Pedals Week 2026: There comes a time in every guitarist’s life when, really, you have everything you need. No stone unturned on the amp front; no room on the wall for more guitars; no glaring holes in the pedal chain. How on Earth do you feed your GAS (Gear Acquisition Syndrome) if you already have everything? Enter: the pedalboard accessory.

We’re looking beyond the addictive collectability of the pedal itself, towards something a little more… practical. Even with your ideal effects chain in situ, your pedalboard might not be quite at its best, whether due to inefficiency or overall scruffiness. You need accessories.

These items are not always the most glamorous of pedalboard accoutrements, nor are they always the most thrilling of guitar-related purchases. Between them, though, they represent a quiet and constant improvement of a pedalboard in progress, making it easier for you to play, to maintain and to evolve your signal chain whether you’re a home musician or a gigging pro. And they might temper that GAS a little, too. Here’s a handful of ideas for plussing up your pedalboard.

Swiss firm Ebbe Design has launched a Kickstarter campaign for a new modular pedalboard design that ditches velcro in favor of magnets for cleaner, more flexible setups. And it’s gone to extreme lengths to show how well it works.

Set up by two Swiss industrial designers and first conceptualized in 2024, Ebbe Design’s modular pedalboard looks like a bold step forward for pedalboard design.

The idea is simple but manyfold: metal boards piece together like Lego, so players can customize their 'board size, with pedals fastening via ultra-strong magnetic plates attached to the bottom of the pedals.

There’s a 5mm gap for patch cables to run underneath each pedal, space for a power supply underneath, and each pedalboard comes supplied with magnetic clips to make cable management on the underside a dream. Its feet are also height-adjustable.

To show how strong the magnets are, the firm took one of its 'boards to the Pendenta Bridge in Graubünden, Switzerland, which is 270m long and nearly 100m above the Rhine river.

There, the pedalboard, which features a Boss OC-2 octaver and an expression pedal, was given the ultimate litmus test.

“To show you how much we trust this product, we’re gonna throw it off this bridge,” he says before gleefully tossing the pedalboard – which was attached to a bungee rope – over the edge

Every single pedal held steadfast as the bungee cable jerked back skywards and beyond. It’s one hell of a demo.

What makes this really cool is the level of attention to detail Ebbe Design has shown. The magnets, vitally, have been designed through an exhaustive process to ensure they don’t interfere with audio signals, while the cable routing looks intuitive and sufficient to satisfy even the freakiest of neat freaks.

Plates featuring the magnets attach to the bottom of pedals with adhesive, but are easily removable thanks to pull strips, which are said to leave no damage or residue behind, helping remedy an age-old issue with velcro and other adhesives. Also, the fact the boards can effortlessly be made bigger or smaller means that customizing a rig for each gig is a doddle.

Kickstarter pledges start at €235 (approv $270/£204). That tier includes a one-row board set up (44.8 cm x 17.6 cm), which can house up to five pedals, a host of plates and cable clips, and an equally modular soft case.

That means it can grow and shrink in tandem with your board. It’s made from ballistic nylon, a heavy-duty fabric, too, so it can take a beating. But only throw it off a bridge if it's attached to a bungee.

See Kickstarter for more.

Alex Lifeson’s Rush reunion pedalboard and live rig has been revealed, and it confirms that there are no tube amps on the Fifty Something tour.

The Canadian virtuoso had recently revealed to Rick Beato that his signature IK Multimedia TONEX pedal was to play a key role in his new live rig as he looks to recreate classic Rush tones throughout the set. Now we know exactly how he's doing that thanks to an Instagram post from his gear brand, Lerxst.

In Rush’s later years, Lifeson had ditched tube amps for a Fractal Axe-Fx amp modeler. However, the traditional modeler route, Lifeson told Beato, usually used the same cluster of tones shared between dedicated hot, dirty, and clean channels.

So, to see him doubling down and expanding his use of digital gear isn’t a surprise. The beating heart of Lifeson's new rig is his signature IK Multimedia TONEX pedal, which has captured some of his most prized amps and tones from across his career. Beyond that, he’s got a few other tricks up his sleeve.

Joining the 12-foot-strong Fractal FC-12 foot controller and his TONEX pedal is a Tech 21 wah pedal, a Paul Cochrane Timmy overdrive, and a TC Electronic Ditto X2 looper.

Rounding out the bunch is the Morley x Lerxst ATWAS, a wah-and-volume pedal in one. While its successor, the Blah Blah, was released in 2024, Lifeson is staying true to the two-trick pedal. It got used right off the bat, too, with – spoilers ahead – Lifeson and Geddy Lee donning double-neck guitars for their epic set opener, Xanadu, on opening night.

The ATWAS is likely being employed as a volume pedal here, with the Tech 21 catering to all of Lifeson’s wah-y needs.

Lifeson has been busy with Lerxst releases in the years between Rush’s apparent farewell 11 years ago and their triumphant comeback with Anika Nilles and Loren Gold. The firm has dropped the Limelight S-style guitar, a reimagining of his iconic Hentor Sportcaster; a pre-wired Limelight pickguard; CHI head and 1x12 cab; and the By-Tor drive and boost pedal, among others.

It’s perhaps a surprise, then, that only one piece of Lerxst-branded gear has made it onto his latest pedalboard, but it’s a high-powered ‘board all the same, and his guitar tones have been getting rave reviews so far.

In related news, Gibson Custom Shop Greeny has also made its way into his live rig, while Epiphone – its finger firmly on the pulse – has now reissued Lifeson’s ES-355.

Since I’m relatively new to pedals, I really took an open stance on how to approach fusing my style of playing with the Smashing Pumpkins' sound. I wanted to find a series of pedals that allowed me to add those shoegazey-style twinkles and reverb while simultaneously retaining my super-heavy metal roots. It’s really a pedalboard that serves a variety of styles, yet not too complex.

Before I joined the Pumpkins, my pedals were minimal to none. I really only used distortion straight from the amp head, maybe a wah once in a while. Rarely did I ever play on clean. In my previous band, Vigil of War, we ran through Kemper amps, so many of our effects were pre-programmed as well.

Now, I feel like I’ve been exposed to a whole new – yet old school – world of sound design. I really love analog pedals and how tactile it is to adjust your settings on the fly, though doing the “pedal dance” on the downbeat can be a tricky one for some of the more complex Pumpkins songs. It’s really allowed me to tap into my own creativity and expand my songwriting abilities with a wider arsenal of sounds.

I honestly wouldn’t know a fraction of what I know without being in the Pumpkins. Billy [Corgan] has really been an incredible mentor and showed me the ropes of how to dial in tone, and it’s been an honor since he has such a vast knowledge of pedals.

It’s helped me learn to choose sounds that balance frequencies and that add balance to songs and play harmoniously with other band members, rather than just tones that sound cool sitting at home with a library on my computer, which I love to do, but is definitely a different vibe.

Though I’ve spent the last year dialing in pedals, I still have so much to learn. I know that it’ll be a forever learning process, changing with time as my own creativity changes. It’ll probably never be perfect, but that’s sort of the beauty of it.

I don’t think there really is a wrong way to do things with pedals. If you have a sound that works for how you want to voice something, run with it. It’s all about getting to the end result at the end of the day, and if that’s routing your pedalboard differently than others, but it fits your sound and music, then run with it! No judgment here.

My pedalboard is powered by Voodoo Labs Pedal Power 3+ [pedalboard power supply], and the channel switching is done via MIDI to Revv Generator 120 Head signal chain into amp input. I’ve got a Mogami guitar cable with Neutrik gold right-angle silent ends, and then, on the board, I’ve got a Dunlop 95Q wah wah, an Interstellar Audio Octonaut Hyperdrive [overdrive].

And then, I’ve got a Chase Tone Fuzz Fella [fuzz], an Electro-Harmonix Pitch Fork [pitch shifter], which is controlled by the Dunlop Volume X Pedal [second from right], an Axxess Electronic Compat/A [Input] Buffer, and an AnalogMan Mini Chorus, and that inputs into the amp. Then, there’s the signal flow in the FX loop.

Starting with the amp send, there’s the Dunlop Volume X Pedal, the Boss TU-3S [Chromatic Tuner], the Walrus Audio Lore [Reverse Soundscape Generator] pedal, and the MXR Joshua [Ambient] Echo pedal with tap control. And then, I’ve got another Axxess Electronic Compat/A [Input] Buffer, with an amp return.

If I had to choose one pedal for a full show:

The Interstellar Audio Octonaut [overdrive]. One, it looks incredible. Two, I love the distortion tone I can get from it. It mixes well with my clean channel and works well as a boost for my distortion.

• This article first appeared in Guitar World. Subscribe and save.

Partly buoyed by the long-awaited return of Oasis, Britpop is back in the music spotlight. But Blur guitarist Graham Coxon has some concerns regarding his classic rig.

When they were fighting for top spot in the British rock food chain during the height of their powers, Oasis and Blur waged war with hodgepodge pedalboards, haphazard rigs, and massive tunes.

Oasis played to 125,000 people at Knebworth in 1996, and Noel Gallagher's pedalboard at the time was literally a piece of plywood. Coxon’s rig was just as basic – but even harder to operate.

“I had this disgraceful pedalboard during the Blur years,” he tells Guitar World in a new interview. “It was this big fucking thing that, when we turned it on, it would be brighter than the stage lights. I’d be stabbing my foot away, trying to turn on a Rat pedal, but you couldn’t see it!”

A lot has changed in the gear world since the early and mid-’90s, and it’s left Coxon’s rig looking a little dated. He isn't looking back on his Blur gear with rose-tinted glasses. He's embracing the new.

“Back then, I had everything I needed,” he says. “But now, in my older age, I’m thinking, ‘Maybe I shouldn’t have been playing Marshalls for 35 years.’

“It sounded great. But it was loud… it was a 100-watt mofo, right? So, lately, I’ve been thinking, ‘Oh, what about more Fender amps? What about headroom?’ I’ve thought an awful lot more about it.

“When I turn my fuzz pedal off and on, I want it to take people’s heads off. So, it’s this crazy dance of headroom, and if I should use a Marshall, a Fender, or a 20-watt Hamstead, which I use with [his band with Rose Elinor Dougall] The Weave.”

Pedal choices have led Coxon to forge a partnership with JAM Pedals, which has also collaborated with Greg Koch and turned heads with its take on the Rat. Coxon's also experimenting with new sounds.

“When I was growing up, I had a Rat pedal,” Coxon reiterates. “I would just hit that in the chorus and turn it off for the verse. That’s how simple it was.

“Now there’s phasers, flanges, compressors… crikey, everybody is making stuff. Then, there’s the Third Man pedal, the [Gamechanger Audio x Third Man Hardware] Plasma [Coil]… I can’t live without that.”

The Plasma Coil, a distortion/overdrive pedal built by Jack White’s Third Man Hardware and Gamechanger Audio, is very much the antithesis of the busy and ever-inventive pedal market in the 2020s.

It’s a world that Coxon, though a tad overwhelmed by, is diving headfirst into regardless.

Elsewhere in his Guitar World interview, Coxon looked back on the time Damon Albarn rejected an entire album of Blur songs – and accidentally kickstarted his solo career.

Coxon’s full interview with GW will be published online in due course.

With my first gig of the year coming up, it’s time to set about rebuilding my pedalboard. I’ve got a couple of new pedals I want to make permanent additions to my setup, and, of course, tidying up the cabling to make it as ergonomic as possible is always something that can be improved upon. And a tidy pedalboard does more than just look good; it makes me organized with my gear so I can concentrate on the actual playing.

The timing of this is perfect as the Amazon Big Spring Sale has just launched, and it features a bunch of gear that’s perfect for neatening up and tidying a pedalboard. With none of the items here costing more than $22, you can upgrade your setup without having to spend loads. With just a few cleverly sourced accessories from beyond the musical instruments section of Amazon’s Narnia of domestic goods, we’ll have your pedalboard looking properly professional in no time, and for very little outlay.

Having looked through a huge portion of the sale, I’ve picked out 9 pedalboard essentials that will ensure you have a great gigging season going forward, some of which I will be picking up myself:

Shop more sales

• Save up to 35% on live sound at Sweetwater
• Over 25,000 deals at Musician’s Friend
• Save 15% on Spark Neo at Positive Grid

NAMM 2026: Gator and Vertex Effects have done something that is a surprising oddity in the gear world as pedalboard and effects pedal builders come together for an all-new pedalboard design.

The Tampa, Florida firm, which makes everything from gig bags to amp stands for the working guitarist, has turned to Vertex founder Mason Marangella to turn their shared knowledge into the Vertex series of boards. It’s a surprise this kind of “unified pedalboard system” hasn’t been thought of before.

The series debuts with three variants, from affordable mini pedalboards to real estate aplenty. As the smallest of the bunch, the Tour Lite (17” x 10”) keeps things simple, with the Tour Compact (23” x 13”) and the Tour Elite (31” x 13”) up next.

Each model has a version with an elevated riser for cramming even more overdrive pedals, modulations, and beyond into the scene. The risers are also hinged, meaning they can be flipped up out of the way to house a power unit underneath, or tweak any cabling for the pedals below.

All three are made with durable 8-gauge aluminum frames with non-slip rubber feet and rounded edges, designed for the rough and tumble of tour. Their surfaces are finished with a non-textured powder coat that makes it easier to fasten pedalboards into place, with a slew of holes along their tops for tidy cable management.

Each board also ships with a weather-resistant nylon gig bag with foam padding, plenty of pocket space, and Rig Doctor cable ties and hook-and-loop fasteners inside to get building straight away. It’s a one-stop shop; just bring your own pedals, with hard cases to follow.

The benefit here is that, not only does it save scouring Amazon or your local Guitar Center for the all-important extra accoutrements, it encourages tidy pedalboard management from the off, keeping all cables out of the way, and making every stompbox accessible.

“I’m honored to be working with a company that shares my value of bringing premium pedalboards and accessories, at an affordable price, to musicians around the world,” says Mason Marangella. “It’s been a dream to work with the Gator team and bring ideas to life that I’ve been refining for over seventeen years as a professional rig builder.”

Prices vary between sizes and riser/non-riser models, starting from $199.99 for the Travel Lite, and topping out at $369.99 for the Tour Elite with riser.

Check out Gator for the full scoop.

NAMM 2026: For pedalboard users, hook-and-loop tape is both a blessing and a curse, which is why the ever-practical D’addario has come up with the XPND Pedal Pry Bar – a mini crowbar specifically designed to prize pedals from ultra-sticky ‘boards.

Joining the firm’s XPND range of player accessories, the tool is “designed to make pedal removal faster and easier than ever for musicians.” That means no more struggling to rip pedals off pedalboards when it’s time for a rejig (or a frivolous expansion).

It operates exactly as you'd expect. By wedging it under your stompboxes, it frees pedals that have been secured in place with hook-and-loop systems and other adhesives that would have He-Man breaking a sweat to best. More importantly, it won’t damage your gear in the process.

