Current Amps
Brand: Orange
Model: CR-3 Micro Crush PiX
Years Used: 2013-Present
Current Status: Active use
Notes: I got this mini amp as a Christmas present in 2013, and it's been an occasional "secret weapon" in my recording arsenal since then. Since I'm an apartment-dwelling guy, I can't really crank my amps up loud to record them (the entire reason behind the line-out jack modification on my Fender Champ and using the send of the effects loop to record with my CR60C). The preamp > interface > cab sim signal path works just fine for me about 95% of the time, but every once in a while there will be certain parts (usually high-register chord stuff) that just sound like crap no matter how I EQ them, and the only way to record them well is to mic a real amp. That's where this little guy works wonders! The speaker is so small I can just stick an SM57 right in front of it and not worry about anything else, and it has enough onboard overdrive to do what I need it to do (it's pretty lacking in low-end, of course, but I can always adjust the EQ later).
Model: CR-3 Micro Crush PiX
Years Used: 2013-Present
Current Status: Active use
Notes: I got this mini amp as a Christmas present in 2013, and it's been an occasional "secret weapon" in my recording arsenal since then. Since I'm an apartment-dwelling guy, I can't really crank my amps up loud to record them (the entire reason behind the line-out jack modification on my Fender Champ and using the send of the effects loop to record with my CR60C). The preamp > interface > cab sim signal path works just fine for me about 95% of the time, but every once in a while there will be certain parts (usually high-register chord stuff) that just sound like crap no matter how I EQ them, and the only way to record them well is to mic a real amp. That's where this little guy works wonders! The speaker is so small I can just stick an SM57 right in front of it and not worry about anything else, and it has enough onboard overdrive to do what I need it to do (it's pretty lacking in low-end, of course, but I can always adjust the EQ later).
Brand: Orange
Model: 2020 Crush Pro CR60C
Years Used: 2021-Present
Current Status: Active use
Notes: While I'd been perfectly content using my Fender Champ as a home recording platform, I hadn't had a gig-worthy guitar amp in quite a few years by the middle of 2021. I was familiar with the Crush Pro line due to them being backline amps at the music school I was teaching at, and Orange was just about to discontinue the line with the new Super Crush line coming out, so I picked up the 60-watt combo version when it was on sale. What I think makes the Crush Pro a great amp is the fact that it's literally just a Rockerverb with transistors instead of tubes, so it still has an all-analog signal path and sounds pretty convincingly "tube-like." It also has an effects loop, which is something my Fender was lacking. I'll probably get a bigger amp (maybe the Super Crush 100) eventually, but for now this does everything I need an amp to do.
Model: 2020 Crush Pro CR60C
Years Used: 2021-Present
Current Status: Active use
Notes: While I'd been perfectly content using my Fender Champ as a home recording platform, I hadn't had a gig-worthy guitar amp in quite a few years by the middle of 2021. I was familiar with the Crush Pro line due to them being backline amps at the music school I was teaching at, and Orange was just about to discontinue the line with the new Super Crush line coming out, so I picked up the 60-watt combo version when it was on sale. What I think makes the Crush Pro a great amp is the fact that it's literally just a Rockerverb with transistors instead of tubes, so it still has an all-analog signal path and sounds pretty convincingly "tube-like." It also has an effects loop, which is something my Fender was lacking. I'll probably get a bigger amp (maybe the Super Crush 100) eventually, but for now this does everything I need an amp to do.
Former Amps
Brand: Yamaha
Model: HY-10G III
Years Used: 2000-2003
Current Status: Retired (2010 or later)
Notes: This was the amp that came in the GigMaker starter pack with my EG 112 guitar. I don't remember a ton about it, to be honest. I basically just used it until I got my Fender Champ, which sounded vastly better. I know it was still at my parents' house when I moved out in 2010, that my brother still used it in some capacity after that, and that he ended up throwing it away sometime later after it blew a transformer or some other major component of the amp section.
Model: HY-10G III
Years Used: 2000-2003
Current Status: Retired (2010 or later)
Notes: This was the amp that came in the GigMaker starter pack with my EG 112 guitar. I don't remember a ton about it, to be honest. I basically just used it until I got my Fender Champ, which sounded vastly better. I know it was still at my parents' house when I moved out in 2010, that my brother still used it in some capacity after that, and that he ended up throwing it away sometime later after it blew a transformer or some other major component of the amp section.
