced inputs. In practice, most interfaces are happy working with unbalanced gear but it does depend on how their outputs have been designed, so it’s a good idea to check the manual, to see if a specific type of cable is required.
If you intend to use pedals a lot, I strongly recommend buying a reamp box. These take care of the level drop and the (un)balancing for you...
If you intend to use pedals a lot, I strongly recommend buying a reamp box. These take care of the level drop and the (un)balancing for you, and usually have a transformer inside, which can be useful in preventing ground loops. I’ve recommended some reamp options in the box elsewhere in this article; they needn’t be expensive, but if you just want to experiment, you may be able to get by with what you already have.
Sweetwater And Guitarist Rob Scallon Break The Guinness World Record For World's Largest Guitar Effect Pedalboard
If you use a mixer, for example, you can try hooking the pedal(s) up to the mixer’s line I/O as a send effect, and use a channel’s aux send to control how much signal is sent to the pedal. If your audio interface has a headphone amp with an independent feed from the main stereo mix, you could try using a Y‑lead (ie. TRS to two TS jacks) to split the stereo headphone output and feed one channel to your pedal chain, using the headphone level knob to set the signal level. You could also simply attenuate the signal digitally, inside your DAW or audio interface routing software, and just use a standard line output from your interface. Alternatively, if you have one to hand, you can put a passive attenuator, such as a cheap monitor controller, between your interface and the pedal’s input. A passive DI box used ‘in reverse’ can make a workable substitute for a reamp box, as can a buffered‑bypass pedal with the bypass engaged. But, as I said earlier, a proper reamp box is my preferred option: it guarantees that you can hook up any pedal quickly and easily, and many also offer useful facilities like level adjustment.
Figure 1 shows a basic interface/pedal setup. I actually use an SSL 2+ (two in/four out) interface, which allows me to create two mono send/return loops or one stereo/mono‑stereo loop, while leaving a stereo out for monitoring. But as the SSL’s unbalanced RCA outputs 3+4 aren’t the norm, I’ve shown a more typical Audient iD14 MkII, with all four outputs on TRS jacks. In the diagram, the interface’s outputs 1 and 2 are used for
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