The XPND Pedal Pry Bar is compatible with any board and is made with pedalboard tinkerers in mind. In other words, you won’t need to think twice about rearranging the 'board – or swapping out that old overdrive pedal for a shiny new fuzz.

When you’re done prying to your heart’s content, its diminutive form makes it ideal for storing underneath the board itself, or wherever is most convenient.

It’s available today and is priced at $9.99.

See D’Addario for more.

For more pedalboard solutions from D’Addario, see its rechargeable power supply, its pedalboard-mounted mic stand – which looks to solve an age-old real estate battle – and the guitar strap designed especially for heavy guitars.

Sound the A-lister pedalboard klaxon. Noel Gallagher has shared details of his touring rig for Oasis’s long-awaited reunion shows, and in the parlance of our times, it is biblical.

Gallagher’s ’board features some stompboxes any of us might own. Heck, hands up who’s got a TC Electronic Polytune 3 guitar tuner. There’s a Keeley Electronics Compressor, aka, the industry standard, and a Dunlop Cry Baby Mini wah pedal.

Okay, there’s a strip of masking tape across this Boss digital delay pedal but that looks like the high-functioning but readily available DD-7, and it is good to see the hard-working Boss RV-3 Digital Reverb Delay in a top pro’s signal chain, too.

But Gallagher has sold some records, and a whole bunch of concert tickets; he's flush at the moment. So of course there are some museum pieces here, too. Pedals that you can’t buy anymore. Like the BSM Finest Treble Booster Model OR 2004. David Gilmour fans might recognize this one. It is based on the Orange Treble & Bass booster that he used with Pink Floyd back in the day. It’s a connoisseur’s pick.

Sadly, the mastermind behind BSM pedals, Bernd C. Meiser, died last year, and the company has since closed.

There are some other high-end units. Gallagher could pare this setup down to just his Strymon TimeLine multi-delay, Strymon El Capistan tape echo pedal, the Empress Echo System and the reverb, he’d have the makings of a seaworthy worship guitar rig. That would be biblical.

But the pedal we’d kick a hole in a stained glass window for is the SIB Echodrive. The big yellow tape reads 117V, and that is because this thing isn’t working off his pedalboard power supply; it’s a tube-driven, powered by the mains, echo/delay that changes hands for ridiculous money and sounds incredible [just listen to it below].

Designed by Rick Hamel, it has a 12AX7 preamp tube in the circuit, a heap of controls, a tone of mojo, and you’ll have to part with a grand – easy – if you find one second hand. Reverb recently did a segment on it, ‘Is this the best delay pedal? There was a lot of evidence in the affirmative.

Gallagher, however, is said to use it for its preamp mojo – that's one very expensive tone-sweetener, if true, but then given the amount of money (and time) we put into tone seeking, maybe it works out in the long run.

Okay, what else is here? Gallagher likes his boosts and tastefully structured gain stages (and the custom switching system to keep all of this in order). There is a Kingsley Amplifiers Page boost pedal, another stompbox driven by a 12AX7 tube. Another mainstay of Gallagher’s live sound is his Pete Cornish Soft Sustain 2 – he has been leaning into his guitar solos for these shows, and this drive pedal will give them serious oomph. Again, nothing too high-gain.

He also has a trio of ZVEX Lo-Fi Loop Junkies, which judging by the masking tape across them are pinch-hitters, each set up for Champagne Supernova, Rock and Roll Star and Do You Know What I Mean. And that completes a serious board.

His backline comprises four tube amp combos, with a pair of Marshall JTM45s, and a pair of Hiwatt Custom 50s. That's a pretty good time right there.

Noel Gallagher's guitar rig isn't the only thing that has caught our attention this early on in the Oasis reunion – he's also re-embracing his role as a lead guitar player.

“First and foremost, I defer to [Friedman Amplification founder] Dave Friedman, who puts my gear together. Dave always knows the litmus test, where, when I’m not using a pedal, my guitar has to sound exactly the way it does going straight into the amp. When he put together my current [rig] incarnation, he used a stereo setup with two Freidman [SS-100 V2] amps, my latest signature model.

“The pedals are all bypassed – and, lo and behold, they sound exactly how I want them to. Rule number one: When you’re not using a pedal, your guitar must sound like your original guitar sound. And I don’t keep effects on all the time; I’m not one of those guys. I like my effects to come in and go, ‘Wow!’

“I’m always trying new stuff; if I like it, it ends up on my board. It’s really straight ahead, and there’s no rack anymore. All my pedals are on the floor because running an audio cable from the back where the speakers were downstage to the pedals caused a lot of noise and degraded the signal.

“I said to Dave, 'If you really want the guitar to sound great, keep all the cabling and all the signal in one place on the floor.' It’s worked out really well.

“I use a lot of J. Rockett [Audio Designs] pedals. I have a signature [J. Rockett Rockaway Archer] boost, which is kind of like a Klon [overdrive pedal] at the front end but with a graphic equalizer post-overdrive. You can carve any curve you want; every player sounds different using it. I’ve sent it to a number of my guitar-player buddies, and it ends up on their board because it is what you make it.

“I’ve also got a Fractal [Audio Systems amp modeler]. I’m not using the modeling section; I use it to go through the send-and-receive of my amps.

“And I don’t really use reverb live because when we play halls, the room will provide the reverb. But I use delay for my solos sometimes, though I shy away from chorus because, as a guy who made a career in the ’80s, I can’t really use chorus anymore! [Laughs]

“We overused chorus, but occasionally I’ll use it if I have to on a tune like [Billy Idol’s] Flesh for Fantasy. So if there’s a tune where there’s obviously chorus, I’ll use it. I have something that triggers [a digital] MIDI [signal] for me, and I have the new Boss [GM-800] guitar synth, which can do horns and strings. I’ve been fascinated with guitar synths since my first Roland GR-700.”

If I had to choose one pedal to get through an entire show...

“My J. Rockett Rockaway. Even if I have a rental backline and the amp has been beaten to crap, I can get a good sound out of it with the Rockaway.”

• This article first appeared in Guitar World. Subscribe and save.

It’s probably one of my favorite feelings in the world to complete a pedalboard rejig, even if to a non-guitarist it might sound like the most nerdy thing on earth. There’s something super satisfying about finishing hooking up all your pedals neatly after spending ages honing your pedal order and settings, although admittedly it's hard work getting to that phase.

One thing I’ve often found with building pedalboards is that you need a variety of patch cable lengths, as some pedals have top or side jacks, sometimes you have to jump across the ‘board to get the right order, or as in my case, you need to route everything to a pedal switcher. That’s why, as soon as I saw $104.99 off this Fender Blockchain patch cable kit at Fender.com, I had to share this brilliant Prime Day guitar deal with every other guitarist out there.

• Shop all the latest Prime Day deals at Amazon

With 15 cables of varying lengths, you’re paying just $3 for each cable, which is an absolute steal. There’s also a deal on the medium pack, too, with 12 patch cables for just $39. It’s the perfect deal for anyone looking to rebuild their ‘board for the summer and autumn gigging season, or to just spruce up a pedalboard you use at home.

I already have a couple of Fender cables on my own ‘board, which is a mish-mash of varying cable lengths and brands as I use a pedal switcher for gigging. I’ve found them to be just as good as the Ernie Ball and D’Addario-branded cables I have been using over the last few years, and so far, they haven’t let me down.

The connector housing is nice and compact, which means I can push my pedals as close as possible to fit more on, and the nickel-plated ends sound just as good to my ear as any of the fancy gold-plated patch cables I’ve tried. Fender’s patch cables use a 24 AWG wire with 90% OFC spiral shielding, which translates to great tone with minimal noise.

The PVC cable jacket itself is actually square, which is different from the flat-ribbon style or traditional round jackets I’ve normally encountered. They’re really flexible too, making them great for weaving in and out of my pedalboard and getting them under and neatly stowed away.

The whole cable is matte black, which makes for a low-profile design that lets your pedals stand out, and to my eye, adds to the overall feeling of neatness versus a cable with all-chrome connectors. Overall they’re sensational value for money, and absolutely worth picking up if you want to glow up your pedalboard this summer.

Shop more of today's best Prime Day deals

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There was a time when guitar pedal footswitches were simply chrome shiny things you stomped on with a big ol’ boot. But scroll through pedal posts on Instagram or Reddit, and you’ll be bombarded with a rainbow of toppers covering these simple switches. What gives?

You have witnessed the rise of footswitch toppers, also known as pedal toppers, footswitch caps, pedal button toppers or footswitch covers.

These colorful accessories have become de rigeur for modern-day pedalboards – but they’re much more than an aesthetic trend.

Footswitch toppers have soared in popularity thanks to their ability to allow guitarists to more easily distinguish pedals and access difficult-to-reach stompboxes.

Now there are a plethora of options available to guitarists, from budget Amazon plastic offerings to premium aluminum products.

But first, I’ll explain why these dinky devices could be your pedalboard’s new best friend…

Why would I want a footswitch topper?

Access your top tier of pedals

As someone who has been constantly tinkering with his pedalboards for two decades, I’ve found footswitch toppers the easiest way to access pedals on the upper tier of my pedalboard – and I’m not alone.

“There are a lot of clearance issues that arise with pedalboards that contain multiple pedals as well as multiple tiers of pedals,” says Brett Richards, founder of Barefoot Buttons, who were first to bring the concept to market in 2015.

“It can be difficult to trigger a switch when there might be another row of pedals right in front of the switch being activated. Toppers allow you to have a bigger switching surface along with added height to the switches that may need it.”

Make footswitches easier to hit

Being able to physically hit footswitches in the heat of the moment has become more of a challenge as the pedal industry has exploded.

Pedals are increasingly varied in their size and shape, not to mention crammed together closer than ever before. And when you need to hit the right footswitch at the right time in the middle of a performance, that extra surface area can make all the difference.

“Footswitch toppers increase the contact area, giving users greater confidence,” says Mooer’s Senior Product Manager, Leo Wong. “We’ve even developed glow-in-the-dark versions to accommodate dimly lit stage environments.

“These features significantly reduce the stress of live performances, allowing musicians to focus on their playing rather than worrying about hitting the wrong switch in the next section.”

Wong points towards multi-switch combinations on modern multi-effects floorboards and amp modelers as another situation where that increased surface area can help to hit the right footswitches – something I’ve certainly found with my own top-row HX Stomp XL, which has been fully kitted out with footswitch toppers since it was Velcro’d to my ’board.

Make it easier to identify pedals

When you look down at your pedalboard to switch up your sound and you’re faced with a sea of identical chrome footswitches, it can delay your decision-making, especially on poorly lit stages.

That’s where toppers come in: I can categorize certain effects by colors, or even flag up the footswitches I don’t want to hit – ideal for those always-on overdrives.

For me, again, it’s about confidence: if it makes it quicker to find the effect I’m looking for, I make changes faster and focus more on my playing.

As Richards puts it, “They offer a quick and easy visual differentiation between switches. In general, toppers make it a lot easier to navigate your pedalboard.”

Play barefoot

Going sans footwear was easy when all the world was Boss pedals. But the rise of 3DPT (aka true bypass) footswitches has made hitting pedals with no shoes a painful experience.

Not so with footswitch toppers – and as the name suggests, Barefoot Buttons were way ahead of the curve.

“I would play barefoot on stage and always had problems triggering the small switches associated with most effects pedals,” Richards says of the company’s origins.

“Around 2008 or so, I machined some early versions of the buttons. One of my bandmates at the time, Mike Love, was gigging around the country. He would come back home and tell me that people everywhere were asking him about the buttons on his board and where they could buy them.”

They’re fun

Let’s be honest: the world could use a little more color.

And as pedal artwork has gotten more and more extravagant, and guitarists are sharing more and more pics of their pedalboards on Instagram, footswitch toppers help your ’board stand out.

We’re all shallow when it comes to guitar finishes. It was only inevitable that pedalboards would be next…

What types of footswitch topper are available?

There are two main types of footswitch topper on the market. One is the screw-on design pioneered by Barefoot Buttons, which can be adjusted to different sized switches.

The other is the ‘candy’ plastic toppers launched by Mooer in 2016, which fit most common footswitch sizes.

Naturally, Amazon is awash with all manner of cheaper alternatives, but they’re derived from these original designs.

Set screw footswitch toppers

As the name suggests, these accessories use a small hex screw, tightened with an Allen key, to attach to the pedal’s footswitch.

The advantage of this design is you can adjust the fit of the button to your footswitch – which is crucial given the increasing variation of footswitch designs and sizes.

Barefoot Buttons now makes a variety of formats to fit 3PDT footswitches (your regular true bypass design), as well as the increasingly common SPST tap switches found on tap tempo devices. There are also options for larger 3PDT and multi-FX switches, as well as mini versions that don’t block halo LEDs from view.

Brands including Sonicake and RockBoard make variations on Barefoot’s format, while Valeton even offers designs with emojis on them.

The snag with these options is that the craftsmanship does cost more, with single Barefoot toppers starting at $8.95, but you can be sure they will fit whatever footswitch you throw at them. Barefoot offer a compatibility guide for this very purpose.

Plastic ‘candy’ footswitch toppers

Cheap and cheerful, these multicolored footswitch toppers are among the most ubiquitous on modern pedalboards, and were first introduced by Mooer in 2016.

Clocking the rising footswitch topper trend, the firm sought to create their own version, which took a different approach to the set screw design.

“We adopted a plastic molding approach, effectively reducing costs while making assembly and disassembly effortless,” says Leo Wong.

Multipacks are cheap and plentiful, with huge quantities of the toppers available for under $10.

The downside is that these options are only available in one size, so they won’t fit more uncommon switches unless specifically stated.

Toppers for ‘halo’ footswitches

Many modern multi-FX pedals, including the Line 6 Helix and Fractal FM3, are equipped with footswitches that feature ‘halo’ LED indicators around the switch itself.

Unfortunately, if you fit a footswitch topper to one of these, you’ll liable to block the LED, which will only make your onstage job more difficult.

Thankfully, there are alternatives. Mooer’s transparent Shroom toppers allow LEDs to shine through with no obstruction.

Sonicake also offers its own version, while Hotone’s Karat is shaped like a diamond. Barefoot Buttons’ mini designs also allow lights to shine through.

Other designs

D’Addario’s XPND topper offers a hybrid of some of the most common topper types, with a flip-top design that clips onto the footswitch.

It’s tightened by flipping the top down, negating the need for tools while channeling some of the flexibility of the typical set-screw design. Although, like many plastic offerings, it won’t fit all footswitches.

Footswitch toppers are part of the landscape of the modern pedalboard, and we can expect more designs to crop up in the coming years.

Whatever’s next, it’s bound to make your ’board more practical – and more colorful, too...

What is it?

While our pedalboards provide some of the most exciting propositions in our rigs, purchasing a pedalboard power supply can sometimes feel like a necessary, yet reluctant expense.