Brand: Fender
Model: Champion 30 DSP
Years Used: 2003-2023
Modifications: 1/4" line-out jack added
Current Status: Sold (June 2023)
Notes: This was my first "real" amp, I got it in 2003 (I think it was the same birthday that I got my Ibanez 7-string) and it ended up being one of my longest-tenured pieces of gear! I actually gigged with this amp a few times when I still lived in Ohio, it was rated at 30 watts but felt a lot louder. It had a few built-in effects, but I never really used them. It ended up becoming the central piece of my recording rig for my Linkin Park covers on YouTube, for whatever reason this amp just did a really good "poor man's Dual Rectifier" tone with the gain at about 6-7 and the mid control rolled back slightly. Once I moved out of my parents' house in 2010, I needed a way to record silently, so I added a line-out jack to the back of the amp (it's essentially just the "send" of an effects loop, without a "return" on the other side). This eventually led to the combination of a real preamp with an AmpliTube cabinet sim that I've since used on most of my recordings. I kept this amp for a while after I got my Orange CR60C because I wasn't sure what my recording setup would look like going forward, but I eventually decided to sell this amp in the summer of 2023 once I made the decision to use the Orange for recording.
Model: Champion 30 DSP
Years Used: 2003-2023
Modifications: 1/4" line-out jack added
Current Status: Sold (June 2023)
Notes: This was my first "real" amp, I got it in 2003 (I think it was the same birthday that I got my Ibanez 7-string) and it ended up being one of my longest-tenured pieces of gear! I actually gigged with this amp a few times when I still lived in Ohio, it was rated at 30 watts but felt a lot louder. It had a few built-in effects, but I never really used them. It ended up becoming the central piece of my recording rig for my Linkin Park covers on YouTube, for whatever reason this amp just did a really good "poor man's Dual Rectifier" tone with the gain at about 6-7 and the mid control rolled back slightly. Once I moved out of my parents' house in 2010, I needed a way to record silently, so I added a line-out jack to the back of the amp (it's essentially just the "send" of an effects loop, without a "return" on the other side). This eventually led to the combination of a real preamp with an AmpliTube cabinet sim that I've since used on most of my recordings. I kept this amp for a while after I got my Orange CR60C because I wasn't sure what my recording setup would look like going forward, but I eventually decided to sell this amp in the summer of 2023 once I made the decision to use the Orange for recording.
Brand: Fender
Model: FM100H (head)/FM412 (cabinet)
Years Used: 2008-2018 (head)/2012-2018 (cabinet)
Current Status: Sold (September 2018)
Notes: By 2008, I was playing guitar in a band that gigged semi-regularly around northern Ohio, and I felt like I needed a bigger amp. My dad bought me the 100-watt head from the Frontman line that Fender had at the time, but being the crafty guy he was, built a cabinet to go with it himself! He had an old Gibson G80 amp that hadn't worked in a long time, so he pulled the speakers out of it and wired them up as a 4x10" cabinet in a new enclosure. I was tight on space when I moved in 2010, so while the head came with me, the cabinet didn't. I found the matching FM412 cabinet at a local music store in 2012, and the resulting half stack became my gigging amp for the next few years. I was primarily gigging as a solo acoustic performer during that period though, so it didn't get a lot of use. I ended up selling the half stack altogether the summer after my daughter was born, just to free up a little more room in our apartment.
Model: FM100H (head)/FM412 (cabinet)
Years Used: 2008-2018 (head)/2012-2018 (cabinet)
Current Status: Sold (September 2018)
Notes: By 2008, I was playing guitar in a band that gigged semi-regularly around northern Ohio, and I felt like I needed a bigger amp. My dad bought me the 100-watt head from the Frontman line that Fender had at the time, but being the crafty guy he was, built a cabinet to go with it himself! He had an old Gibson G80 amp that hadn't worked in a long time, so he pulled the speakers out of it and wired them up as a 4x10" cabinet in a new enclosure. I was tight on space when I moved in 2010, so while the head came with me, the cabinet didn't. I found the matching FM412 cabinet at a local music store in 2012, and the resulting half stack became my gigging amp for the next few years. I was primarily gigging as a solo acoustic performer during that period though, so it didn't get a lot of use. I ended up selling the half stack altogether the summer after my daughter was born, just to free up a little more room in our apartment.
