Jonny Greenwood’s Rig

Jonathan Richard Guy Greenwood (born 5 November 1971) is the multi-instrumentalist and composer, best known for his work with Radiohead. He younger brother of bandmate Colin Greenwood. Aside from being one of the most innovative guitarists of all time, Jonny Greenwood plays a variety of instruments such as the Glockenspiel, Harmonica, Banjo, and Ondes Martenot, to name a few.

Projects outside of Radiohead include the composition of classical music, working with the BBC Concert Orchestra (as composer in residence) and later with the Australian Chamber Orchestra (ACO), London Contemporary Orchestra (LCO), and Wordless Music Orchestra, and also of the scores of movies including the documentary on the human condition, Bodysong (2003), the drama loosely based on Upton Sinclair’s “Oil!” , There Will Be Blood (2007), and the film adaptation of Haruki Murakami’s novel Norwegian Wood (2010).

-Jonny performing at a Radiohead concert, very likely in the midst of hitting two pedals at once-


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Stringed Instruments

-Electric Guitars[+]

-Acoustic Guitars[+]

-Bass Guitar[+]

-Assorted Strings[+]

-Guitar Accessories[+]


-Solid State[+]


-Speaker Cabinets[+]

-General Amplifiers/Monitors

Guitar Effects


-Pedals Used[+]

-Offboard and Studio Effects+]

-Other “Effects” and Techniques[+]

-Pedalboards and Cables

-Disputed Claims(no real evidence)[+]

Computers and Software

-Computers and Related Gear


Keyboards and Synthesizers

-Pianos and Keyboards[+]

-Keyboard Synthesizers, etc[+]

-Synth Controllers[+]

-Modular Systems[+]

-Midi Controllers and Software[+]

-Keyboard Effects[+]

-Keyboard Pedalboards[+]



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Jonny’s Stringed Instruments

Jonny’s guitars for the 2012 Tour, from right to left: Fender Telecaster Plus, Fender Telecaster Plus/Standard, Fender Starcaster, Rickenbacker 360, Guild M85, Lakewood M14.

Electric Guitars

Cream Fender Telecaster Stolen.

His first electric guitar, Jonny bought this Telecaster from his teacher when he was sixteen. It was stolen in Leeds at the Duchess of York on May 15 1992, during Radiohead’s first tour(the Creep Tour).

A photo featuring Jonny’s original Cream Telecaster. I’m not sure what the black on it is - tape, maybe?

Tobacco Burst Fender Telecaster Plus Tele1

Obtained in 1995, after the theft of his old Telecaster Plus. The guitar is from ‘92 - ‘93. For a short time after the theft, Jonny had experimented with many different guitars and neck/body combinations, but soon settled back on standard V1 Telecaster Plus. This did not occur publicly, of course, so we will never learn of the rejects, though he likely tried just about everything. Thought to be his old Tele2, but it seems that that was actually stolen as well.

The pickups are the original stock Lace Sensor pickups; a single blue lace pickup at the neck and humbucker of two red lace pickups at the bridge. They have never been changed. Though the Telecaster Plus comes with the ability to split the humbucker into single coils, Jonny has removed this feature on his guitar(see above); the lace sensor humbucker is a big part of his sound, as it what makes his Telecaster(the Telecaster Plus V1) so different from any others.

Jonny (with Plank) added a custom cutoff/kill-switch and made special rewirings to the guitar. The cutoff switch, which Jonny put in place of the Humbucker splitter switch which comes standard with a Telecaster Plus, is momentary, and so it allows Jonny to mute his volume only while the switch is pressed. You can see/hear an example here (you can see him hitting the switch very quickly with his pinky). The switch itself is an Apem 300 series momentary push button (at least circa 2007). He has used the switch for the solos of the recorded versions of Airbag, Paranoid Android, and Electioneering. Live, it has been used for those songs as well as You, My Iron Lung[in conjunction with his Whammy], (Nice Dream)[in conjunction with his Whammy], Planet Telex[in conjunction with his Whammy], and others(in addition, see section on his original Tele Plus to see which earlier songs he used the cuttoff switch on).