The Harley Benton PowerPlant ISO-10AC Pro is a pedalboard power supply that offers ten isolated outputs to cater for all manner of setups. Whether you’re running power-hungry digital effects such as delay pedals, analog overdrive pedals or any sort of wild combination, you can safely power your pedalboard them all with this.

Now, there are lots of power supplies on the market, but Harley Benton has managed to serve up a completely feature-laden product that ticks most players’ stompboxes when it comes to powering their pedalboards, for an incredible price.

What’s particularly useful about this is that it’s got all sorts of different power options. You’ve got four outputs rated at 250mA which will take care of a lot of pedals out there – overdrives, analog modulations, boosts, tuners etc but then you’ve got two dedicated slots that offer 9V at 500mA which means you can run your Strymons or Polys on their own isolated outputs.

On top of that, you’ve then got four outputs rated at 450mA where you can select between 9, 12 or 18V. Right at the end, you’ve got a USB slot too offering 5V/1A (which is enough to charge your phone from it).

In addition to the outputs being isolated, they’re also short-circuit-protected, plus the unit has a built-in AC-switcher that will automatically select the right voltage from 100-240V.

This means if you’re traveling around to and from different countries, the power supply will make sure it’s running optimally without you having to do anything. With that in mind, it's worth noting that the ISO-10AC Pro is powered from a standard IEC mains cable, adding to its universal capabilities.

Specs

• Price: $105/£95/€105
• Type: Isolated, surge-protected pedalboard power supply
• Features: 10 x isolated outputs (4 x 9V 250mA, 2 x 9V 500mA, 4 x 9/12/18V 450mA), 1 x 5V 1A USB slot, power input (IEC cable)
• Dimensions (WxDxH): 195 x 88 x 35 mm
• Weight: 605g/1.3lbs
• Contact: Harley Benton

Build quality

Before I got to the ISO-10AC Pro itself, the packaging impressed me somewhat! Instead of just being in a box, it was in a perfectly sized piece of foam that was then in a box so that it wasn’t sliding around inside.

The unit is a reassuring weight in that it doesn’t feel too light, but it’s also not super heavy at just over 600g. The exterior is made from aluminum giving it a solid, reliable feel. I’d have absolutely no qualms attaching this to the bottom of my board and taking it out on the road with confidence.

The actual size of it worked with my particular setup too. I use a Pedaltrain Classic Jr, and there’s enough room where the board raises up at the back to be able to attach the power supply to the underside of the board with clearance from the ground.

I couldn’t find a dedicated bracket to attach the power supply to a board, but there are the dedicated Pedaltrain ones. If you’re using a board from a different brand, you can opt for the tried-and-true cable-tie.

Usability

I tested the ISO-10 on my own board, which is home to a Korg Pitchblack tuner, Magnetic Effects Lonely Robot fuzz, EHX Soul Food, Orange Kongpressor, EHX Micro POG, MXR Phase 90, TC Skysurfer Reverb and a JHS Colourbox V2. None of these are particularly power hungry, with the Colourbox drawing the most – 193mA.

As such, the ISO-10 handled powering my setup with ease. There was no unwanted noise anywhere. I made sure to try it out with a few guitars too. My Tele is the most prone to introducing any sort of interference, but there was nothing.

I even tried daisy-chaining a few of my low-power pedals together from one output. Going out of one of the 500mA slots, I used a chain cable to link the tuner, Lonely Robot, Soul Food, POG and Skysurfer and it still performed perfectly. Doing this meant I freed-up an additional four slots, so I could potentially run a much bigger rig with this power supply (believe me, I’m tempted).

So, if you’ve got a real mix of pedals with some being high powered, and some low, you can be smart to optimize how you use your power supply; just because there are ten slots on there doesn’t mean you can only power ten pedals.

Power a few of your pedals that draw less from one output to free up slots for your hungrier pedals. Just make sure you don’t exceed the mA rating of any given output with the combined draw of the pedals connected to it.

I found it useful having the voltage switches on some of the outputs too. The Kongpressor allows you to run it at 9 or 12V, so I chose 12V giving the pedal more clean headroom and output. The voltage switch is easy to access and flick over, but you’re not likely to knock it out of place by accident.

Underneath each slot, there is a green LED light for monitoring its power status. If a short circuit occurs, the LED will change color and the output will shut down (hopefully, you won’t find out!). But, these all being isolated means if there’s a problem with one, the rest of your pedals should still run fine.

The ISO-10 comes shipped with 10 cables connecting the power supply to your pedals. They’re all a decent length too – 60cm, so you should have no problems weaving them in between your pedals or board slots. I didn’t fix the unit to my board, due to the fact that I'll be returning it after the review. But if I had, I’d be able to wire in a really neat board using the different components that came with it.

Verdict

If, or when my current power supply fails me, I’ll probably look to this exact unit as a replacement.

With its ten isolated slots and various different power options, it’s a fantastic choice for anyone running a medium to large sized pedalboard. Plus, it comes in at a much lower price than its nearest competitors.

Oftentimes, with affordable gear that offers the same features as some of the bigger names in the industry, you have to sacrifice some quality – not here.

While I can’t comment for sure on how it would perform taking it out on tour, I’d definitely take chance on it personally. It’s built really well, it feels nice and solid, and all the cables slot in nicely – they’re not wobbly or loose at all.

Guitar World verdict: The Harley Benton PowerPlant ISO-10AC Pro is a well-made, reasonably-priced power supply that can cater for a players with really big and varied pedal setups. With plenty of isolated slots for running power-hungry digital effects, as well as outputs for pedals drawing less power, you can run your board without any unwanted background noise or interference.

Hands-on videos

Harley Benton

• Cioks DC7 Power Supply review – refines the idea of a slim pedalboard power supply into an art form

NAMM 2025: British tone-smiths Orange Amps have announced the O Tone 40, a brand-new solid-state combo it reckons is a “legendary amp in the making”.

Rocking a single channel – described as a “distinctive clean,” – the 40-watt Class A/B combo amp comes loaded with integrated tremolo and reverb effects, a buffered effects loop, and “plenty of punchy volume,” for a no-nonsense build that takes no prisoners.

Tonally, despite the solid-state circuit, it vies for a ‘60s vintage warmth and is designed to work with pedalboards and overdrive pedals in particular, standing as a “small venue workhorse,” for gigging guitarists.

The amp has a bias-wobbled, single-ended JFET tremolo circuit, which it says provides “huge depth and breadth,” from the tweakable effect. Expect “everything from grand sweeps to a staccato sonic character via insistent, whirling helicopter patterns,” and it’s footswitchable, too.

Its other effect models itself on a classic spring reverb, though no actual spring lurks within. Instead, a digital reverb module has been incorporated for “warm spaciousness, subtle shimmers, and ethereal trails,” which all sounds quite lovely on paper.

As is increasingly common on these smaller combos, a fully buffered, low-impedance effects loop makes it easy to saddle up the clean channel with a raft of effects. And then there’s a 12” Voice of the World speaker.

Finally, a direct output facilitates studio riffing and live performance sans mic’ing the bad boy up.

“It’s kind of like a blank canvas,” summarises amp designer Ade Emsley of its suitability to be a pedalboard's best friend. “And it's ludicrously loud for its size.”

The Orange O Tone 40 is out now, priced at $399, and is available in a choice of Orange or Black housings.

Visit Orange for more.

Already at NAMM 2025, Orange has launched its new Baby range of rack-mountable amps, having launched a small-but-mighty signature combo amp for Orianthi.

NAMM 2025: If you're a fan of funky colors – and, even better, funky colored guitar accessories – Boss has just announced the BIC-10A series instrument cables, which come in a variety of six colors, inspired by some of the most iconic BOSS pedals.

Color palette-wise, players can choose between orange (a nod to the DS-1 Distortion), yellow (the SD-1 Super Overdrive), green (PH-3 Phase Shifter), red (RC-1 Loop Station), or blue (CH-1 Super Chorus) – plus an added black option (MT-2 Metal Zone) for a more “traditional look.”

Aside from the aesthetic appeal, each BIC-10A cable is offered in a 10ft/3m length and features studio-grade, oxygen-free copper core wire and custom-designed 1/4-inch straight and right-angle connectors that promise “excellent audio reproduction,” “precise signal transfer,” and, most importantly, “lasting durability.”

Alongside the cables, Boss is also offering a compact solution for carrying multi-effects units, in the form of its CB-BM-S and CB-BM-M cases. Each case comes fully equipped with a rugged polyester exterior, a soft interior with microfleece lining, and a removable adjustable shoulder strap.

Due to its smaller size, the CB-BM-S has a single reinforced handle, as opposed to the CB-BM-M's two, and both options include pockets (in case you need more storage space).

According to Boss, “The CB-BM-S is a perfect fit for the BOSS GX-10, GT-1, and GT-1B models, while the larger CB-BM-M fits the GT-1000, GX-100, ME-90, and ME-90B models.”

The BIC-10A series instrument cables are now available for purchase at select U.S. Boss dealers for $22, while you can also bag the cases for $59, (for the smaller case) and $69 (the medium case).

For more information, visit Boss.

NAMM 2025: D’Addario has expanded its range of nifty guitarist-assisting tech with the release of the XPND Pedal Power Battery Kit.

What its name lacks in imagination, the product certainly makes up for in practicality benefits as it aims to become a new best friend for pedalboard users who like to daisy chain their stompboxes.

Described as “an all-in-one pedalboard power solution, on or off the grid”, the kit is a rechargeable and wireless pedalboard power supply for those feeling constrained by traditional power brick designs.

Boasting a 10,000mAh battery for over 10 hours of playtime between charges, electric guitar and bass players can “cut the cable” for their live shows – particularly useful in venues where free plugs are at a premium. However, it can also be plugged into the mains via a USB-C cable.

The battery connects to a little unit, from which the daisy chain extends. That means, unlike power bricks like the NUX ZEUS and Walrus Audio's 22-outlet beast, there aren’t isolated inputs for each pedal. This may be a sticking point for some, but a worthy sacrifice to be able to go off the grid for others.

The kit has a patent-pending Gateway hub, combining USB power with noise-filtering for “ultra-quiet, consistent 9-volt power”, which is great for those with hissing pickups and ever-cranked overdrive pedals.

It comes with a daisy chain, too, as well as a hook fastener for easy mounting either on top of or below the pedalboard, freeing space for more stompboxes.

The D’Addario XPND Pedal Power Battery Kit is available for $165, landing it in the middle of competitor price points. You’ll find cheaper alternatives, but it’s not a terrible price for a power supply with a handy USP.

Head to D'Addario to learn more.

In related news, D'Addario recently dropped the XPND pedalboard mic stand which (you guessed it) is a clever space-saving mic stand that mounts onto pedalboards.

With the Irish post-rock institution God Is an Astronaut reentering Earth’s atmosphere this year with mind-blowing (and expanding) new album Embers, we picked up the blower to frontman and guitarist Torsten Kinsella to talk all things guitar.

It’s a quick-fire round of questions. First guitars, first song learned, favorite piece of gear, but it reveals a lot about where Kinsella is coming from, the sorts of things he likes to hear through his guitar amp – and the stompboxes he needs to make their sound happen. He is also a living testament to the old touring muso’s adage that you need back-ups of back-ups and a Plan C for when it all goes wrong.

What was your first guitar?

“A 1990 Music Man StingRay bass, which I got around age 14. I started out on bass, while my brother Niels was on electric guitar; eventually we ended up switching roles. That StingRay was a beautiful red sunburst with just two EQ bands – bass and treble. When I moved to the guitar, I picked up a Fender Strat with noiseless Lace Sensor pickups.”

What was the first song you learned to play on the guitar?

“Del Shannon’s Runaway and Bob Dylan’s Knockin’ on Heaven’s Door. My dad was the one who taught me. He had this idea that if a music career didn’t take off, at least I’d have a few songs up my sleeve for wedding gigs! We started with these basics, but they were perfect for building my foundation and gave me a good mix of rhythm and melody to work with.”

What was your first gig?

“The Harbour Bar in Bray, Ireland, when I was 14. I was only doing vocals back then, and the nerves were intense; I was so anxious I couldn’t eat all day! But once I was on stage, I felt this energy from the crowd. They were really supportive, and the positive response we got helped me shake off some of those nerves. That gig taught me a lot about connecting with an audience; it’s something I’ll always remember.”

Ever had an embarrassing moment on stage?

“About a year ago, while playing a festival in the U.K., I realized I’d forgotten my in-ear monitoring system. Since we depend on click tracks for several songs, I was in a panic. I managed to rig a solution using a spare wired pack, but by that point, we had taken so long to get ready that we had to start the show without a line check.

“Surprisingly, everything began smoothly – but then my Marshall tube amp died halfway through the set. I quickly switched to my backup amp, but it blew out immediately. I couldn’t believe it.

“There I was, facing thousands of fans without amplifiers, unsure how to resolve the situation. I scrambled to replace a fuse in my main Marshall, and thankfully, it sprang back to life. But we endured six minutes of complete silence.”

What’s your favorite piece of gear?

“My 1973 Ram’s Head Big Muff, which has the 2N5133 transistors. It has this unique, thick, gritty sound that’s perfect for the heavier sections of our music. I’ve collected a lot of different Big Muffs over the years and even have some custom clones from Stomp Under Foot pedals made specifically for me, but none of them fully replicate that exact tone.

“There’s just something about the way it fills up the speakers with that raw, grainy texture – you can really hear the difference when I use it.”

The building is burning down; what one guitar would you save?

“My father, Thomas Kinsella’s bass guitar. It’s a 1965 Precision that he played from the mid ’60s onward, with wear marks from his hands that add so much character. It’s more than just an instrument – it’s a piece of my dad’s life. He passed away last year, and it means the world to me.”

When was the last time you practiced, and what did you play?

“Yesterday, running through our current set. A big part of practice is working without plugging in – just playing through the parts and working on my touch. But there’s an extra challenge when everything’s plugged in, because I use so many pedals to recreate the tones.

“I could simplify things with an Axe-Fx, but I like to keep it hands-on. So a lot of my practice is about making smooth pedal changes to avoid surprises, like accidentally hitting a rotary effect in the wrong spot.”

What aspect of the guitar would you like to be better at?

“Lead guitar. It’s not something I practice often, and I believe that enhancing my skills in this area would elevate my overall playing. I mainly play arpeggios, riffs, chords and at times some experimental sustained notes with effects, often using the tremolo arm to create dissonance. I think developing my lead guitar techniques would nicely complement these styles. Additionally, I’d like to get better at slide, as I find it a beautiful technique that adds depth to our music.”

What advice would you give your younger self?

“I’d stress the importance of consistent practice and the value of mastering scales – but not at the expense of spending less time composing music. It’s essential to balance technical skills with creative expression.

“I’d encourage myself to work on all aspects of guitar playing, as this approach would expand my horizons rather than confine me to limitations. Ultimately, the more versatile I become, the more options I’ll have for expressing myself through music.”

• Embers is out now via Napalm.

