Fender Road Worn 60s Stratocaster: I’ve made some upgrades to this guitar to give it a smoother tone. It’s got DiMarzio Area 58/61 pickups and Nystrum wired electronics. I don’t think I could ever go without owning a Strat because I learned how to play guitar on one.

Fender Road Worn 50s Telecaster: I play this guitar more often for worship services because it can cover a lot of ground. The pickups are Lollar 52. I also upgraded the electronics with an Emerson Wiring Kit, and the bridge with compensated brass saddles.

Pedalboard (In order)

Digitech Whammy IV: I use this as an octave pedal but in “Whammy” mode. It takes your dry signal and allows you glide up to the octave. This is a very extreme sounding effect and can sound cool when used tastefully. I put it at the beginning of my chain, off the board, because its not always needed.

Boss TU-2: Tuner.

Walrus Audio Deep Six: This is my favorite compressor pedal that I have used. It has a blend knob that works well. If you start with the blend knob turned all the way to the left (dry signal only) you can gradually blend in the compressed signal by turning it counter clockwise. The goal is to get more sustain  and smooth playing without squeezing it to oblivion.

Disaster Area DPC-8EZ: This is a MIDI Controlled Looper with custom firmware that Jeffrey Kunde made with Disaster Area. I use it to switch between my 4 overdrive pedals. One mode works like a normal looper, while the other lets you make 4 different presets of any combination of pedals. I have mine set to stack my pedals but in different combinations.

Emerson Em-Drive: I love this pedal. Its always on for my cleanest setting. I also use it to push my Superbolt a lot. It has a loud volume knob which is handy.

Emerson Paramount: This pedal is similar to the Em-Dive, and they stack well together. I like that it has a tone knob added and a little more gain range.

JHS Superbolt: This has become my main OD pedal. I use it for rhythm parts as well as lead guitar riffs (stacked with the Em-Drive). Its meant to sound like an old Supro amp, and I think it does that well. I use it with the switch up, cleaner setting. If you want classic Switchfoot or Led Zep tones, switch it down and crank the drive knob.

ProCo Rat (w/Keeley mod): I searched for one of these after my friend got one and let me borrow it. I knew I wanted the Keeley mod though because it has a “Mighty Mouse” setting that is cleaner and WAY louder – which really pushes the amp in a great way. Turned out Keeley stopped doing mods, so I found this older, early 90s one. So many great guitarists have used these as their main Distortion pedal.

Electro-Harmonix Micro POG: This pedal adds and octave up and down to your dry signal. I use it for songs that have a really big lead line in it. Its perfect to fill in space if the song has a slower tempo and the notes need to ring out but also sound huge.

DOD FX65: This is my vintage chorus pedal. I read somewhere that this is the pedal the Cranberries guitarist used as well as occasionally by John Frusciante from the Red Hot Chili Peppers. I figured if it was good for them, I may like it. Its a one trick pony but does the job. I may look into a more versatile option down the road.

Ernie Ball Volume Jr: Volume Pedal.

Electro Harmonix Deluxe Memory Man TT-1100: This is my “swells” delay. Its analog heaven and has separate knob for tweaking the modulation rate and depth. I love memory man for its analog warmth and modulation swirl, so I turn up the feedback, delay and modulation for swells.

Boss DD-5: This pedal is my favorite delay sound. I can’t really pin point why but I think its the way the repeats trail off. They ratio between each repeat is perfect. I also like that its digital but doesn’t sound sterile. I use it for a dotted 8th U2 type sound a lot. It also ha an awesome reverse delay setting that will repeat forever like a pad. I don’t need this pedal because I have a Timeline, but I definitely want it there for spontaneous moments. I use a Blackeye Effects dual tap to tap in my tempo for both the DD-5 and DMMTT-1100.

Strymon Timeline: My main delay. I program the setlist into it and have preset BPMs for each song. I love this thing for the MIDI and Preset capabilities. My most common settings are dTape, dBucket, Digital and Pattern. I only wish this delay had a selector for Tap Divisions right on the front of it, instead of going into the parameters to change it. To overcome this I always have a setting with quarter note divisions on preset”A” and then a dotted 8th setting on “B” for every song. It uses more banks up, but I can tap a footswitch to switch between them now.

Strymon Big Sky: A reverb version of the Timeline. I use the Hall, Plate, Room, and Cloud settings the most.

Disatser Area DMC-6D: This is another MIDI controller with custom firmware that Jeffrey Kunde made with Disaster Area. This allows me to bank up and down on both the Timeline and Big Sky simultaneously. It also connects to the DPC-8EZ so I can have a my 4 dry presets saved to that same bank that my delays and reverbs are saved to. To sum it up, I can switch my whole board to a different song in just once click.

Walrus Audio Phoenix Power Supply: It powers 15 pedals at once. It’s exactly what I needed and came on the market at the right time. There’s even spots to power your Timeline-size pedals without an adapter.


’96 Fender Prosonic

This is a Fender Custom Shop Hardwired amp that is closer to the likes of an AC-30 than other Fenders. Its warmer and breaks up much nicer.

(Usually paired with a Vox AC30 6TB, BadCat Luca, or Jackson Britain 30 for worship services, provided by the church)

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