Brand: Marshall
Model: MS-2 Mini Amp
Years Used: 2012-2018
Current Status: Sold (July 2018)
Notes: This was the first of a few mini amps I acquired in 2012-2013, for some reason people liked getting me them as gifts for a while! Not much to say about this one, I just thought the idea of a "Marshall stack" that was about the size of my phone was hilarious. I ended up selling it in 2018 when I was getting rid of a few other things I hadn't been using.
Model: MS-2 Mini Amp
Years Used: 2012-2018
Current Status: Sold (July 2018)
Notes: This was the first of a few mini amps I acquired in 2012-2013, for some reason people liked getting me them as gifts for a while! Not much to say about this one, I just thought the idea of a "Marshall stack" that was about the size of my phone was hilarious. I ended up selling it in 2018 when I was getting rid of a few other things I hadn't been using.
Brand: Danelectro
Model: Honeytone Mini Amp
Years Used: 2012-2024
Current Status: Given away (January 2024)
Notes: This was a gift somebody got me way back in 2012, and it does the "blown speaker/lo-fi/dying battery" fuzz sound in a kind of cool way, but I never found much use for it, especially since I also had my Micro Crush, which sounds much better. I tried to sell this amp a few times without success, and finally ended up giving it away through a local Facebook "buy nothing" group in early 2024.
Model: Honeytone Mini Amp
Years Used: 2012-2024
Current Status: Given away (January 2024)
Notes: This was a gift somebody got me way back in 2012, and it does the "blown speaker/lo-fi/dying battery" fuzz sound in a kind of cool way, but I never found much use for it, especially since I also had my Micro Crush, which sounds much better. I tried to sell this amp a few times without success, and finally ended up giving it away through a local Facebook "buy nothing" group in early 2024.
Brand: Blackstar
Model: 2018 Unity U500
Years Used: 2018-2024
Current Status: Sold (March 2024)
Notes: Despite primarily gigging as a bass player going back as far as 2014, I'd never actually needed to buy an amp, as our lead guitarist (same one I borrowed the Yamaha BB450 bass from for a while) always had an amp available for me to use. When I joined a second band in 2018, I wasn't sure what their stage plot was like for live shows, so I bought this amp. The Unity line was BRAND new at the time, I got one from the first batch Sweetwater shipped out after pre-ordering it a few months prior. This one is a really versatile 2x10" combo that puts out a whopping 500 watts! It has several onboard overdrive/fuzz settings, several combinations of preamp/power amp voicings to experiment with, and compressor/chorus/octave effects, all of which are footswitchable. It's a great-sounding amp! As it turned out, the second band I joined uses a super minimalist stage plot - everything we use is contained in one rolling rack unit, so we just ran my bass through a DI, no amps necessary. I still occasionally used this amp for certain gigs, typically when we played larger festival-style stages. With the whole band on wireless units, I'd put the amp on the opposite side of the stage from my monitor, that way I could still hear myself when Id wander to the other end of the stage without having to put my bass in anyone else's monitor that might not otherwise want/need it. I switched to playing lead guitar in that band in late 2023, so my need for this amp decreased significantly, and I ultimately sold it a few months later.
Model: 2018 Unity U500
Years Used: 2018-2024
Current Status: Sold (March 2024)
Notes: Despite primarily gigging as a bass player going back as far as 2014, I'd never actually needed to buy an amp, as our lead guitarist (same one I borrowed the Yamaha BB450 bass from for a while) always had an amp available for me to use. When I joined a second band in 2018, I wasn't sure what their stage plot was like for live shows, so I bought this amp. The Unity line was BRAND new at the time, I got one from the first batch Sweetwater shipped out after pre-ordering it a few months prior. This one is a really versatile 2x10" combo that puts out a whopping 500 watts! It has several onboard overdrive/fuzz settings, several combinations of preamp/power amp voicings to experiment with, and compressor/chorus/octave effects, all of which are footswitchable. It's a great-sounding amp! As it turned out, the second band I joined uses a super minimalist stage plot - everything we use is contained in one rolling rack unit, so we just ran my bass through a DI, no amps necessary. I still occasionally used this amp for certain gigs, typically when we played larger festival-style stages. With the whole band on wireless units, I'd put the amp on the opposite side of the stage from my monitor, that way I could still hear myself when Id wander to the other end of the stage without having to put my bass in anyone else's monitor that might not otherwise want/need it. I switched to playing lead guitar in that band in late 2023, so my need for this amp decreased significantly, and I ultimately sold it a few months later.