“Back in the day, I took pride in having no pedals. All I had was a tuner. Now I have a crapload of pedals! I was talking to Charles [Black Francis], and he said, 'Look, we’re playing different venues all the time…' and for me, the easiest way to carve out a sound for each venue was the pedals. But I do like the tones and the variety, and now I just enjoy collecting and using pedals.

“I have a crapload of distortion and boost pedals. I’m still looking for that sound, and I’ll have slots on my pedalboard that change maybe one or two times per tour. I’ll want another sonic thing to entertain myself on stage.

“Sometimes I’ll use a boost into an overdrive and maybe into another overdrive. I’ll have three things overdriving that thing; some might think that’s weird, but I have no qualms about it.

“The thing I don’t use is chorus. I just don’t like it. [Laughs] It reminds me of when I go into a coffee shop and someone is performing, and they put the chorus pedal on. It’s just not good in my ears; it sounds compromised.

“I like overdrive and gain because of the whole character of the sound… I find it interesting that none of them sound exactly alike. But if my pedalboard gets any bigger, I’d have to seek help!”

“After my tuner, I’ve got a Lehle [SGoS Amp Switcher with Tuner Out], a pink Maxon AD999 Delay, a Boss GE-7 Equalizer, an Atomic Boost OC 44 by Stewart Amplifier Company, which goes into my Fulltone OCD [overdrive].

“After that, I’ve got my Fatbee [overdrive] by Beetronics FX. I’ve got an old [two-knob] Keeley Compressor in the top corner of the pedalboard, along with an EHX Pitch Fork [pitch shifter] and an Eventide H9 [harmonizer, Dark Edition].”

“At the lower area of the pedalboard, I have pedals for wah, which is my DOD and a Roland EV-5 Expression pedal. I love my wah. I can’t use other ones. I can’t do it. It sounds old-fashioned, and they don’t make them anymore.

“Aside from that, I’ve got a multi-effects station that’s color-coded, where I can activate the pedals on my ’board without having to find them. At the bottom of the pedalboard, I’ve got an EHX Holy Grail [reverb]; off-board, I’ve got pedals that I rotate in, like the Crowther Hot Cake [overdrive], the Boss FZ-2 Hyper Fuzz and Aclam’s The Mocker fuzz.”

If I had to choose only one pedal for a full show...

“Can I pick two? [Laughs] I like the Atomic Boost. It’s a good thing to put in front of my OCD pedal. I’d go with one of those two. But an OCD through a Marshall is the Pixies sound.”

• The Night the Zombies Came is out now via BMG.

While it’s not always a guarantee, the vast majority of electric guitar players have a pedalboard of some sorts. Whether it be a few basic stompboxes strung together in a no-nonsense rig, or a huge kaleidoscope of analog and digital designs wired in a complex signal chain, most players like to dabble in the world of effects pedals.

The problem with pedals, though, is they require power – and, if you want your ’board to be operating at a professional, reliable level, you’re most likely going to need an isolated supply that can deliver noise-free power to each individual unit.

Since its formation in 1995, Truetone has been at the forefront of delivering such products to guitarists, and through its hugely popular 1 Spot Pro series of pedalboard power supplies, has helped players build pro-grade pedalboards.

Indeed, we consider the Truetone 1 Spot Pro CS12 to be the best all-round power supply you could hope to buy.

Now, Truetone has built on the CS12’s legacy by unveiling the new CS11 – as well as the equally powerful XP5 and XP5-PS – to expand its powerhouse stable of world-famous power supplies.

“For a long time, our slogan was ‘Real Tone for Real People,’” firm founder Bob Weil tells Guitar World. “The mission nowadays is to provide the most quiet, powerful and cost effective power supplies available to musicians. It’s still the same idea as Real Tone for Real People, but it’s more like Real Power for Real People.”

Like all Truetone power supplies, the CS11 and XP5 both offer studio-grade, silent power for players, offering all-isolated outputs, and quiet, dependable power.

That, of course, is all expected, but in a step that is a bit more new, the CS11 and XP5 serve as the firm’s first expandable 1 Spot Pro models, meaning they can be chained with one another to further expand your overall output when you inevitably start buying more pedals.

As the name suggests, the CS11 offers 11 outputs that can all be 9Vdc. Two of those outputs are switchable 9/12Vdc, and two are 9/18Vdc, meaning the majority of pedals will be covered. The XP5 is very small and light, offering five additional 9Vdc outputs.

The XP5, it should be mentioned, is powered directly from the CS11 with an included DC cable, while the XP5-PS arrives with an external adaptor for standalone operation.

“Generally, we tend to under-promise and over-deliver,” Weil says of the benefits of Truetone. “For example, with our 1 Spot Pro line, each of the outputs can power far more than the output label states.

“The Truetone 1 Spot Pro power supplies are also studio-quiet. They add zero noise to your signal and keep all your pedals completely isolated so there is no interference between them.”

After all, a near-noise-free operation is an important aspect of pedalboard power supplies, and something that many players should consider. However, while Weil understands all these benefits of using isolated power supplies, he recognises that not all guitarists will need them – it all depends on the type of rig you’re running.

“Some do and some don’t,” he replies when asked why players need isolated power supplies. “There have been a lot of “experts” over the years who have insisted that you must use an isolated power supply for your pedals. Those experts usually sell isolated power supplies.

“If you’re a guitarist who only uses analog pedals, like distortion, overdrive, compression, boost, chorus, etc., you probably don’t need an isolated power supply unless you want one. I’ve seen our original 1 Spot and daisy-chain cables on some very big stages over the years, quietly powering an all-analog pedalboard.”

For others, though, using an isolated power supply such as the CS11 is a necessity, with Weil adding, “You run into noise with digital multi-effects and modeling pedals, like those from Line 6, Strymon, Eventide. If you have even one of those on your pedalboard, you definitely need an isolated power supply like a 1 Spot Pro.”

For those who do decide to get a dedicated power supply, they’d be hard pressed to find an option out there that’s better than the Truetone 1 Spot Pro range. When it debuted in 2015, it offered the first-ever multiple output switching power supply for musicians.

“Our new CS11, XP5 and XP8 power supplies are about as state-of-the-art as you can get,” Weil asserts. “For the 1 Spot Pro models, we spent about 3 years trying various new technologies, but settled on a hybrid design using switching power supply technology combined with linear voltage regulators.

“We’re super picky about noise and maximizing power handling, and I think we’ve struck the right balance with all our designs. For the needs of guitarists for the foreseeable future, the 1 Spot Pro models will have you covered.”

The CS11 is available for $219, while the XP5 and XP5-S are available for $99 and $119, respectively. A new XP8-PS is also available now for $149.

Head over to Truetone to find out more.

When Carmen Vandenberg last spoke with Total Guitar she was still undecided as to what she wanted for her touring pedalboard – but what she did know was that this was no fly-in setup, a drive, a delay and a reverb pedal to get through a quick set.

No, she was going all-in, mooting two 'boards. While she likes to shake things up a bit, to cover the different electric guitar tones required to get through a set with Bones UK or Morrissey, there were going to be some ever-presents that are non-negotiables – including one overdrive pedal with great sentimental (and tonal) value.

“A few of my classics are always just going to stay on the 'board,” she said. “Jeff Beck gave me his gold [J Rockett] Archer, based on the Klon. And the octave, the Micro Pog. All of that can never leave. I’m probably gonna do two different pedalboards this time. The tap-dancing becomes a bit tricky.”

Now her Bones UK rig has been finalised. We’re going to offer you a guide to the nine most important effects on her 'board, why they’re there and what they’re for.

1. DigiTech Whammy

This is a perennial favourite of creative guitarists, from Steve Vai and Tom Morello to Sean Long of While She Sleeps. In Bones UK, Carmen uses it for their 2021 track Boys Will Be Girls, where she uses the two-octaves-up setting for some radical bends.

2. Dunlop Joe Bonamassa Cry Baby wah

The copper treadle and subtle signature in the rubber foot grip give this away as a Bonamassa wah. It’s just an authentic vintage wah pedal sound with a switchable true bypass, the most common modification for stock Cry Babys.

3. J Rockett Archer iKon

This gold Archer is special because it lived in Jeff Beck’s ’board before he gave it to Vandenberg. The Archer was one of the first and most respected pedals to closely replicate the Klon Centaur circuit in a small and comparatively affordable format.

The Archer Ikon gets extra close to the Klon by using the same diodes, offering slightly smoother overdrive than the regular Archer. While many users prefer the Klon as a clean boost with the gain at 0, Carmen uses it with the gain at 3 o’clock.

4. Pigtronix Octava Micro

Like the Octavia Hendrix used on Purple Haze, this generates an analogue octave effect that is clearest when playing above the 12th fret on the neck pickup. Unlike Hendrix’s Octavia, the fuzz is switchable, so you can have the octave with or without fuzz.

5. MXR Super Badass Distortion

Carmen never sets her amps entirely clean. They’re always slightly broken up, but she can get a clean sound by picking more lightly. All the dirt pedals are used to push the tone further into distortion. She tends to use the different drives individually rather than stacking them, so the gain is set fairly high on each

6. MXR Analog Chorus

With Morrissey, Carmen uses much more extreme chorus settings than Slash, another Analog Chorus fan. Where Slash has the depth at about 1 o’clock, Carmen puts it closer to 4 o’clock. Slash also cuts the high frequencies as much as possible, whereas Carmen only subtly reduces the high cut (top right) from its maximum (flat) setting.

7. EarthQuaker Devices Organizer

This cunningly titled pedal emulates an organ. Other Organizer fans include Idles’ Lee Kiernan and the Vaccines’ Freddie Cowan.

8. Mooer Audio ShimVerb

Carmen’s CV30 signature guitar amp does have reverb, which she keeps on at a low setting. The pedal is only for when a washy sound is needed, hence the quite heavy spring reverb setting she has here.

9. EarthQuaker Devices Astral Destiny

A reverb with modes that pitch-shift the reverb tail up or down, the Astral Destiny allows expansive and ethereal tones.

The sub mode setting used here adds a lower octave to the reverb tail, filling out the low end. The left footswitch, labelled ‘stretch’, doubles the length of the reverb tail and temporarily shifts the pitch, allowing even more other-worldly tones.

• Soft is out now via Sumerian.

“My pedalboard is very simple now – compared to how it used to be. Its purpose is to create a foolproof atmosphere within my live guitar leads with minimal complications so that things that can go wrong won’t. I used to use a Boss Space Echo [RE-202], a Boss Loop Station [RC-5] and a Boss Digital Delay [DD-7], along with a Boss Digital Reverb [RV-5] and a Boss Reverb [RV-6]. The RV-5 was for modulated reverb; the RV-6 was for shimmer.

“But now I’ve cut my ’board way back to just three pedals, all by Boss: a Chromatic Tuner TU-3, a Reverb and a Digital Delay. These pedals create a glassy reverb tone to drench my guitar leads. I use the Modulate setting on my RV-5, with Level, Tone and Time all set to two-thirds. This creates a cool, atmospheric wash on my trem-picked leads.

“I use the Digital Delay on 800ms with a very short delay time and Effect and Feedback set to about halfway. This delay’s purpose is to smear the reverby notes to create an ethereal and slightly thicker sound to one string being trem-picked.

“And I use a T-Rex Fuel Tank Junior with individual power leads for each pedal, as I learned the hard way many years ago that daisy chains are not reliable!”

If I had to choose one pedal for an entire show...

“I’d use my Boss Reverb because the reverb-drenched leads are a huge part of my sound. I think I’d feel naked without big, cavernous reverb all over the majority of what I play!”

“My ’board is sort of a hybrid now. I used to run basically no effects on the front end between the guitar and the amp and only a little delay into the second wet amp, leaving the dry amp to stay the same. But now I have a little more on the front end in case the balance isn’t right between the wet and dry. I’m getting closer to a single mono sound, so let’s discuss how I do that.

“My guitar goes right into a TC Electronic Polytune [3], which goes into my Keeley Compressor [C2], the silver two-knob. From there, we go to a small board that I keep on top of my amp, and I do that to filter out noise. So, up there, I’ve got a Voodoo Lab Digital Power Supply, a TC Electronic Hall of Fame Reverb and a TC Electronic Flashback Delay, which leads into my GigRig Wetter Box, which has a variety of tones. I control it with a pedal at my feet.

“So, we go back to my main ’board and have the dry portion, two more TC Electronic Flashback Delays with different TonePrints. Both Flashback Delays go into two separate Ernie Ball [6165 500K Stereo] Volume/Pan pedals, one for short delay and one for long.

“Having both allows me to change the output’s impedance and let the single output circle travel back to the wet amp and into the effects loop, making it a slave.”

If I had to choose only one pedal for a full show...

“I’d want to use one pedal with a controller – the TC Electronic Flashback Delay going through the effects loop. I’d need that control to go along with my most crucial pedal to get the infinite sounds I’m used to.”

In the year of our tone lord 2024, we’ve moved past the great stompbox/multi-effects divide. Compact amp modeler floor units have bridged the gap and exist in harmony with standalone effects pedals. And Walrus Audio has seized on that pedalboard harmony with the launch of the Canvas Power HP pedalboard power supply.

The Power HP is designed to power the amp modelers du jour – including Neural DSP Quad Cortex, HeadRush and Line 6 HX Stomp units – with outputs to spare. It’s something Walrus reckons “will elevate the pedalboard experience for musicians everywhere”.

There are four outputs available, each of which is isolated and filtered for minimal noise interference: one supplies a massive 3,000mA of 9V/12V power for your modeler, while three other outputs offer up to 500mA each for the other pedals on your ’board.

The HP is usable worldwide thanks to its switch mode architecture, which also ensures it’s a compact unit given its considerable power output, and can be mounted to most pedalboard designs.

The only potential drawback versus similar (albeit not quite as mA-rich) designs from the likes of Strymon and Cioks is that it utilizes a separate laptop-style power supply, although again, this can be pedalboard-mounted.

The HP joins Walrus Audio’s four existing Canvas Power supplies, which launched back in May – and like the rest of the range, it features a 24V power link to connect with other designs and meet your increasing power supply needs as your pedal habit inevitably grows.

It’s also available in two versions: $229 for the standard edition, or $209 for the link-only version to expand your existing power setup.

Head to Walrus Audio for more info.

Quilter Amplification has introduced the DirectAmp, which it says could become your pedalboard's new best friend.

A stereo amp and cab simulator slow dancing together inside a stompbox housing, its creators reckon it will “supercharge your rig”.

It doesn't have a power amp or a speaker as it's designed to go directly into mixing desks, headphones, and recording devices. Three pre-amps and three speaker simulations are on offer, with Reverb, Gain, Limiter, and Boost controls augmenting a three-band EQ.

Gain dials in “sparkling cleans to face-melting overdrive” tones, while the Limiter helps tighten tones even when the volume is cranked. The spring-type Reverb, meanwhile, allows players to dial in a little depth and ambience when used in Stereo mode.

Of its three amp voices, Quilter has channeled the essence of three classic amplifier makers, promising “Marshall crunch, Vox chime, and Fender warmth” in one box.