There is a small, strange bit of metal on the Telecaster visible just above one of the screws for Jonny’s neck pickup. It was added by 1997. It is too small to be a standard pot, and doesn’t like at all like a trim-pot. Its purpose is currently unknown.

Jonny has removed the volume knobs of his Tele’s since circa 1994. This is likely because volume knobs on Telecasters are rather easy to hit accidentally, especially with Jonny’s aggressive playing style. The potentiometers remain, however, so he can still change the volume with relative ease. He does keep the tone knobs, however. For a short time, circa 2001, Jonny used different knobs on his main Telecaster (see picture below). The knobs vaguely resemble those manufactured by Kilo International which are used on the Diamond Memory Lane 2 pedal, used by Ed a decade later.

The sticker on the pick guard is from an Anime called “Attack No. 1”, which is about female volleyball players. It was added in either added in late 1996, or early 1997. In 1997, a square yellow sticker, possibly a sticky note, was added to the guitar under the bridge, but it was removed by 1998. The one below the bridge is Honda Motorcycle(little known fact: Jonny rides them!), added between late 2001 and mid 2002. There is also a Menorah sticker on the back of the headstock, added in the mid to late 90’s.

Jonny with the guitar when it was practically new in 1996.

Jonny with his Telecaster Plus when it was quite new, in around 1996-7.

For a short time, circa 2001, Jonny used different knobs on his main Telecaster, as can be seen in this photo.

Jonny with the guitar in circa 2003.

Jonny with his Telecaster Plus. Note the plectrums stuck into the pickguard, which a regular habit for Jonny. It serves as a place to store picks when fingerpicking or playing other instruments, allows him to have immediate access to extra picks if he drops one while playing.

A shot of the back of the headstock of Jonny’s Telecaster Plus from the In Rainbows Basement sessions.

A very up-close shot of Jonny’s Tele Plus from Glastonbury 2012.

Tobacco Burst Fender Telecaster Plus (old Tele1) Stolen.

For any who may somehow come across it and hope to return it, the serial number is N9083****

Jonny’s first Telecaster Plus, from 1990, was almost definitely used for every track on Pablo Honey, The Bends, and their b-sides which Jonny played on. Sadly, the guitar was stolen in 1995.

The guitar with modified with a cuttoff/kill-switch very early(1992). It could be heard at the very end of a performance of Prove Yourself at Huddersfield University in 1992. He can also be heard using it during the band’s performance of You at the Chicago Metro the next year, as well as in conjunction with his Whammy on performances of My Iron Lung to create a stuttering introduction to the song.

Ebony Frost Fender Telecaster Plus (Old Tele2) Stolen.

For any who may somehow come across it and hope to return it, the serial number is N9103****

The guitar was manufactured in 1990, and acquired at some point in the early 90’s. Jonny’s spare for his original Telecaster Plus, it is easily distinguishable from the main Telecaster by its lack of a sticker on the pick guard. Stolen in Denver 1995.

It was also used frequently in the mid 90’s, and is visible during Radiohead’s performance at The Astoria in 1994, for which Jonny used the guitar for My Iron Lung, Bones, Black Star, and others. As the EP and album recording of My Iron Lung is actually the soundboard recording from that show, with some vocal overdubbing by Thom, we know for certain that this guitar was used for the recorded version of My Iron Lung.

Jonny playing the old No2 Telecaster in the early 90’s.

Jonny playing the guitar during Bones at The Astoria.

The instrument can be seen on a stand behind Jonny in this picture from their performance of Fake Plastic Trees at the 2Meter Sessions.

Sunburst Fender Telecaster American Standard/Plus (Tele2)

Purchased and modified in 1996(probably) or 1997, after his original Tele was stolen in October 1995. This guitar has been converted into a Telecaster Plus and has the same modifications* and pickups as his main Plus. It is also from  ‘92 - ‘93(?).Jonny brings this guitar on every tour as a backup.