Guitar Pedalboard: "The Mothership"
This monstrosity is the culmination of me buying, selling, and trading dozens of pedals for around 15 years before I finally ended up with a rig that incorporated everything I wanted at my disposal. Note that this photo is an "under construction" photo where the board hadn't been wired up yet, so the final layout is SLIGHTLY different, but none of the gear on it has changed (save for two pedals mentioned below). Just had to play a crazy game of "pedal Tetris" to get it all to fit!
The board itself is a Temple Audio TRIO 43, and it's powered by an array of Voodoo Lab power supplies (a Pedal Power 3 Plus and a pair of Pedal Power X8s). All of the in/out jacks are built into side panels on the board. From the "G. IN" input on the patch bay, the first thing in the signal path is an Ernie Ball VP JR Tuner/Volume pedal (A). The "send" of that pedal goes to the input of a Revv G8 Noise Gate (B). The "send" of that pedal goes to the real brains of the operation, the first of two One Control Crocodile Tail loop switchers (C). The loops are arranged in the following order:
LOOP 1 (C1): Dunlop/MXR MC404 CAE Wah (w/Stompin' Ground MP-1 mounting plate)
LOOP 2 (C2): Boss AW-3 Dynamic Wah
LOOP 3 (C3): MXR M76 Studio Compressor
LOOP 4 (C4): Electro-Harmonix POG2 Polyphonic Octave Generator
LOOP 5 (C5): Digitech WH-5 Whammy
LOOP 6 (C6): MXR M68 Univibe
LOOP 7 (C7): MXR M236 Super Badass Variac Fuzz
LOOP 8 (C8): Walrus Audio Ages Five-State Overdrive
LOOP 9 (C9): Revv G3 Distortion
LOOP 10 (C10): Source Audio EQ2 #1
Oh, but we're only half done after all that! From there, we go back to the "return" jack of the Revv G8 Noise Gate, then the output of that goes to the "return" of the Ernie Ball VP JR Tuner/Volume pedal. The output of that goes out of the "TO AMP" jack on the board patch bay, to the front of my amp. Why do I have this weird "loop within a loop" situation with my tuner/volume and noise gate, you ask? Simple! This setup puts everything that runs in front of my amp in the loop of the volume pedal, which allows me to raise/lower the volume of that entire side of my rig without affecting the tone like you would by just running a volume pedal in line with the rest of your pedals. There are situations where I'll volume swell with the volume knob on my guitar, and situations where I want to fade in/out with a pedal, so this allows me to do both. Similarly, all of my dirt pedals are in the loop of my noise gate, which means I can set the threshold of the noise gate to open/close purely based on what I'm doing with my guitar and volume pedal, while still catching unwanted noise that can be introduced by my dirt pedals.
Anyway, that half of my rig goes to the input of my amp, then the "send" on my amp's effects loop comes back into the board via the "FROM SND" jack on the patch bay. That goes into the second One Control Crocodile Tail switcher (D). Note that this switcher is a slave unit controlled by the first switcher, so I actually run my ENTIRE board from the first switcher! The second set of loops here are as follows:
LOOP 1 (D1): Ibanez LF-7 Lo-Fi Filter
LOOP 2 (D2): Source Audio EQ2 #2
LOOP 3 (D3): Boss CE-5 Chorus Ensemble
LOOP 4 (D4): Boss BF-3 Flanger
LOOP 5 (D5): MXR M290 Mini Phase 95
LOOP 6 (D6): Walrus Audio Monumental Stereo Harmonic Tap Tremolo (Not in photo, replaced Monument V2 Harmonic Tremolo)
LOOP 7 (D7): Boss DD-200 Digital Delay
LOOP 8 (D8): Boss RV-200 Reverb (Not in photo, replaced TC Electronic Hall of Fame 2x4)
LOOP 9 (D9): TC Electronic Spark Mini Booster
LOOP 10 (D10): Used for amp channel switching, via the "CH. SW." jack on the patch bay.