The Marshall amp tone is specifically based on a JMP tube amp, with the Vox simulation striving for AC15 flavors. The Fender mode doesn’t specify its source material, but the cab and speaker options help deliver a mix of classic Fender vibes – it can get pretty spanky in Closed Back mode.

The trio of amps can be paired with the user’s choice of Celestion Classic Lead 80, Celestion Vintage 30, and Jensen speaker simulations.

Moreover, Closed Back, Open Back and FRFR cab modes are all options, giving a breadth of tweakability – “It’s like having a whole studio in your pedalboard,” says Quilter.

A Mono FX Send and Stereo FX Return make it stage-ready by seamlessly integrating into a player’s pedalboard, and an XLR Stereo Output takes that a step further.

For those wanting to jam alone, a TRS stereo headphone output is also included, as is wireless connectivity, meaning phones and tablets can link via Bluetooth for playing along to music. Quilter says its “all-new, industry-leading” wireless input accepts Apple lossless, and APTX codecs.

At 8.25" x 5" x 1.625" and weighing 2.17 lbs, the DirectAmp is far smaller and lighter than lugging three amps around with you, and its 9V power requirements make it a universal, utilitarian machine.

The Quilter DirectAmp is available today and costs $399; a fairly reasonable price considering the tonal versatility it puts at the player’s fingertips.

Head to Quilter to discover more.

If you’ve ever had the issue of trying to find room on a tiny stage for your pedalboard and your mic stand, D’Addario may have the answer.

Its nifty new XPND Pedalboard Mic Stand clamps onto double-row pedalboards for a seamless, space-saving solution by doing away with orthodox tripod mic stands.

Van Tetris is a known tribulation for the gigging musician. Stage Tetris is much less discussed, but by no means less important: often, floorspace can be at a premium, and practicality and comfortability can ultimately suffer as gear is crammed onto a stage that has the same surface area as a postage stamp.

So, if your gigs often serve you with small stage energy, today might be your lucky day.

D’Addario – which recently partnered with Joe Satriani for a new, twist-free $20 guitar strap – says players “always have the ideal placement for a flawless performance” with its new XPND stand.

The telescoping stand is said to be portable and lightweight, which explains why it can stand tall without needing far-reaching legs for balance and stability. And, like all mic stands, it is fully adjustable to match a player’s height.

It clamps onto double-row pedalboards, taking up the space of just one standard-sized pedal. Notably, although it is named after the firm's own-brand pedalboards, there is no mention of it being brand-specific, meaning any double-row pedalboard should do the trick.

A quick release is on hand for a quick getaway post-performance.

That does not mean the stand isn’t compatible with single-row pedalboards per se. D'Addario just doesn't recommend it. Looking at the way it attaches, it doesn't seem to require two rows, but it would take up valuable space on the smallest of ’boards.

“Say goodbye to awkward placement and bulky tripods,” D’Addario adds. “It’s time to reclaim your performance space.”

The XPND Pedalboard Mic Stand is available for £93.50 (approx $120).

Head to D’Addario to learn more.

“Using the pedalboard is an extension or a way of aiding me in some sounds I can’t naturally get with the guitar and amp. It’s nothing extreme – just a few things that give me a little more comfortability. There’s nothing really that over-washes the natural sound of the guitar and amp; it’s more or less to embellish it.

“I’m going through the Shure [Digital] Wireless, the floor-mounted kind. My tuner is built into that; I’m not sure of the model number [Shure GLXD16+], but it’s there. That goes into the Buddy Guy [Cry Baby BG95] wah – and Jimmy Dunlop personally dolled it up. I have a couple of other ones I have blinged out, like the 14-karat gold one, and I swap them out from time to time.

“That goes into the DigiTech Whammy, and that goes into the Mini Tube Screamer [TSMINI Overdrive]. But I swap that sometimes with the MXR Raw Dawg [EG74 Overdrive]; it all depends on what I’m using on a particular run. But generally, almost nine times out of 10, it’s the Raw Dawg or the Mini Tube Screamer. That goes into a PRS pedal I started using within the last couple of months [Horsemeat Transparent Overdrive pedal].”

“From there, it goes into the Colossus by Mojo Hand; that’s the purple pedal. It’s more of a fuzz, which strictly flows out and goes into an envelope filter [Mojo Hand Little Wonder FX]. That’s specific to maybe some funk stuff or used when necessary. Out of that goes my Tech 21 [Boost] DLA, and out of that is another delay [Koogo Digital Delay Echo], which I have set for reverse delay. 

“The Tech 21 DLA is on all the time – that’s my normal delay. The [Koogo] was only added to the pedalboard about a week ago [April 2024]. I like to dip and dive into some ambient reverse stuff, so that’s what it’s used for.”

If I had to choose only one pedal for a full show

“It would be the Tech 21 DLA; it’s always on. I like the trickling off in a quarter-note fashion of that, which might be due to my heavy influence from Eric Johnson throughout the years.”

For many, the pedalboard is the heart of their rig, the core tonal powerhouse that fuels their live performance. However, maintaining its order can be a challenge, especially if you’re frequently changing stomps. Yet, an orderly and well-planned pedalboard not only looks better but also offers performance advantages. It simplifies the process of activating effects on a dim stage, and it liberates your mind to concentrate on more crucial tasks, such as playing the guitar! 

Today we’re going to look at five things people with organized pedalboards always do, and since Prime Day is in full swing, we thought we’d search the site for the pedalboard essentials that will transform your messy and disorganized ‘board into a professional-grade setup without breaking the bank. 

For those who might not be aware, Amazon’s Prime Day event is a 48-hour window of massive savings on a wide range of products, from smart devices to musical instruments and everything in between. However, it's crucial to remember that only Prime members can benefit from the massive price reductions, so if you're not already a member, sign up now to ensure you don't miss out on the amazing Prime Day guitar deals.

1. Use strong velcro

Velcro is arguably one of the most essential pieces of any pedalboard; it's literally the glue that holds it all together. Now, while you may think that any old hook and loop tape will do the job, it really pays to get the heavy-duty stuff - especially if your 'board is populated with large, weighty pedals. 

Strong Velcro will ensure your pedals stay put on your pedalboard, and all your hard work won't come undone on the way to the gig. Below is our top recommendation.  

2. Use the correct length of patch cables

Next up, it's patch cables. One of the most unsightly things on many pedalboards is cable mismanagement - and in particular, using guitar cables that are way too long and not fit for purpose.  Now, while it's certainly possible to purchase many guitar cables in various lengths, for the best results, we recommend making your own cables. This way you can ensure they are the exact length you need, giving you full control over your pedalboard setup and empowering you to create a neat and organized layout. 

Even if you're not a soldering expert, you can still make your own cables. There are plenty of solderless options available, making the process a breeze. So, don't let a lack of soldering skills hold you back from creating the perfect cables for your pedalboard. 

3. Use cable ties

Once you've got your pedal placement worked out and your cables cut to the perfect length, it's time to ensure everything is secure. When my pedal layout is finalized and I'm confident everything is working, I like to use cable ties to neaten up any cables, giving my pedalboard a professional and tidy appearance. 

This not only ensures the 'board looks as orderly as possible, but it also minimises the chances a cable gets caught on something on stage and gets pulled out. Remember to regularly check and maintain your cable ties to ensure they continue to do their job effectively.  

4. Use the correct size of pedalboard

Now, if there's one surefire way to invite chaos into your musical setup, it's using a board that is too large for your current rig. It's imperative to carefully consider which size of pedalboard you go for and select the one that best suits the stomps you are using. This will help prevent a messy and out-of-control rig. 

Of course, you don't want to select a pedalboard that is too small either, as you'll want some wiggle room for when you inevitably add one or two extra pedals to your rig. This forward-thinking approach will ensure that your setup is always ready for future expansions. 

5. Ditch the daisy chain

It's time to say goodbye to the daisy chain power supply and welcome the isolated power brick. A high-quality power supply for your pedalboard can make a world of difference. It ensures that each pedal receives the precise power it needs to function properly, resulting in a significant improvement in tone quality. And the best part? The unit can be neatly concealed under your 'board, enhancing the overall look of your setup too.

There are many options out there for isolated pedal power, so make sure you purchase a unit that has enough outputs for your pedals and also provides the correct voltage for your stomps. 

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“I love the sound of my pedals to be analog. I minimize them to only the exact ones I need and dig deep to dial in the specific sound I’m looking for. If I ever do use a digital pedal, I never use factory sounds. I’ll dial in my own combinations to make a unique and warm sound. 

“The setup I have running through my Fender Twin is amazing; I run it through my wah and delay last to affect the overall sound to how I like.

“My ’board starts with my Boss Chromatic Tuner, which is basic but great. The chromatic tuner goes into my Boss Metal Zone [MT-2], which I’ve had forever and, despite what people say about it, is my favorite dirt box.

“After the Metal Zone, the next pedal is my [Boss] Super Overdrive [SD-1], which leads into my Pigtronix [EP-1] Envelope Phaser. I’m good friends with the people at Pigtronix, and it doesn’t get better. 

“After that, my ’board ends with my [Dunlop 535Q Cry Baby Multi-] Wah, and the chain ends with my DOD Digital Delay [DFX9], another pedal I’ve had forever.”

If I had to choose only one pedal for a full show...

“I’d go with the Boss Metal Zone, but I wish I could also have my DOD Digital Delay. But the Metal Zone is my favorite pedal for distortion and allows me to do a lot of things. You wouldn’t think it with hip-hop music, but it’s the perfect effect for cutting through the mix and making the guitar stand out.”

“My pedalboard is always changing. I’m so fickle and can never decide, so even after all these years, my ’board is never final. It can be my solo stuff or with UFO; I’m constantly switching things in and out. 

“But the constants are an overdrive and a distortion, even though they change a lot. And I’ve always got a wah effect, too. Overall, I keep it simple to keep from shit going wrong on stage.

“My board is powered by a T-Rex Fuel Tank [Classic] Power Supply, but the chain usually begins with my Dunlop Cry Baby Wah, and I’ve got that going into my AnalogMan Beano [Boost], which I’m loving right now when playing live. 

“After that, the Beano leads into another AnalogMan pedal, my current overdrive, the King of Tone. Weirdly – and I know this isn’t too common, but it works for me – the King of Tone goes into my phaser, an MXR Phase 90.

“But there’s another version – depending on the song – where instead of the King of Tone, I have a Boss Blues Driver [BD-2] leading into my Phase 90. The board usually features any number of delays that I’ve tried, but lately I like MXR’s Carbon Copy Analog Delay [M169], and I keep two around, each with different settings. I’ll add and subtract those as needed, and I usually have them going into an MXR Smart Gate [Noise Gate M135].”

If I had to choose only one pedal for an entire show...

“If there’s an amp with good distortion, and I could use the gain from that amp, I’d probably use my MXR Carbon Copy or my Boss DD-3 [Digital Delay], which isn’t on the board now. You can barely hear the delay when I play live, but it’s my security blanket, and I kinda rely on it.”

“I had an existential crisis with my pedalboard after leaving the Smashing Pumpkins. I had nothing else besides my touring rig based on my Revv Generator 120s and Line 6 Helix. My ’board is a work in progress, but here’s what I’ve been using lately.

“I took a modular approach using one main ’board and one satellite. I wanted it to be malleable without sacrificing tone. In the summer of ’23, the Smashing Pumpkins toured with Rival Sons, and I spent a lot of time with their guitarist, Scott Holiday. Although simplified, the ’board I put together is inspired by what he’s doing.

“My ’board’s heart is the Line 6 Helix. I use it in many ways: straight into the PA using a combination of pedal and amp models, the Helix preamps into a power amp and cabinet, or strictly as an effects unit running into standalone amps.

“I could easily use the Helix alone, but I like incorporating other pedals, hence the hybrid nature. The signal chain is: guitar into Helix; the output of the Helix into a PA or mixing console, into amps, or both.

“Connected to the Helix are three separate pedal chains, two mono and one stereo. Effects Loop one contains a Mid-Fi Electronics Demo Tape Fuzz, an EarthQuaker Devices Special Cranker and an Analog Man-modded Boss DS-1.

“Effects Loop two contains three EarthQuaker Devices pedals: the Aurelius [Tri-Voice Chorus], Rainbow Machine and the Afterneath [V2 Reverb]. Effects Loop three and four are combined in stereo.

“Here are the pedals on the satellite ’board: an EarthQuaker Devices Avalanche Run, Line 6 HX One, Eventide H90, Vongon Polyphrase and Vongon Ultrasheer [Pitch Vibrato and Reverb]. The secondary board is mainly for solo guitar playing.

“The wonderful thing about using Helix as the heart of the ’board is I can insert combinations of loops into the signal chain. I have many signal chains within my Helix presets that combine the effects within Helix itself and the pedals. There are endless possibilities, and it’s easy to bypass everything and go straight into a real or modeled amp.”

If I had to choose only one pedal for a full show

“I’d use my EarthQuaker Special Cranker. It’s somewhere between distortion and fuzz, with enough gain to play leads, and it has a switch between germanium and silicon diodes. I can roll my volume down for clean, overdriven tones in the Germanium mode, even with the ‘More’ control set high.”

Walrus Audio has expanded its Canvas Series utility lineup with a host of Canvas Power pedalboard power supplies.

Said to mark “a new standard in simplicity, modularity, and performance for powering pedalboards”, the Canvas Power Supplies are available in four configurations with a choice of five, eight, 15 or 22 (!) outputs. That is very, very generous indeed.

In fact, the Canvas Power 22 might just be one of the biggest power supplies out there (just look at that beast below), and surpasses the likes of the 13-outlet Cioks Ciokolate and 11-outlet Mono power supplies.

Across the board, each output supplies up to 500mA of silent isolated 9V power, with the Canvas Power Series promising top notch operation to guarantee “ample power with incredibly low noise”.

As is common with pedalboard power supplies, each configuration also supports variable power, with all four offering 9-12V outputs, as well as a USB C port for versatile wiring setups

Speaking of versatility, perhaps the main highlight from the new Canvas Power range is the fact each unit can be chained to one another via a 24V power link cable, meaning they will be able to expand and accommodate any growing pedalboard.

It’s a feature that will no doubt please pedal fans, and one that looks to take cues from the likes of Strymon’s Ojai R30 and Cioks supplies in providing players with increased flexibility.

And, speaking of pedalboards, the Canvas Power units all come with various mounting options and custom barrel cables that will supposedly help the unit fit into the tightest of rigs.

“With their unmatched performance, modularity, and sleek design, the Canvas Power Supplies will elevate the pedalboard experience for musicians everywhere,” states Walrus.

Pedalboard power supplies aren’t the most flashy bit of kit, granted, but they’re essential to the smooth, quiet, and dependable operation of a ‘rig – especially one that houses power-hungry pedals.

As such, it’s a neat little update from Walrus, which has recently focused its efforts on otherwise expanding its standard pedal range.

