Vertex - Best of the Best Studio Pedalboard

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Joined: Sat Dec 05, 2009 4:45 pm
Location: Pt. Richmond, CA

Vertex - Best of the Best Studio Pedalboard

Post by Desperado » Sun Jun 06, 2010 2:37 pm

Here's a board that I did for producer/composer up in the North Bay Area who does a lot of work with Disney/Pixar, Dreamworks, and other animated films. The client came to me with a list of ideas, sounds, and artists that he wanted to capture through the various effects on the pedalboard for the next film he'll be working on. The client was looking to emulate sounds from such artists as Jimi Hendrix, Doyle Bramhall II, Eric Johnson, John Mayer, Michael Landau, Andy Summers, and a myriad of other classic rock/LA studio sounds from the 60's-now.

The client had some of his own gear, but needed most of the pieces to be aquired for the for him to complete the board. We scoured the internet and found some great pedals, as well as using some of our own: The Verted BC109 Fuzz. The selections that we made for his pedalboard are some of my favorite effects: Hartman Flanger, Script MXR Dyna Comp, Ibanez TS-10, Arion SCH-1, The Original GOLD Deja Vibe, Rx. Electronics COB, Dumkudo, T-Rex Replica, and Boss DM-2.

The client also requested that as many pedals as possible be put into loopers to keep the signal as clean as possible, but also to cut down on the abuse to the pedals and have easy access to all of the pedals in one small area. The client already had some Voodoo Lab Pedal Loopers, so we decided to go with those, not only for the loops, but because they already had buffers inside them as part of the circuitry.

The client didn't like the buffer in the Voodoo Lab Loopers, so I removed what was there and modified it to have the first looper with all the drive pedals and compression with our Vertex Dual-OP Buffer on the input. We also modified the second looper with the modulation and delay pedals so that it would also have the Vertex Dual-OP Buffer, but on the output of the Looper instead of the input. This would allow for the most consistent signal throughout the pedalboard with the same low-impedance from beginning to end.

We also modded the vintage MXR Dyna Comp (Script) to have a 9v jack and the Vox King Wah so that it would be True Bypass and have a 9v jack as well.

The order of the effects are:

INTERFACE INPUT (from guitar)--> Vox King Wah--> Gold Fulltone Deja Vibe (large)--> Rx. Electronics C.O.B. Octave--> Vertex BC109 Fuzz--> Looper 1 INPUT (w/Vertex Buffer)--> MXR Script Dyna Comp--> Ibanez TS-10 Tube Screamer--> Tanabe Dumkudo--> Suhr Riot--> Looper 1 OUTPUT--> Boss FV-500L Volume Pedal--> Looper 2 INPUT--> Arion SCH-1 Chorus--> Hartman Analog Flanger--> Boss DM-2--> T-Rex Replica--> Looper 2 OUTPUT (w/Vertex Buffer)--> INTERFACE OUTPUT (to amp)

*Stand Outs: There are some amazing pedals on this board. I really love the Dumkudo for the Dumble sound in a pedal. It has a ton of presence and cuts really well like the Dumbles that I've played and heard. It can get very close to that territory and has plenty of gain for single coils. The Hartman Flanger nails Andy Summers' shimmery chorus sounds, and the original Gold Fulltone Deja Vibe is the best Vibe out there without questions if you want the real Uni-Vibe sound. The large box versions are so much different than any of the versions that proceeded it. The Vertex Fuzz also really sounded amazing with the Vibe and nails the Hendrix/Doyle Bramhall tones especially when using the Dark setting on the Vertex to cop more of the NKT Fuzz Sound. With the Bright setting on, it emulates the singing/violin Eric Johnson Fuzz sounds. It is the ultimate Fuzz Face!

*Notes: All pedals are going in front of either vintage Fender or Marshall amps. The client mainly plays a '66 Super Reverb or a '64 Deluxe Reverb for cleans. For the dirtier stuff, he's using a 50 watt '72 Marshall Plexi or a 1979 50 watt JMP Marshall. The Marshalls are used with a Faustine Phantom Attenuator that I sold him to make it more usable in the studio.





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