From there, the signal goes out through the "TO RTN" jack on the patch bay, and back into the return of my amp's effects loop.
But we're STILL not quite done! Some of these pedals are MIDI-enabled, so I use the MIDI output from the first Crocodile Tail switcher to give me greater control over them (it allows me to recall different EQ settings without having to touch the actual pedals, for instance). The MIDI signal flow is in the following order:
Crocodile Tail #1 MIDI Output > Source Audio EQ2 #1 > Source Audio EQ2 #2 > Boss DD-200 > Boss RV-200 > Digitech Whammy
The Boss DD-200 and RV-200 use a different type of MIDI connection than the other pedals, so I initially avoided using their MIDI features, but I eventually figured out how to incorporate them. If you're wondering why I use two identical Source Audio EQ2's, they serve different purposes. The first one is basically just used to compensate for different output levels from the pickups in my various guitars, while the second one is used for more dramatic EQ adjustments (since the second one is in the amp's effects loop, it has a more dramatic effect on tone regardless).
Lastly, you may have noticed the TC Electronic BodyRez pedal (E) that I haven't talked about. That's actually part of a completely separate signal path that I use for acoustic guitar - I plug into the "AC. IN" jack on the patch bay, and that goes into the BodyRez, before going out through a Temple Audio Passive Direct Box Module via an XLR cable.
Phew, that was a lot! Glad I don't have to deal with anything else like that, or...oh...wait...I have another pedalboard. AHHHHHHH
The board itself is a Temple Audio TRIO 43, and it's powered by an array of Voodoo Lab power supplies (a Pedal Power 3 Plus and a pair of Pedal Power X8s). All of the in/out jacks are built into side panels on the board. From the "G. IN" input on the patch bay, the first thing in the signal path is an Ernie Ball VP JR Tuner/Volume pedal (A). The "send" of that pedal goes to the input of a Revv G8 Noise Gate (B). The "send" of that pedal goes to the real brains of the operation, the first of two One Control Crocodile Tail loop switchers (C). The loops are arranged in the following order:
LOOP 1 (C1): Dunlop/MXR MC404 CAE Wah (w/Stompin' Ground MP-1 mounting plate)
LOOP 2 (C2): Boss AW-3 Dynamic Wah
LOOP 3 (C3): MXR M76 Studio Compressor
LOOP 4 (C4): Electro-Harmonix POG2 Polyphonic Octave Generator
LOOP 5 (C5): Digitech WH-5 Whammy
LOOP 6 (C6): MXR M68 Univibe
LOOP 7 (C7): MXR M236 Super Badass Variac Fuzz
LOOP 8 (C8): Walrus Audio Ages Five-State Overdrive
LOOP 9 (C9): Revv G3 Distortion
LOOP 10 (C10): Source Audio EQ2 #1
Oh, but we're only half done after all that! From there, we go back to the "return" jack of the Revv G8 Noise Gate, then the output of that goes to the "return" of the Ernie Ball VP JR Tuner/Volume pedal. The output of that goes out of the "TO AMP" jack on the board patch bay, to the front of my amp. Why do I have this weird "loop within a loop" situation with my tuner/volume and noise gate, you ask? Simple! This setup puts everything that runs in front of my amp in the loop of the volume pedal, which allows me to raise/lower the volume of that entire side of my rig without affecting the tone like you would by just running a volume pedal in line with the rest of your pedals. There are situations where I'll volume swell with the volume knob on my guitar, and situations where I want to fade in/out with a pedal, so this allows me to do both. Similarly, all of my dirt pedals are in the loop of my noise gate, which means I can set the threshold of the noise gate to open/close purely based on what I'm doing with my guitar and volume pedal, while still catching unwanted noise that can be introduced by my dirt pedals.