The Canvas Power range starts from $169.

Head over to Walrus Audio to find out more.

Previously only available to professional touring guitarists, adding one of the best MIDI foot controllers to your setup has become a much more realistic rig option in recent years. This is largely due to the increase in amp modelers used by the average guitarist and more pedals offering MIDI control as an option.

If you want to activate multiple pedals, change parameters, tweak amp settings, or even control other instruments with just the click of footswitch, then a MIDI foot controller will allow you to do that. As we're looking at guitars here, the majority of options in this guide are pedal switchers with MIDI compatability, although we have included some that can change other parameters like amp channels and settings, as well as interfacing with other MIDI-enabled instruments.

Our team is chock full of gigging guitarists, many of whom have used MIDI controllers in our rigs when playing live. If you're deliberating about whether or not to add MIDI to your setup, you can rely on our first-hand experience to guide you through. If you still find yourself questioning something, go have a look at our FAQs section which has loads of common questions answered.

The quick list

Best overall

In mid-2023, the Gig Rig controllers entered a new era with the introduction of the G3. This professional-grade MIDI solution side-steps computer-based programming. Providing a more hands-on relationship than the PBC/10, set-up time feels minimal as you plug in and play with full routing features available from its interface. The LCD display simplifies navigation, ensuring efficient programming with a kinesthetic touch. 

This fully-featured pedalboard brain accommodates up to 12 effect loop slots, recallable in 99 memory banks, each containing up to 28 presets. The G3 multiplies pedalboard arrangement by recalling endless presets and MIDI-enabled pedal parameter changes.

The G3 provides app-based and web-based programming via Bluetooth, facilitating convenient on-the-fly editing of the switcher's routing for tweaks on the road and between live sets.

Best for beginners

On the opposite end of the spectrum, there's the Fender Switchboard Effects Operator – a user-friendly switching solution packed with essential features to automate your board. Ideal for guitarists easing into MIDI switching without diving into complex programming.

Externally, Fender's faux-wooden design sets it apart in MIDI controller aesthetics. Internally, its LCD interface can color-coordinate effect loops with pedals, aiding in both programming and performance orientation. By tapping footswitches in any order, users can swiftly rearrange their pedalboard layout.

Offering four mono effect loop points and one stereo effect loop, it may have fewer pedal compatibilities compared with others, yet it brings a simplified approach to maximizing pedalboard potential.

Best budget

More a true MIDI foot controller versus the majority pedal switchers with MIDI on this list, the Behringer FCB1010 is a great choice if you're on a budget, or you're using a rack mounted amp and effects modeler like a Kemper. 

Famously utilized by Trivium, the FCB1010 packs plenty of flexibility when it comes to tweaking, allowing you to set 10 individual footswitches across 10 banks, which should be plenty for even the most complex rigs. 

The dual expression pedals are a nice addition for guitarists too, allowing you to use  multiple wah, volume, or expression settings without requiring further button presses. It's not the most durable MIDI foot controller we've ever come across, but at this price it's still an absolute steal.

Best compact

The MIDI controllers that we have discussed so far take up a fair bit of pedalboard estate right? Fear not, The ES-5, Boss’s compact counterpart to the ES-8, retains similar functionality but caters to guitarists with smaller set-ups and simpler switching needs.

With five effect loops and flexible pedal routing per patch, it's ideal for small but versatile rigs. The ES-5 serves as an accessible entry point into MIDI programming, allowing guitarists to adjust digital MIDI-enabled spatial and modulation parameters throughout a set without diving too deep into intricate setlist and song section programming. Boss provides powerful software for the ES-5, facilitating detailed MIDI parameter control and programming just like its larger sibling.

Best pro option

Finding its way onto boards built by the likes of Mason Marangella of Vertex Effects and his guitar tone podcast co-host Brian Omillion, the RJM PBC/10 is the professional board-builder’s choice and the ultimate solution for effortlessly navigating repertoires.

The PBC/10 stores up to 1000 songs and can organize them into setlists. Each footswitch can transmit up to 20 MIDI messages across 16 MIDI devices, maximizing the tonal recall from MIDI-enabled pedals – power, unlimited power.

Offering a more technical approach than other MIDI controllers on this list, Mac and PC editing software provides in-depth control over every tiny detail. Though elusive in the marketplace, direct availability from RJM warrants consideration for achieving top-tier pedalboard results.

Best flexibility

Our old faithful pedal maker, Boss, has arrived on the MIDI control scene with the ES-8. This MIDI controller aims to provide user-friendly switching and all the functionality at an accessible price point. 

Boss has designed a MIDI controller that can control up to eight effect loops with flexible arrangement options, parallel effect chains and MIDI parameter changes that will recall far-reaching tones on the fly. 

Analog circuitry provides a warm and slightly colored signal path, with programmable buffers for volume consistency across patches. The digital display simplifies hands-on programming, while Boss's free ES-8 system software enables detailed MIDI parameter control and programming.

More options...

As a pedal industry constant for decades, it is no surprise Electro-Harmonix’s Super Switcher delivers. Offering a fully-featured effects brain with simplified programming, it's ideal for streamlined pedalboard control.

Featuring six effect loops and a permanently engaged seventh insert loop for always-on pedals like light drives or volume pedals, EHX focuses on the simpler needs of guitarists while providing MIDI outputs for advanced digital parameter control. Using the eight buttons on the front, programming is easy and intuitive.

The Super Switcher offers two modes: Instant access for engagement of effect loops, and Preset mode for intricate MIDI parameter recall. The Super Switcher functions as both a simple tone switcher and an advanced MIDI-programmable preset creator. The choice is yours.

The Gig Rig’s G3 Atom’s size alone is a game-changer in high-end switching, condensing the formidable routing capabilities of our previously recommended G3 – holding all that programming power in a lightweight, robust, and compact frame. Much like its larger counterpart, navigation through the menu is intuitive, featuring a user-friendly layout free from unnecessary complexity.

Despite its size, the G3 Atom serves as a potent central brain for any pedalboard, packing effortless parallel routing programming with blend controls, ensuring a tasteful balance between two affected signal paths.

Gig Rig's Generator power supply ensures pedal isolation and noise reduction, while gold relays in the effects loop preserve tone integrity and eliminate unwanted noise without compromising on sound quality.

Tailored to a specialized audience, the 12 Step footswitch reimagines traditional MIDI foot control, serving as a keyboard-mapped controller for triggering single notes and chords. Its pressure-sensitive pads allow users to add drones, choral textures, and shift harmonic centers, offering tonal beds for endless shredding.

The highly programmable 12 Step sends MIDI signals to compatible pedals, providing parameter expression via its pressure-sensitive pads. Compatible with digital set-ups and DAWs, it can integrate live expression with virtual instruments and plugins, as seen and used by guitarist Avi Bornick in John Scofield’s Uberjam Deux band and Munaf Rayani of Explosions In The Sky.

With its PC and Mac software editor, the 12 Step facilitates in-depth MIDI routing, encouraging users to explore the full potential of digital experimental live set-ups.

FAQs

How we test

A MIDI controller is a significant investment so you'll want to be sure you're getting the right one. When we recommend MIDI controllers we're doing it off the back of years and years of using them for live shows, whether that's fully MIDI-enabled rigs or using a switcher to change effects patches.

Like any guitar pedal we test, we'll jump straight into using it alongside our regular pedalboard. For a MIDI controller, this means setting up any MIDI-enabled pedals we have to determine how user-friendly the whole process is. We'll aim to test this alongside the general usability of setting up patches, hooking it up to a DAW, as well as how any software works versus the actual interface on the pedal.

We'll also be looking at the durability of the unit, as a MIDI controller by definition is something used on a gigging pedalboard. It has to be able to put up with the rigors of life on the road, so we'll closely examine the construction of the unit to ensure it feels rugged enough for purpose.

Read more about our rating system, how we choose the gear we feature, and exactly how we test each product.

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“I need a simple but effective combination of pedals to get a spaced-out, psychedelic wall of sonic textures. I’m forever searching for sounds I grew up hearing, and the pedals I’ve collected pretty much take me on a trip through all sorts of beautiful spaceship sounds. 

“But I also need my pedals to be warm and usable, meaning I’m forever searching for the perfect combination of pedals that give me all I need and have unique characteristics, but aren’t too complicated.

“From my guitar, I run into a Korg Pitchblack X [Chromatic Pedal Tuner], which leads into an Xotic [XW-2] Wah, which I know is weird, but I prefer my wah before my gain stuff. That leads into a Cesar Diaz Texas Ranger [Treble] Booster, which goes into an MXR [Custom Shop] Hybrid Fuzz.

“Then there’s my Klon KTR that I use as a warm drive and tonal filter for the Hybrid Fuzz; I love stacking treble boosters and drives to create an optional, over-the-top fuzz effect.

“Next, I’ve got my Make Sounds Loudly 3 in 1, with one side based on an [EHX] Deluxe Memory Man for longer delay and the other off a Tape Echo Emulator for shorter delay length. From there, the chain goes through a Strymon Flint [V2] Tremolo & Reverb, which I mainly use for the Harmonic and Sixties Reverb settings.”

If I had to choose one pedal for a whole show...

“It’s hard to pick only one pedal for an Earthless show, but If I had to, it’d be the Cesar Diaz Texas Ranger Treble Booster all the way. It’s such a great pedal, and I’ve loved it since I got it.”

• Night Parade of a Hundred Demons is out now via Nuclear Blast.

Friedman has expanded its collection of pedal amps with the IR-D – an tube-loaded, two-channel preamp pedal that has been described as “an entire Friedman rig in a compact pedalboard-friendly package”.

The IR-D follows Friedman’s IR-X, which arrived late last year. That pedal set a new precedent for the firm, putting boutique tube tones on your ‘board at a rather enticing price point.

Specifically, it weighed in at $499, making it exceptionally more affordable than some of the boutique brand’s more traditional amp offerings, which comfortably sit in the five-figure area.

The amp specialist has now continued its work with the IR-D, which retains the IR-X’s approach of marrying a tube-loaded frontend with a digital backend by blending the two 12AX7 preamp tubes with a DSP IR cab/power amp simulator.

At its core, the IR-D is inspired by Friedman’s Dirty Shirley/Twin Sister amps. These in turn were inspired by the sounds of a Marshall JTM45 mod masterminded by firm founder Dave Friedman, which delivered the “signature British tone for which Friedman is known for”.

Each channel has its own footswitch, as well as a dedicated control set comprising a three-band EQ, Volume, Gain and Boost parameters. The IR-D also bolsters the IR-X feature set, offering two-way Bright and three-way Structure switches. Again, there are dedicated switches for each channel.

As for the digital side of things, each channel of the IR-D has a Cab/IR switch that navigates the onboard sims. These can be sent to front-of-house, or to a DAW for recording, and the stock IRs are apparently some of Dave Friedman’s personal favorites.

Other IRs can be loaded into the IR-D using the accompanying Friedman editing software, which also lets players tweak power amp settings via Thump and Presence controls, and activate a mysterious ‘Boost Lock’ feature.

As expected, the connectivity is mighty versatile: there’s an FX loop, TRS output, MIDI and headphone jacks, and a USB output.

“IR-D isn't simulating a Friedman tube preamp. It is one,” Friedman says of its IR-D. “While many available preamp pedals utilize tubes to 'warm up' their digital or solid-state circuit, two glowing hot 12AX7 preamp tubes, running at the proper high voltage, are this pedal's beating heart. 

“A genuine preamp in every way, IR-D delivers all the tone, response, gain characteristics, and harmonic complexity you expect from a Friedman design.”

We already spoke at length about why the IR-X was such an appealing release from Friedman, and the IR-D – with its Dirty Shirley/Twin Sister tones and expanded feature set – looks to be an even more attractive option.

The IR-D is available now for $499.

Head over to Friedman to find out more.

Ever since I bought my first pedalboard over two decades ago, it’s been in constant flux. My very first rig was made up of 10 Boss stompboxes – as was the style at the time – and I went through various permutations of downsizing, upsizing, digital, analog, and everything in between.

Since focusing solely on one musical project, I’ve settled on a more consistent lineup – one that combines the ‘I could really do with this one effect for one song’ utility of Line 6’s HX Stomp with a handful of my favorite drive pedals and my constant companions, the DigTech Whammy (5th Gen, since you asked) and Boss DD-500.

Once I had the layout consistent, bar the odd swap here and there (I’m only human), I got the cabling all fine and dandy, with appropriate lengths zip-tied to the base of my Pedaltrain 2. Basically, I made my ’board Insta-ready. No shame.

Tidying and upgrading my patch cables – not to mention snapping up one of the best pedalboard power supplies on the market, the OneSpot CS12 – didn’t just look better; it quietened my rig no end, too. Unless I was stacking multiple raging gain stages, the hiss levels were whisper-quiet.

But at recent rehearsals – and after some particularly sweaty gigs – I’d noticed a change. Stomps on certain pedals were generating an almighty ‘ker-thunk’ through my rig. And was it my imagination, or was the noise floor louder than it used to be?

After a few suspiciously noisy recordings back at my home studio (read: spare bedroom), I conducted a few tests, stomping on individual pedals and identifying the problem children of my stompbox family. But it wasn’t the footswitches themselves at fault here. During my rigorous testing, a quick wiggle of the suspect pedals’ accompanying patch cables revealed a different diagnosis: a persistent case of the crackly jacks.

Now, I’d wager most of you have dealt with a scratchy guitar jack before. But my pedal sockets had developed a layer of internal dirt and debris because I wasn’t constantly plugging and unplugging them anymore – which would have, in turn, scraped said gunk out. The fact that my tone was suffering because I hadn’t changed my ’board around for a while carried a certain irony for a recovering pedal addict like myself.

So I turned to my most reliable of allies in tackling hiss: trusty old contact cleaner. Pros/forum tonehounds will swear by DeoxIT, but WD40’s cheaper Specialist contact cleaner – which happened to be the one I found rusting away in my toolbox – did the job for me. (For the record, you most definitely should not use regular WD40 for this task, as its lubricated formula runs the risk of making your pedals’ innards even gunkier. You have been warned).

My bone-headed method was to spray the cleaner directly onto the patch cables I was using and then plug and unplug them repeatedly in the problem jacks – and the same goes for power cables, which I also found were also raising the noise floor (just turn the power off first, yeah?).

An alternative approach is to spray a Q-tip or similar and give the jack a good going over. Obviously, you’ll want to use an old cloth to catch any excess spray before it goes all over your valuable hand-painted boutique prizes.

Bar one ropey patch cable that I’ve since replaced (RIP), my incessant plugging cured the rustling and popping that came with everyday pedalboard operation. Huzzah. But more than that, my tinkerings all but removed the underlying noise from my rig.

Now, even when I activate my gainiest fuzz, it’s virtually silent. Stacking it with an overdrive still generates a faint hiss, but even then it’s virtually non-existent compared with the typhoon of noise that went before. The difference was night and day. So much so that I felt compelled to write an entire article about it, which was very much not on my content plan for this month.