Jonny’s No2 Telecaster is most likely an American Telecaster Standard. (The MIM Standard had 21 frets rather than 22, and the American Deluxe was contoured.) From the mid 90’s, so a first model American Standard. The bridge on the guitar was replaced with one shaped like that of a standard Telecaster, but which has a larger hole to fit a humbucker.
Killswitch, strange knob, removal of volume knob.

At some time around In Rainbows era, Plank fitted it with a Korg Kaoss Pad KP2 screen(as can be seen in this photo), but it has yet to be used live.

From Plank’s blog:
"I did fit a Kaoss pad screen to Jonnys spare tele a while back and we configured it to change trigger points and shift x-y co ordinates in a couple of weird computer programs but it all got a bit mental……….then something more urgent came along so it joined the list of good ideas to be continued one day ??……..DC power run up two cores of four core screen along with signal into 6 pin XLR…..

a ps to this blog…. the above bit about kaoss pad is a quick bit of info in response to a question, the job itself took many hours was complicated involving dismantling entire unit, removing and re soldering components, running extra ribbon cables and mini surface mount switches and routing of the guitar, I wouldn’t advise tearing in and wrecking your shiny new kaoss pad!….arrr :-)”

A screencapture of the guitar from Jonny’s 2012 ACO Underground performance of Electric Counterpoint.

Jonny plays Banjo while his No. 2 Telecaster lurks behind him (deadairspace).

Jonny with the guitar in 2012 (flickr).

Fender Starcaster

Acquired in 1996, the Starcaster has become Jonny’s most recognizable guitar besides his Telecaster Plus, and also the most used besides the Tele Plus. From 1975, according to this website, which is for the most part accurate.Generally played for “mellower” songs. It is most notoriously seen to be played with a cello bow during live performances of Pyramid Song since 2006. The guitar is also noticeably used on live performances of Street Spirit, though not on the recording, during which Jonny plays the guitar part with a capo at the twelfth fret whilst also playing his midi keyboard with the guitar’s headstock. Jonny used the same headstock technique for A Wolf At The Door in 2008-9 and 2012.

Though used on OK Computer for Subterranean Homesick Alien, Let Down, and The Tourist, and possibly some parts on other songs, it was used most on Kid A and Amnesiac, particularly Amnesiac judging by live usage. Since those albums, for recording Jonny has only rarely used anything besides his main Telecaster Plus, but the Starcaster has remained in frequent live use. Based on studio photos, and also the tone of the guitars on the album, I suspect that Jonny used his Starcaster for the recordings of several tracks from The King of Limbs on live performances of which he plays his Telecaster Plus, namely Little By Little and Magpie. Jonny probably switched to the Telecaster for the live performances of those songs because he thought that its tone better suited the more aggressive live arrangements.

Used live with Radiohead for Subterranean Homesick Alien (in the 90’s and in 2011), Let Down, The TouristOptimistic, In Limbo, Packt Like Sardines In a Crushed Tin Box (2001 performance), Pyramid Song, I Might Be Wrong, Knives Out, You and Whose Army, Jigsaw Falling Into Place, and Give Up The Ghost.

In 2011, Jonny used the guitar for his first performance of Steve Reich’s Electronic Counterpoint. It was also used in 2014 for his first performance of the solo piece Self Portrait with Seven Fingers.

It is equipped with its original Fender Wide Ranger Pickups; there are no known modifications to the guitar whatsoever.

Jonny with the Starcaster (flickr).

Jonny playing his Fender Starcaster during a live performance of Pyramid Song (flickr).

Jonny also used this guitar when he performed Steve Reich’s Electronic Counterpoint at the Polish Cultural Convention, as seen below.

Gretsch G6119-1962HT Tennessee Rose HT

Obtained pre-In Rainbows Era. Used, during soundchecks at least, for touring during that period(circa 2006), and during recording sessions, though it is unknown if any recordings of the instrument made it to the final album. It is not known to have seen use since In Rainbows.

Jonny playing the Gretch during a soundcheck (deadairspace).