Anyway, that half of my rig goes to the input of my amp, then the "send" on my amp's effects loop comes back into the board via the "FROM SND" jack on the patch bay. That goes into the second One Control Crocodile Tail switcher (D). Note that this switcher is a slave unit controlled by the first switcher, so I actually run my ENTIRE board from the first switcher! The second set of loops here are as follows:
LOOP 1 (D1): Ibanez LF-7 Lo-Fi Filter
LOOP 2 (D2): Source Audio EQ2 #2
LOOP 3 (D3): Boss CE-5 Chorus Ensemble
LOOP 4 (D4): Boss BF-3 Flanger
LOOP 5 (D5): MXR M290 Mini Phase 95
LOOP 6 (D6): Walrus Audio Monumental Stereo Harmonic Tap Tremolo (Not in photo, replaced Monument V2 Harmonic Tremolo)
LOOP 7 (D7): Boss DD-200 Digital Delay
LOOP 8 (D8): Boss RV-200 Reverb (Not in photo, replaced TC Electronic Hall of Fame 2x4)
LOOP 9 (D9): TC Electronic Spark Mini Booster
LOOP 10 (D10): Used for amp channel switching, via the "CH. SW." jack on the patch bay.
From there, the signal goes out through the "TO RTN" jack on the patch bay, and back into the return of my amp's effects loop.
But we're STILL not quite done! Some of these pedals are MIDI-enabled, so I use the MIDI output from the first Crocodile Tail switcher to give me greater control over them (it allows me to recall different EQ settings without having to touch the actual pedals, for instance). The MIDI signal flow is in the following order:
Crocodile Tail #1 MIDI Output > Source Audio EQ2 #1 > Source Audio EQ2 #2 > Boss DD-200 > Boss RV-200 > Digitech Whammy
The Boss DD-200 and RV-200 use a different type of MIDI connection than the other pedals, so I initially avoided using their MIDI features, but I eventually figured out how to incorporate them. If you're wondering why I use two identical Source Audio EQ2's, they serve different purposes. The first one is basically just used to compensate for different output levels from the pickups in my various guitars, while the second one is used for more dramatic EQ adjustments (since the second one is in the amp's effects loop, it has a more dramatic effect on tone regardless).
Lastly, you may have noticed the TC Electronic BodyRez pedal (E) that I haven't talked about. That's actually part of a completely separate signal path that I use for acoustic guitar - I plug into the "AC. IN" jack on the patch bay, and that goes into the BodyRez, before going out through a Temple Audio Passive Direct Box Module via an XLR cable.
Phew, that was a lot! Glad I don't have to deal with anything else like that, or...oh...wait...I have another pedalboard. AHHHHHHH
Bass Pedalboard: "The Not-Nearly-As-Massive-As-The-Mothership"
This one's honestly nothing compared to my guitar pedalboard, haha. I actually built the board myself, it's a bookshelf that I bought at Home Depot! I sanded it down, covered it in Velcro, and put some rubber feet on the bottom. And it conveniently fits in an old Pedaltrain case I had laying around! It's powered by a Voodoo Lab ISO 5 power supply, and the signal flow is as follows:
Ernie Ball 40th Anniversary Volume Pedal > 1980s DOD FX60 Stereo Chorus > One Control 1 Loop Box (w/Electro-Harmonix Epitome in loop) > Boss GEB-7 Bass Equalizer
Nothing too crazy. The Epitome is in a loop because I like to use it for droning pseudo-synth sounds in conjunction with my volume pedal, and I typically have all 3 sections of it turned on at the same time, so the loop box is just there to allow me to turn it on/off with one footswitch. The EQ pedal is used primarily as a boost. The pair of switchers at the bottom are the FS-12 and FS-13 foot controllers for my Blackstar U500, which I no longer have - I still have this board wired up the way you see it here, it just no longer has the foot controllers on it.
Ernie Ball 40th Anniversary Volume Pedal > 1980s DOD FX60 Stereo Chorus > One Control 1 Loop Box (w/Electro-Harmonix Epitome in loop) > Boss GEB-7 Bass Equalizer
Nothing too crazy. The Epitome is in a loop because I like to use it for droning pseudo-synth sounds in conjunction with my volume pedal, and I typically have all 3 sections of it turned on at the same time, so the loop box is just there to allow me to turn it on/off with one footswitch. The EQ pedal is used primarily as a boost. The pair of switchers at the bottom are the FS-12 and FS-13 foot controllers for my Blackstar U500, which I no longer have - I still have this board wired up the way you see it here, it just no longer has the foot controllers on it.