So, if your ’board is noisier than you remember, or you haven’t given it a lot of love in recent months, cancel that noise suppressor pedal order, grab hold of those patch cables and give them a good shimmy. They might reveal a suspect jack socket in need of cleaning. Maybe you’ll come across a dud patch cable. But either way, you’ll be en route to a cleaner, healthier, quieter pedalboard.

“I play many styles, so I need a 'board that serves many purposes. My current board has plenty of tone options, flexibility and the potential to add on without losing quality. It’s nothing crazy – primarily standard effects – but I have some weird, oddball sounds if needed. 

“This ’board has come through for me during countless gigs and sessions for hire. It could be tidier, but it’s been through some changes of late, so I guess you could say – as is always the case – it’s a work in progress.

“Starting with my off-board effects at the front, I’ve got my TC Electronic Polytune 3 Noir and my JAM Pedals Wahcko [wah pedal].

“Once we get to my on-board stuff, I’ve got a [JAM Pedals] TubeDreamer 88 [overdrive pedal], which goes into my J. Rockett [Audio Designs] Blue Note Overdrive. That leads into this unnamed custom boost pedal by Moollon. From there, I’ve got an MXR Phase 95 Mini, and an EHX [Analog Guitar] MicroSynth.”

“The MicroSynth goes into my JAM Pedals Waterfall Chorus, and after that, I’ve got my Crazy Tube Circuits Splash Reverb. The last two onboard pedals are my TC Electronic Flashback Delay and a technically out-of-line Seymour Duncan Andromeda Dynamic Digital Delay. Then we go offboard again with my EHX POG and my Jim Dunlop volume pedal.”

If I had to choose one pedal for an entire show...

“It would probably be the MXR Phase 95. This is a strange choice since I don’t always keep it on, and phaser stuff is far from essential. But it’s inspiring, and with a decent amp, I could get ’70s-sounding vibes like Tommy Bolin and Eddie Van Halen.”

• Testament's landmark debut and sophomore albums, The Legacy and The New Order are out now on special edition splatter vinyl via Nuclear Blast.

Mooer has added to its arsenal of next-generation effects pedals with the Prime S1 – an affordable new device that is geared towards being “an all-in-one pedalboard for guitar effects and tones”.

The Chinese electronics firm has developed a reputation for its forward-thinking and futuristic approach to gear design, evidenced by its pocket-sized Prime P2 pedal that “redefined the concept of a digital effects device” and SD30i smart practice amp.

In the past, its products have taken the fight to the industry big-guns – such as Positive Grid and Line 6 – and now Mooer has seemingly set its sights on delivering the most portable (and affordable) do-it-all effects pedal on the market.

To do so, the Mooer Prime S1 recruits a four multi-function footswitch design that weighs just 350g and measures in at 240mm (D) x 70.2mm (W) x 31.9mm (H). 

That’s small enough to slip into the pocket of any respectable gig bag with plenty of room to spare, but also large enough to accommodate 128 guitar effect and tone presets, and an 80-second onboard looper.

Powered by a rechargeable Lithium battery (meaning mains power isn’t required), the Prime S1 also offers 40 synchronizable drum machines and 10 metronomes that can be used to accompany playing, and further looks the part with an LED digital display.

There are no onboard parameters, so tone tweaking is taken off-pedal: the Prime S1 can be controlled by the Mooer Cloud preset sharing platform, which is in charge of dialing in gains, modulations, delays, reverbs and more.

Judging by the exceptional demo video, amps and cab IRs are also supported through the Mooer Cloud app, making the Prime S1 a one-stop-shop for your entire signal chain.

The pedal itself also boasts stereo outputs, Bluetooth, and USB jacks for charging and audio interface connectivity. All-in-all, it is a seriously tasty-looking bit of kit for its size.

As Mooer explains, the above makes for “a powerfully minimalist user experience”. Here, the emphasis is very much on portability, and the sheer size of the Prime S1 makes it not just Mooer’s most travel friendly unit to date, but one of the market’s smallest all-in-one multi-effects full stop.

It's also one of the cheapest: it’s currently $179 on Amazon. 

There are numerous all-in-one multi-effects out there, so here the emphasis on transportability to make the Prime S1 a standout option for travelling guitarists is a savvy move from Mooer.

Purists might still be wary of the “controlling your tone by phone” practice, but it’s becoming the norm in the gear world – just look at the Positive Grid Spark Mini and Boss Katana:Go. With that said, the Prime S1 looks guaranteed to pique players' interests and, yeah, it sounds pretty ace in the demo video.

Head over to Mooer to find out more.

“I organize everything by stereo, just in case I want to run stuff in stereo. It’s nice to have a device to point to on my pedalboard where I know it won’t reduce things to mono. Most of my stereo effects are at the end of my 'board so I can experiment. But in general, having my gain and modulation pedals at the beginning of my 'board – and the reverb and stuff later – is nice.

“I have an EarthQuaker Devices Warden optical compressor. From there, I’ve got a D’Addario TC20 tuner, followed by a Beetronics Fatbee Overdrive and ZVEX Mastotron [silicon] fuzz. Next is the Ground Control Audio Noodles, which is like an EQ and gain combined; I use that when I’m looking to push specific frequencies. 

“Then I have a Boss OC-5 Octave, which leads to my Electronic Audio Experiments Longsword, a bass overdrive that gives me more control over which frequencies push forward when I want to take more risks. That, and the little boost, adds grit to my delay. I also have a great modulation pedal, the Caroline Guitar Somersault Lo-Fi Modulator, followed by the Walrus Audio Julianna chorus/vibrato.

“I have a ton of delays, but the MXR Carbon Copy Deluxe is my favorite as far as analog goes. I also love the EarthQuaker Devices Avalanche Run V2, a more pronounced rhythmic delay, and a Boss DD-3 Digital Delay. That brings me to my Meris Mercury7 Reverb and Hologram Electronics Microcosm. I use that for transitions and granular stuff, but the multi-delay is nice too.”

“That’s the main stuff, but I do have a Universal Audio Galaxy ’74 Tape Echo & Reverb; I use that for stacked delay stuff. And I have a bunch of DigiTech stuff, like the Whammy Ricochet and the FreqOut. The Ricochet is my newest addition; I use it when I want to make my pitch plummet or go off the deep end. The FreqOut is for when I want some controlled feedback.”

If I had to choose one pedal for a full show...

“The EarthQuaker Devices Avalanche Run V2. While I love my delay pedals and my Warden compression pedal, I could use only the Avalanche Run and still be able to make everything sound pretty. I’d use it subtly and keep it nice and low in the mix.”

They say old habits die hard and, while Fender might not be at NAMM 2024, that has not stopped the world’s biggest guitar firm from unleashing an avalanche of new gear announcements as we close out January 2024.

One of the biggest surprises for us is a new pedal-switching unit, the Switchboard Effects Operator, which has been developed in collaboration with MIDI controller maestro Ron Menelli – the man behind RJM Music’s Mastermind switchers.

It’s a bit of a David and Goliath pairing, but it makes sense for all involved and it’s nice to see the two unexpected partners working together to bring the sort of switching tech that’s usually the preserve of professional players to a mass audience. As Fender summarises it: “pro-level board control in a user-friendly package.”

The unit looks like it takes RJM’s Mastermind PBC/6X switcher as its starting point, offering five relay true-bypass effects loops (with the fifth loop stereo compatible), plus control for amp switching and MIDI compatible pedals.

It’s all controlled by a processor, but the signal path remains completely analog, meaning you can maintain the signal integrity but easily call up multiple pedals, or rearrange your loops and effects orders via the unit.

Fender’s trademark, simple functionality and desire to prioritize ease-of-use – as so ably evidenced on the recent Tone Master Pro – appears to baked-in here, too. There’s a full color screen, an oversized encoder knob and clear GUI to guide you in your selections. The indicator LEDs also change color, depending on the mode. 

Other handy features include a built-in tuner, 500 presets, USB and MIDI connectivity, an expression pedal input, footswitch output and switchable high fidelity input and output buffers. 

And, finally, because these things count with guitarists more than any other musician: aesthetically it’s all packaged up in a sleeker enclosure than RJM’s usual none-more-black designs. Meaning you can display it next to your boutique boxes without people mistaking it for a powerbank.

The Switchboard Effects Operator retails for $449.99, which compares pretty favorably to the usual $799 tag of the RJM Mastermind PBC/6X, or the $1,000+ cost of something like the GigRig Atom G3, though they both offer six loops... 

For more information on the Switchboard Effects Operator, head to Fender.

“I used to travel with a couple of pedalboards, and I’d switch when I’d go from my band, Lore, to Drivin’ & Cryin’. Then I had this epiphany that since I already had a board I was comfortable with that I’d been using with Drivin’ & Cryin’, I’d simplify it to just one board.

“I was spending too much time thinking about what I’d be using between the two sets when I should’ve just been thinking about what the fuck I was playing. Having one board makes for less anxiety and lets me focus on what matters most.

“It starts with a Boss Chromatic Tuner; then I’ve got this great pedal called a [Carl Martin] TremO’Vibe, which combines tremolo and vibrato. From there, I’ve got my octave pedal [Argonaut] by Mythos Pedals. After that, there’s the JMP Eleven [Lovepedal], which gives me that great tube amp sound and a lot of drive for when I need it.

“The JMP Eleven goes into my Walrus Audio [385] Overdrive, which runs into my Analog Man Boss Equalizer [GE-7], which is excellent for reducing noise and clearing things up. Then I have a Wampler Pedals [Faux] Tape Echo Delay [v2], which goes into my Silver Spring Reverb by Mad Professor.”

If I had to choose one pedal for an entire show

“Aside from my Boss Tuner, I’d probably go with some kind of boost or drive pedal.
It would be something that would give me a bit more volume and gain. I guess I’d go
with the Walrus Audio overdrive pedal.”

• Catch Laur Joamets on tour in the US during January February. See Drivin' & Cryin' for full dates.

“I don't focus on my pedals too much. I use them, but in some ways, they’re hidden in my sound. The 'board I have is basically the same one I’ve been touring with for years. But again, the idea of my 'board is to give me a boost during a solo or a little extra here and there. I believe it comes down to the amps, and I rely on vintage amps as much as possible.

“I’ve got the RJM Music Technology MIDI controller [Mastermind GT]. It’s great and it’s functional. Aside from that, I’ve got my Boss Waza Craft Chromatic Tuner, a Strymon Lex Rotary, a Lehle volume pedal [Volume 90] and a Fulltone [Clyde Standard] wah. I also have a Lehle Little Dual, which allows me to switch between amps without hum.

“From there, I’ve got a Black Volt Amplification [FDR] overdrive, a Way Huge Red Llama overdrive [MkII] and another overdrive, a Free the Tone String Slinger. Then I’ve got a Way Huge Angry Troll Boost [WHE101] and a Strymon Flint [V2], which I use for tremolo and reverb.”

“I use the various overdrives and boosts for solos, not for the entire song. There’s a reason I buy old amps that have tubes, valves and fucking capacitors; they sound great, and they move air. That’s the key. 

“You can have all the pedals you want, but the guitar/amp combination makes the sound. Pedals are just some extra paprika.”

If I had to choose one pedal for a full show

“I guess I’d go with the Angry Troll. I like that I can set it to where it gives me a good lift and boost during a solo. It doesn’t have to be overdriven; it just gives a perfect, versatile boost that doesn’t overdo it.”

“My pedalboard is about simplicity. Weight is also huge because 99 percent of my gigs involve getting me on a plane. I also need functionality. But the funny thing is I don’t even really like pedals. 

“I got into them when I started doing clinic tours for DigiTech in the ’90s. Since then, I’ve used them, but constantly stomping on different pedals to get what I need is still bonkers.

“It starts with the board itself, a D’Addario XPND. From there, I have my amp, the BluGuitar AMP1 [Mercury Edition]. I was Thomas Blug’s first customer. It’s a 100-watt, four-channel amp, and it’s MIDI capable. That leads me to the next thing, a MeloAudio MIDI Commander [multi-effects USB MIDI foot controller], which switches my effects and the amp simultaneously.

“From there, I have an MXR [M293] Mini Booster. I like that little box; it does the job when I need a little extra during solos. I had a full-sized one, but it was a tank. Aside from that, I’ve got a Line 6 [EX-1] Expression Pedal and a Boss [FV-50] stereo volume pedal.

“And I have a Line 6 HX Stomp XL [multi-effects pedal] with a steampunk skin design by Chad Boston at Gear by CEBA. The Line 6 stuff has got a Whammy that goes down a whole step, and it also lets me program in some cool slide effects. Plus, it all fits in my carry-on.

“As simple as my ’board is, the cabling is not. I’ve got cabling going between everything, and I color-code it all to keep it straight. And I always take a spare snake in case a cable goes out. If I lose one of the cables, I have no time to troubleshoot it. So I slam a whole new color-coded snake in when that happens.”

If I had to chose one pedal for a full show...

“That’s a trick question, because I need that BluGuitar AMP1; otherwise, there’s no sound. But assuming I’ve got that, it’d be the Line 6 HX Stomp XL, because it has everything under the sun. 

“The way I can route everything through that is so powerful. It’s almost like a preset pedalboard on its own since it can be kicked up to eight effects simultaneously, with tons of presets and nerdy guitar stuff.”

“When I started it was all about creating more gain and distortion. While I began with MXR pedals, the Boss stuff kicked that into hyperdrive for me – and the Boss SD-1 Super Overdrive was my first important Boss pedal. I’ve always called it the $50 Marshall upgrade. My philosophy has changed over the years, but not by much. I still go back to my initial desire to emulate Jimi Hendrix, Randy Rhoads and Eddie Van Halen.

“I still use Boss stuff. If you’re putting your board together with your ears rather than your eyes – you know Boss makes some fucking rad pedals. You don’t have to use the crazy boutique stuff to get good sounds. With that in mind, my board begins with a Boss Chromatic Tuner, which feeds into my OC-5 Octave, the brown one. Man, what a great pedal. I’ve always loved it.

“Next is – and all of these are Boss – my PH-3 Phase Shifter, which leads to the SD-1w Super Overdrive. I mentioned that earlier, and honestly, it’s still as essential today as it was back in ’88 during the first L.A. Guns record. I can’t stress how much I love it. But the big difference now is that I use the Waza Craft version. It’s such an upgrade. As much as I love my original SD-1, the SD-1w nails it.

“After that, I’ve got a Fuzz, which is also a Waza Craft [FZ-1w], and that feeds into the ST-2 Power Stack, which feeds into my DM-2w Waza Craft Delay. Again, that Waza stuff is the shit; it’s totally gnarly. From there, the Delay snakes up and over to another Boss Waza Craft, my CE-2w Chorus. Oh, and I’ve got this crazy RE-2 Space Echo; it’s the dark green one, and it’s just insane.

