Chords for Pedals And Effects: Juan's Dr. Octagon Tour Pedalboard

[E] _ [Gbm] _ [G] _ [Ab] _ [A] _ [Bb] _ [B] _ [C] _
_ _ _ [E] _ [N] Hey, it's Juan with my very own rig rundown for the Dr.
Octagon tour.
And yes, I am bringing this many pedals.
_ These many because the new record's heavy.
Nobody has heard it because it's not released, but has a lot of heavy stuff.
I put a lot of affected bass on it.
And then the old stuff, I do some weird stuff.
And let me show you where I'm at.
So this is tuner, mute, there, I'm muted.
_ _ Right next to that is my envelope filter.
It's the BR-2 by Gaia Tone, bottom wall rocker.
Next to that, of course, everybody knows, I've always used this.
Sounds great with flats, that's why I'm using it on this thing.
That makes this bass sound good.
_ This is the vibrato pedal, of course, _ I've had this for years.
And then next to it, cruising custard, because I'm
doing a lot of weird synth sounds.
This thing sounds great with this bass, with the Goya bass that I'm playing.
Rainbow Machine for crazy modulated drops.
I have the magic on, and I'll just like, in between songs,
just start dropping pitches down and all the weird trails
that the Rainbow Machine does.
Goes into the TWA, the Great Divide by Godlike.
This is like a micro synth on steroids. _ _
Yes, and so I'm using it, this is like the sub, lower octave, dry signal,
upper octave synth sound, awesome.
Next to that, _ Fairfield circuitry from Canada, it's the ring mod.
Everybody's like, what?
You're going to use a ring mod on bass?
Yes, because there's a song, Wild and Crazy, off the first Octagon record,
and I get that exact synth sound with this.
Next to that, the bitmap.
I'm using it like a super crushed, _ low, _ bit crushing,
and I have to have the compressor on with it in order for it to activate.
Next to that, the Eruptor, the new Earthquaker devices fuzz.
It sounds, _ my favorite is with flatwounds.
This thing really, really was made for flatwound bass,
and I like it a little bit gated, so that's where I'm clocking that dude.
OC2 synth sound, the _ two octave down is all the way up,
_ _ one octave down is all the way up, and then the direct level is off.
The meatbox, Nick is going to love this.
Noah, the sound man for Octagon, has asked me to just run this
so he can run it, so it's always on.
It's always on.
_ So yes, Nick, you get your way, because Noah wanted it.
Is that in, that goes to a DI or something?
It's going to go, yeah, it's going to this amp so you can hear it,
but it's going to go straight to the DI, exactly.
And then, so I'm going to have two DI's at every show.
Anyway, yes, Nick.
And then I usually, as if anybody knows, I usually just have it in my line,
and I trigger it through my bass rig and the PA,
just because I want to control it, but I'm giving up control to Noah.
The Hummingbird, chopping stuff up. _
My favorite analog delay ever made, the Endangered Audio Research _ 84096,
but I do it just because we do a lot of like psych shit,
and I'll just tweak out the delays and mess with the time.
And then this is the same thing.
I use it in between songs.
I've done it for years with Mars Volta, in between songs,
you always hear those cycles going.
And let's start with [G] that.
So you know, one note, right?
And then you put this [B] on.
[C] _ [Bbm] _ [G] _ _ [A] _ _ [C] _ _
So what I'll do is I'll get a cool sound, hopefully.
[D] _ _ [C] _ _ [N] _ _ So already that sounds [Dm] good, or I'll hit this sucker. _ _ _ _
_ _ [Ab] _ _ [Dm] _ _ _ [Gm] _
[A] _ _ [D] _ _ [Bb] _ _ [A] _ [Ab] _
[N] So all those different sounds sound cool going through this.
I had this on my rig rundown for Premiere Guitar _ years ago.
So really, the only new stuff that I'm really messing with
is the Prism Custer, the Eruptor, the Bitmap, the Fairfield circuitry.
Actually, I guess half of it hasn't been with me on a lot of stuff.
But I've been using this for the last three or four years, but whatever.
Anyway, so let me just rip through some sounds.
_ _ So here's just my bass down for most of the _ set.
_ Sorry.
_ Whoa. _ _ _ _ _
This is going.
_ _ Get those fuckers clean.
_ _ Too many switches. _
_ _ _ It's going.
I have another Goya, but I can't bring it out there.
Switches are cool on guitars, but that's what happens.
_ _ _ OK, so there, that's kind of janky, but oh well.
Here's my envelope. _ _ _ _
Oh, here. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ So there, envelope, bass, _ _ _ vibrato. _ _ _ _
_ So I don't always just use it like that.
I'll usually get another sound with it.
_ [G] _ _ _ _
_ _ _ _ _ _ _ [N] _
_ Or so any sound that I get, it sounds better with vibrato the way I hear it.
And then, of course, the Rainbow Machine. _ _
_ So that's what I meant about just getting
different sounds in between songs.
_ _ _ _ _ _ _ _
_ So [Ebm] _ _ _ _ _
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_ _ _ _ _ _ _ _
[Ab] _ _ _ _ anyway, so that's how I use the Rainbow Machine.
Got like.
_ [A] _ _ [Bbm] _
So [N] _ _ _ _ _ [B] _ [E] _
_ now imagine this.
Imagine what I just did, but the [Em] meat box is constantly on,
and the guy blends it all together.
[Gb] _ _ [G] _
[Ab] _ [A] _ [Bb] _ [B] _ [C] _ _ _ _
[E] _ _ _ [C] _ _ _ _ [E] _
_ _ _ So that is a big synth sound.
I'm going to keep the meat box on, because that's how I'm playing.
Wild and Crazy, off the first Octagon record, this [Eb] sound. _ _ _
_ _ _ _ _ Wild and crazy.
_ _ _ So there, I have to use that ring mod in that.
And I just showed you how I use the bit.
[B] _ _ _ _ [C] _ _ _ _
_ [B] _ _ _ _ _ [C] _ _
_ _ [B] _ _ _ _ [C] _ _
_ _ _ [B] _ [A] _ _ _ [Ab] _
_ _ _ _ [Dm] Kind of like a fuzz, but it's a fucked up fuzz.
And then here's another cool fuzz.
_ [Db] _
_ [E] _ [F] _ _ [B] _ [C] _ _ [Eb] _
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[N] _ _ And then, of course, the OC2. _ _
_ Now with the meat box, _ _ _ _ _ _ _ _ _ _ _ _
_ _ _ that is going to be bumping PA's.
And then, of course, _ _ _ _ _ _ _ _ _ _ the problem though with this system
is that when I chop up the sound in the tremolo with the hummingbird,
the meat box is just going to sound like this.
_ But the other signal is going to be doing this.
_ So you're going to have a sustained meat box not being chopped up. _
But I don't want to build another pedal board.
I don't have the time, and I don't have the weight.
You have to make certain sacrifices.
Yes.
Yeah, thank you.
And then delay.
_ _ [Ab] _ [A] _ _ _
And when I'm at it, we'll just sit there.
[G] _ _ [E] _ _ [Ebm] _
_ _ _ _ _ _ _ _
_ [A] And _ that's just [N] like when we just go bananas.
And then it's like I said, this one.
We started here.
_ We end there.
_ _ And of course, the meat box won't be hitting that.
I mean, unless I did it, I don't know.
I don't know how else to do that.
_ _ I tried to do that in Halo Orbit where I always
could control the meat box.
_ You just have to sacrifice and give in.
So that's it.
That's my rig.
_ _ _ _ _ _ _ [A] _