I am going to assume that you mean for the 2001 Paris performance, at about the middle of the song and at the end?
First of all, there’s definitely distortion. It’s not super heavy for the most part, so not from his Mesa Boogie. As such, it’s probably his Boss SD1, though it could be his Crowther Hotcake (I need to research further to see if it was used in 2001). However, it does seem to get heavier at the very end of the song, which suggests he may have switched on both the Crowther Hotcake and the Boss SD1 for that last held note, or switched to the Mesa.
Second, it sounds like there are two delays, both Boss DD5’s. There’s a one that’s about 675ms, and there’s also a shorter one that’s abut 200ms. There’s also a delay set to the DD5’s reverse delay, which is a big part of what makes his part sound so interesting and distinct. I’m not totally sure if the reverse delay is the same as the short one, or a third distinct delay, but I suspect the latter.
Ed seems to have learned empirically, by messing with the pedals until he liked what he heard. This is how most guitarist figure out how to use pedals. All pedals are different, and techniques which are usable when you have four Boss DD5’s will not necessarily work when you have a bunch of Boss DM2’s or MXR Carbon Copies (though in generally having several different delays rather than several of the same is preferable as it gives more options). Just get to know how your own delay pedals work (really get to know I mean), and you shouldn’t have too much trouble figuring out ways to combine them.
Also note that delays are always only part of how he makes these effect. The way in which he plays his guitar and the other effects used all are just as important to the sonic result.
Jonny uses a Metric Halo Mobile I/O 2882. Theoretically he could also use his Boss LS2 to raise or lower the volume from the laptop.
The MBOX has input and output level controls. Just sent the input gain to the highest level without clipping when played hard, then set its output to be the same volume as the your guitar would be if the MBOX was not in use. If set right, you shouldn’t notice a difference in volume.
There seem to be several 15R’s on eBay currently, assuming that that is an option for you. It’s full name is the Vox V9168R Pathfinder 15R, so sometimes it may be called Vox V9168R or other variations.
Considering the price of the Pathfinder 10, it definitely wouldn’t be a loss to pick one up if you got a good price on one (under $60 with shipping).
However, I think that you’re better off getting the 15R. It’s louder and has switchable tremolo and spring reverb, so it’s a really good amp to have for small practices. By all accounts, it also sounds a bit better, but I have never heard them head to head. That said, the Pathfinder which is met with so much acclaim is the 15R, and there is probably a reason that the 10 is not discussed so fondly.
My advice would be to get the 15R. Eventually I will do a comparison of the two amps, but that will be too far in the future for it to be worth it for you to wait to hear it.
I am not aware of anywhere that sells them, and I suspect that noonecares9269 made them himself or had them made for him.
This may be rich coming from me, with a whole website tediously detailing Radiohead facts and techniques, but is having copies of Jonny’s stickers really necessary? Jonny put those stickers on his guitar because those are things that he likes. He watches Attack No.1 (I assume) and rides Honda Motorcycles. Put stickers on your guitar that reflect the things that you like.
That’s hard to do when you’re an anonymous individual.
Schaller Strap Locks (silver ones), as listed on his page under “Guitar Accessories.” All of the band has been using them since the early 90’s, so they must like them.
Here is an image where you can see them clearly.
He just rolls with it and focuses on making music. The length and capacitance of cables used and the characteristics of the buffers (or lack thereof) in his pedal chain will cause the EQ of his signal to be a little different than it would be if the guitar went straight to the amp, or if he used different cables and pedals. Longer cables will reduce treble content, while buffers in pedals will restore that treble content, though some may add their own subtle tonal characteristics. One could even view this as giving one’s tone unique characteristics; maybe he even likes the resulting sound. This is why companies like MXR create faithful reissues of their pedals (such as the ‘74 Vintage Phase 90) with the original buffers, even though they could just as easily have put in a “better” buffer or made them true-bypass.
To be honest, though, I just don’t think that he cares particularly.
Submitted by joshsemans
Hi! Yeah, Jonny used an Akai E2 Headrush for the new piece ‘Loop’ that he performed last night. His pedal chain was Guitar - Buss TU (2 or 3) - Akai E2 Headrush - Vox AC30. I have no photographs to prove this, but trust that I am 100% sure in my claim. I was on stage left very close to the piano and had a good view of his feet as he was tapping the head rush and changing loop volumes with his feet.
Thank you for the submission!
The Boss TU is quite visible in images, but it didn’t look like we’d ever know for certain that the blur next to it was the Headrush. It’s great to have the help of those who were actually there to see.