Live Guitar Rig: Tech 21 FlyRig 5 V2
As of late 2023, I've switched from bass to lead guitar in one of the bands I play in. My "Mothership" pedalboard at home is WAAAAAY too big, valuable, and complicated to really be suitable for use in a regular live rig, and I don't use a ton of different guitar sounds in this band anyway so it would be massive overkill. Instead, I bought this little unit from Tech 21, it gives me access to a couple different drive sounds, a boost, a tuner, and some delay/reverb. That's all I really need. It also has the advantage of an XLR out with a built-in cabinet sim, so I can run it direct to the board and not have to mic my amp on stage, but I can still go to my amp from the 1/4" out and use it like a monitor. Super useful!
Former Pedals/Effects
As mentioned previously, I've gone through a TON of pedals to arrive at the ones I use today. I don't have photos of most of these, so you'll find a bunch of stock photos here. This is (mostly) in alphabetical order, and dates are approximate.
Boss CS-3 Compression Sustainer (2008-2018)
Boss GE-7 Equalizer (2014-2020)
Boss GT-8 Effects Processor (2006-2010)
Boss OC-3 Super Octave (2012-2013)
Boss TU-2 Chromatic Tuner (2005-2017)
Boss TU-3 Chromatic Tuner (2016-2019)
Boss TU-3w Chromatic Tuner (2019-2021)
Coffin Case BDFX-1 Blood Drive (2006-2019)
Electro-Harmonix Cock Fight Cocked Talking Wah/Fuzz (2021)
Ernie Ball 40th Anniversary Volume Pedal (2018-2021) *I had two of these, but ended up selling one*
Headrush MX5 Special Edition Silver Multi FX/Amp Modeler (2022-2023)
MXR M169A 10th Anniversary Carbon Copy Delay (2019-2020)
MXR M222 Talk Box (2014-2019)
TC Electronic Hall of Fame 2x4 Reverb (2023)
TC Electronic Sentry Noise Gate (2019-2021)
Voodoo Lab Sparkle Drive MOD (2012-2020)
Walrus Audio Ages Five-State Overdrive (2020-2024) *Replaced with identical pedal*
Walrus Audio Luminary V2 Quad Octave Generator (2019)
Walrus Audio Monument V2 Harmonic Tremolo (2021-2024)
1980s Ross Distortion (2005-2019)
1970s Marlboro Sound Works QSB-II Quadra Sound Blender (2005-2018)
I've also gone through a couple other pedalboard/power supply combinations:
Pedaltrain PT-2 Pedalboard (2016-2018)
Pedaltrain Classic Pro Pedalboard (2018-2021)
Strymon Zuma/Ojai Power Supplies (2018-2021)
Boss CS-3 Compression Sustainer (2008-2018)
Boss GE-7 Equalizer (2014-2020)
Boss GT-8 Effects Processor (2006-2010)
Boss OC-3 Super Octave (2012-2013)
Boss TU-2 Chromatic Tuner (2005-2017)
Boss TU-3 Chromatic Tuner (2016-2019)
Boss TU-3w Chromatic Tuner (2019-2021)
Coffin Case BDFX-1 Blood Drive (2006-2019)
Electro-Harmonix Cock Fight Cocked Talking Wah/Fuzz (2021)
Ernie Ball 40th Anniversary Volume Pedal (2018-2021) *I had two of these, but ended up selling one*
Headrush MX5 Special Edition Silver Multi FX/Amp Modeler (2022-2023)
MXR M169A 10th Anniversary Carbon Copy Delay (2019-2020)
MXR M222 Talk Box (2014-2019)
TC Electronic Hall of Fame 2x4 Reverb (2023)
TC Electronic Sentry Noise Gate (2019-2021)
Voodoo Lab Sparkle Drive MOD (2012-2020)
Walrus Audio Ages Five-State Overdrive (2020-2024) *Replaced with identical pedal*
Walrus Audio Luminary V2 Quad Octave Generator (2019)
Walrus Audio Monument V2 Harmonic Tremolo (2021-2024)
1980s Ross Distortion (2005-2019)
1970s Marlboro Sound Works QSB-II Quadra Sound Blender (2005-2018)
I've also gone through a couple other pedalboard/power supply combinations:
Pedaltrain PT-2 Pedalboard (2016-2018)
Pedaltrain Classic Pro Pedalboard (2018-2021)
Strymon Zuma/Ojai Power Supplies (2018-2021)