“These pedals have served me well over the years. There have been a few versions of the board, but it’s always been something similar. I have a tongue-in-cheek saying that ‘pedals make you a better player,’ but they really don’t. But they do make you more hirable because you can create more sounds. It’s like, ‘My Crayon box is bigger than yours.’”

If I had to chose one pedal for a full show...

“The SD-1w. When I hit the stage, I usually have my 50-watt Marshall with me, so if I want to pair that with only one pedal to get my classic sound, I need the Super Overdrive. But I love my Boss delay, so that’s the runner-up.”

Back in June, TC Electronic debuted its all-new Ampworx range with three affordable amp modeling/preamp guitar pedals that sought to provide authentic Fender, Marshall and Vox tones.

Now, the Danish effects specialist has issued an Ampworx expansion pack, which comprises three further stompboxes that set their sights on a trio of classic guitar amp sounds.

Notably, whereas the first Ampworx drop was dubbed the “Vintage Series”, this collection has been named the “High-Gain Series”. There are no prizes for guessing what kind of amp sounds that would entail.

TC Electronic certainly has chosen a strong lineup for its High-Gain collection, which is made up of the Mesa/Boogie Dual Rectifier-inspired Dual Wreck, Marshall JCM800-esque JIMS800 and the original Peavey 5150 tribute, the 550.

As was the case before, each Ampworx pedal features a twin-channel design, optional Celestion cab sims and a host of controls that seek to deliver amp-faithful performances.

Another spec that wholly unites each High-Gain Ampworx pedals is the units’ topography: each has two footswitches – one of which engages the boost circuit – as well as a three-band EQ, master gain and volume knobs, and either Reso (550), Tight (Dual Wreck) or Boost (JIMS800) parameters.

Furthermore, similar to the Vintage Series Ampworx range, the three new units offer brand-specific aesthetics. That means the JIMS800 flaunts gold controls, the 550 flashes chickenhead versions and the Dual Wreck has robust chrome alternatives. A nice touch that will no doubt be appreciated by gear geeks.

Taking one pedal at a time, the 550 – said to be a recreation of EVH’s 1992 Peavey MK1 Script Logo 5150 – is fitted with a Celestion 4x12 G12M Heritage cab sim IR, and offers both Rhythm + Crunch and Lead channels for a suite of classic rock and heavy metal sounds.

It’s a similar story for the Dual Wreck, which instead opts for a Celestion 4x12 V30 cab sim in its quest to channel the spirit of the 1995-era Revision G Dual Rectifier.

The just leaves the JIMS800, with its Celestion 4x12 G12-65 IR and popular amp-appropriate internal mods, which include a treble bleed, tonestack tweaks and second stage gain mods.

When the first Ampworx drop arrived, players were particularly taken by the pedals’ price tags – at $149, they marked some of the most affordable amp modeler/preamp pedals on the market.

The High-Gain Series is no exception. Each new unit has once again arrived weighing in at $149 – a clear statement of intent from TC Electronic, which seems to be taking its excursion into the amp modeler market very seriously indeed.

It will be a welcome sign for players who are keen to dip their toes in the amp modeler waters but don’t wish to fully submerge themselves (or their wallets) in the likes of Blackstar’s $499 Amped 1 or Tech 21’s $249 SansAmps.

And, as noted before, what the TC Electronic Ampworx range lacks in features and configurability, it more than makes up for in price, purporting to be the perfect alternative for anyone looking for a simple, no-nonsense preamp pedal.

Plus, with the precedent now firmly set that the firm isn’t afraid to traverse various sounds and styles with its Ampworx family, there’s no telling where it could lead. It can't be long before a Dumble model arrives, surely...

To find out more, head over to TC Electronic.

“My current touring pedalboard is a workhorse! Designed and executed by the wizards at XAct Tone Solutions in Nashville, the brain of the board is a Line 6 HX Effects [multi-effects processor]. 

“I use the HX Effects library to cue up patches for a fast tremolo, slow tremolo, noise gate, slap echo and boost – and also as a switcher for the rest of the pedals on my ’board.

“My main overdrive pedals are the MXR Sugar Drive and the TB Drive [Tyler Bryant Signature Shakedown Special] by Rodenberg Amplification. 

“My only fuzz is the Royal Jelly [Overdrive/Fuzz Blender] by Beetronics; we recently performed our song Bad Spell on Jimmy Kimmel’s show, and the tone for that song is the Royal Jelly with a slap echo. It’s a ferocious and versatile pedal. 

“As a redundancy, and to provide sonic options for our front-of-house engineer, I also have a Strymon Iridium wired into the chain. The Iridium is an amp/cab simulator – and it sounds absolutely amazing. We’ve been touring nonstop for the past year, and this ’board has stood the test of time!”

• Blood Harmony is out now via Tricki-woo.

Affordable gear co Harley Benton has unveiled its latest Spaceship pedalboards, which integrate the company’s neat PowerBar power supplies – and now include rechargeable integrated batteries.

Six new PowerBar supplies have been announced, alongside six new pedalboards to accommodate them.

The PowerBar itself is shaped, well, like a big ol’ bar, which slots neatly under the top rail of various pedalboard designs, including HB’s own Spaceships as well as similar (read: Pedaltrain) ’boards. You can buy it along with one of HB’s Spaceships or individually.

These are affixed using two included aluminum rails and come in a range of sizes to fit various pedalboard configurations.

The larger, flagship Spaceship Power units feature 11 isolated outputs and four non-isolated outputs, with switchable 9V/250mA, 9V/500mA, 9/12/18V – 500mA outputs, plus a dedicated 9V/3A output for powering effects with high power consumption. USB-A and USB-C ports let you charge your phone, too, which is nice.

More compact Spaceship PowerBar supplies include seven isolated outputs and four non-isolated outputs.

There are also LED indicators for each output, a tiny display that shows how much current your pedals are using, and universal input voltage operation (100-240V) if you’re lucky enough to be touring internationally.

Depending on size, the lithium batteries boast capacities ranging from 4,500mAh to 9,000mAh and charging times from 1.7 to 3.4 hours.

It should be noted that if you’re running these at full tilt – ie, using all the mA available – you might struggle to get through an entire set. The larger power supplies will give you 1.1 hours of play time, while the smaller ones will get you just 50 minutes. But if you’re running a smaller rig with more low-draw analog pedals, we’d wager you could eke out enough juice for a headline slot.

The Spaceship PowerBar isn’t the first rechargeable battery-equipped pedalboard design – the Earthboard was launched back in 2018 – but it is about as discreet as a pedalboard power supply can get, even if you might want to keep its old-school laptop-style charger handy.

Six new Spaceship pedalboards have been announced alongside the PowerBars, all sized to accommodate the supplies, and utilizing the usual hook-and-loop pedal affixation method.

Spaceship PowerBar pedalboards start at $145, while the standalone PowerBars start at $109, and begin shipping in late August. Head over to Harley Benton for more info.

“I don't want to carry around a spaceship-sized board, so I try to keep it simple. The first spot goes to my Shure GLXD6 wireless – but since it doesn’t have an input for using its tuner without the transmitter, I have a TC Electronic PolyTune as a backup. That goes into the DigiTech Drop [which provides nine polyphonic drop tune settings from one semitone to a full octave], because we might use four to seven different tunings on any given night.

“The Drop goes into my T-Rex Octavius, which has become Norma Jean’s signature-sound pedal. The way it can mix in low and high octaves while also having a built-in boost is very helpful. It adds what I call a 'chaos' element.

“From there, I go straight into the Walrus Audio Iron Horse, which I use for a few key moments where I can crank the pedal and push it to the nastiest extent with a bunch of bonus feedback. In conjunction with the T-Rex, the Iron Horse gives me a doomsday sound by stacking layers of distortion.

“That goes into the Maxon ST-9 Pro+ Super Tube. I like it for the moments when I need a tighter, more razor-sharp-type tone. I usually keep it in Classic mode, with the drive off and the level cranked to 10. I needed a serious noise gate to help wrangle all that stuff in, and the only thing that’s been able to do the job is the Fortin Amplification Zuul Noise Gate. Its setting ultimately depends on whether the stage is carpeted or wood and how far I am from the cab, but the Zuul can handle it all.”

“Then we head into a Walrus Audio Fathom; it’s the perfect amount of reverb without being too much. That goes into a Boss DD-7, which I use on one or two songs. It’s a very choppy delay, but it and the Fathom work well together for the more ambient interludes and lower-volume moments.

“The last thing is a Line 6 HX Effects pedal, Ernie Ball volume pedal and Morley ABY switcher/combiner, which is separate from the rest of my stuff. I use it just for slide, running a patch with compressor, delay and octave effects, all of which make the slide slightly fuller-sounding. It’s a simple setup, and the HX Effects turned out to be much easier than putting a whole other ’board together just for playing slide.”

If I had to choose one pedal for a full show...

“The T-Rex Octavius impacts Norma Jean the most. It’s the only pedal I’ve found that does what it does. There are a lot of parts in our set that rely on that low-end muddiness.”

• Norma Jean tour the US with Memphis May Fire in July.

We’ve all heard horror stories about broken guitars on airplanes (thankfully less commonplace now you can bring them as carry-on luggage). But Vernon Reid faced another more unlikely, yet no less undesirable, fate: his pedalboard was torn apart before he even boarded the plane.

The Living Colour guitarist recently shared a photo of what appeared to be a mess of cables and pedals – making the reveal that this was once his pedalboard all the more shocking.

“Another @tsa MASTERPIECE,” he commented. “My @livingcolourofficial pedalboard-remixed by @tsa security @flymemphis. Thank you 🙏🏾 for this Cubist Experience executed in High Southern Style. Hallelujah & Huzzah”.

We admire Reid’s good humor under the circumstances – he has more reason to be upset than most given the sheer scale of his tech-loaded ’boards, which weave together a vast array of MIDI-connected stompboxes, including old-school analog pedals, modern tech-loaded multi-FX and everything in between (you can check out a recent awe-inspiring build over at Source Audio).

Amongst the rubble that was once his pedalboard, you can just about make out a trio of Eventide H9 units (one white, one gold and one black), along with a DOD expression pedal, Strymon CloudBurst, Red Panda Tensor and Rainger-FX Deep Space Pulsar.

As for the rest, you’d have to ask the Transportation Security Administration at Memphis International Airport, who clearly inspected the build very closely indeed.

Fellow touring guitarists were shocked by the destruction they saw. “The disregard/disrespect is unreal,” said Tosin Abasi. Alex Skolnick chimed in with “Dang my friend. WTF ??”, while Bartees Strange shared a succinct “Boooooooooooo!!!”

Eventide, whose products Reid champions, said, “Not exactly what we had in mind when we said flexible routing…. So sorry this happened! What a nightmare”.

Hopefully the rest of Reid’s rig made it through unscathed – the guitarist recently signed on with UK amp brand Laney to rep their Ironheart series of amps and pedals.

CLT DRP – pronounced ‘Clit Drip’ for anyone too abashed to ask – are a trio of electro-punk feminists from Brighton. Since the release of their 2020 debut Without the Eyes, they’ve been turning heads and battering lugholes with their unruly blend of abrasive riffs and tonally daring ring modulation effects cooked up by Scott Reynolds. 

“What we do nods to electronic sounds, but it’s got a punk attitude,” explains the guitarist, who was brought up on a melange of music drip-fed down by his older brother. Everything from Metallica and Guns N’ Roses to EDM seeped into his musical psyche. 

“When I was really young, I just thought playing guitar was the coolest thing in the world, which it is,” he says. “But, when I was 10, The Prodigy came out with The Fat of the Land, and that completely blew my mind!”

From that moment, Scott has been mastering the art of making his trusty Epiphone Les Paul sound anything but traditional – forcing it to spew “wonky sounds” with the help of a stacked pedalboard that weighs over 40 kilos. Here, you’ll find Boss’s FZ-3 Fuzz and DD-7 Digital Delay pedals, as well as a Wampler Ego Compressor, Electro-Harmonix Micro POG and a well-used Morley expression pedal.

But the two mainstays most essential to his signature broken-robots-at-an-industrial-rave sound are the Boss SL-20 Slicer and Strymon Mobius Multi-modulation. He commonly frets single notes while using the Mobius’s Quadrature setting and the SL-20’s Slice patterns to open up a warped new world of synth-like textures, rhythmic pulsations and detuned wackiness.

The key to making it all sound musical, he suggests, is lots of practice and a mantra of embracing the unexpected when it comes to pitch.

“Logic goes out the window when you put a ring mod on,” he smiles. “You can be fretting notes past the 12th fret and there’s shuddering low-end, then go down to where a low note should be, and there’s no bass.”

Crucially, because the trio’s sound comes solely from guitar, drums and vocals, the entire melodic space is Scott’s to play with. “That setup really helps because I haven’t got to worry about fitting in with a bass player or a synth player,” he adds. 

To complete his colossal sound, he uses Laney guitar amps and/or a Hartke bass amp, reasoning that the latter “seems to hack the pedals really well”.

Having recently signed to Venn Records, the band’s “much dancier and maybe slightly less heavy” sophomore record is tipped for release later this year.

• Nothing Clever, Just Feelings is out September 8 via Venn Records.

Traditionally, wild pedalboard builds fall into two camps. There’s the truly overstuffed, pushing 30 or 40 stompboxes (think Kevin Shields), or the stunningly color-coordinated (read: Jack White). But we’ve never seen anything quite like this.

The “Homieboard” cropped up on Facebook Marketplace in Arvada, CO back in February, but recent social media shares have seen the setup go viral, and it’s not hard to see why.

Look at the thing: it’s an outdoor show populated by Homies figurines, using an MXR Iso Brick as a stage, and an EVH Wah as a tour bus, flanked by limos. It certainly brings a whole new meaning to onstage pedalboard.

The build was spotted by The Tone Mob, who shared images with the inarguable caption, “This is without a doubt one of the wildest pedalboards on the internet right now.”

Commentators are, understandably, freaking out. “If someone explained it to me, I'd probably say it sounds dumb. But after seeing the photos I think it's the coolest board on the planet,” said one commentator, expertly describing the difficulty we had in coming up with a headline for this article. “This just reached down into my childhood memories and violently pulled them to the surface,” adds another.

But the gauntlet may have been laid down for more toy-themed pedalboards, as one guitarist shared, “Hold my beer I gotta dig out my train set”.

Over on Facebook Marketplace, the original listing describes the ’board as “quite unique and detailed.” No kidding. Apparently, the setup features $3,000 worth of Homies figurines and took 35 hours to construct.

Pedals include a Boss TU-2, EVH wah, EVH Phase 90, MXR Analog Chorus, MXR Carbon Copy and MXR Reverb, while the MXR EVH Flanger was apparently obtained from Dweezil Zappa and can be authenticated.

The seller is inviting offers, but notes the ’board is insured for $5,000, so it’s probably best to start there. We don’t fancy stepping on it, though…

This isn’t the first time an unexpected piece of gear has cropped up on Facebook Marketplace – just last week, Mary Ford’s 1961 Gibson Les Paul SG Custom was tracked down on the site.