Gibson Les Paul Standard

This guitar was first seen in 2006, in pictures on Dead Air Space from the recording of In Rainbows. Likely a late 70’s or early 80’s Les Paul Standard, in a goldish natural finish. The pickup selector and knobs look to be non-original.

Jonny first performed with the guitar for Radiohead’s cover of The Headmaster Ritual from the Thumbs Down webcast. The only time that Jonny used the guitar live with Radiohead was at the Radiohead for Haiti show, at which he played it on Morning Bell, The Bends, Airbag, Exit Music, and Paranoid Android, although Thom did use the instrument during later In Rainbows touring.

Outside of Radiohead, Jonny used the guitar for his July 2013 performance of Electric Counterpoint at the Open’er Festival, and in 2014 for his first performance of the solo piece Loop. The Gibson was then used for both Electric Counterpoint and Loop at the 2014 Big Ears Festival. Jonny also used the Les Paul for his collaborative performance with Shye Ben-Tzur atAlchemy, at the Southbank Centre in London on May 17th, 2014.

Jonny with Les Paul Standard. Posted on Dead Air Space, this is the first time it was seen (deadairspace).

A very nice shot of the guitar, taken at the Haiti Benefit show.

Another shot of Jonny from the Haiti Benefit show.

Jonny from his performance of Electric Counterpoint at the Open’er Festival.

Rickenbacker 360 Fireglo

Used for the Daily Mail at Glastonbury 2011, during TKOL FTB, and during the 2012 Tour. Fitted with stock Toaster Top pickups. Probably obtained some time during 2009-2011.

Jonny, standing on stage with his Rickenbacker in 2012.

Grey Telecaster

This guitar has never been seen, but was listed by Jonny as being used for some of the guitar parts on the backing track for Electric Counterpoint which he recorded in June, 2014 (Initially, at least, he rerecorded the backing track for each performance of the piece).

Candy Apple Telecaster

This guitar has never been seen, but was listed by Jonny as being used for one of the guitar parts on the backing track for Electric Counterpoint which he recorded in June, 2014. For the recording, the guitar was used with a Fender Super Reverb. Listed by Jonny simply as “apple tele,” it seems that he is refering to the popular finish color “candy apple.”

Black Telecaster

This guitar has never been seen, but was listed by Jonny as being used for one of the guitar parts on the backing track for Electric Counterpoint which he recorded in June, 2014. For the recording, this guitar was used with a Fender Vibro King.

”Macca” Les Paul

This guitar has never been seen, but was listed by Jonny as being used for one of the guitar parts on the backing track for Electric Counterpoint which he recorded in June, 2014. For the recording, the guitar with used with a Mesa Boogie amplifier of some kind.

Three Neck Guitar

Custom made for Jonny for Harry Potter and the Goblet of Fire. It is unknown if it actually functions, or if it was even used to record the song. Video.

Peavey T-60

On his blog, on Thursday 22nd March 2007, Plank posted a picture of this guitar, saying “don’t know how many of these they made but I reckon it’s the kind of thing Jonny would like.” This was posted during the recording sessions for In Rainbows, and it is likely that Jonny has played it. However, since Jonny has never been seen with the guitar, he probably didn’t bond with it.

Gibson ES-335

The only time that Jonny has ever used this guitar was for one performance, at Musique Plus in Montreal during the 2003 Acoustic Tour. It is likely he was just borrowing Ed’s 335. Video.

Guitars held by Jonny, but never actually used for any shows or anything recorded

Sunburst Fender Telecaster

Held by Jonny for the band’s Top Of The Pops performance of Creep in 1993.

Red Fender Telecaster Plus

This guitar has only been seen with Jonny in a photoshoot, and I suspect that the photographer had the instrument for such photoshoots and told him to hold it.

Black Fender Telecaster

Essentially a “throw-away” guitar, this is held by Jonny in the US High and Dry music video. It was likely a very cheap guitar, never used by Jonny for a recording, and ruined by the fake rain in the music video. Maple fingerboard and white pickguard.

Black Fender Telecaster

Used for a TV performance of My Iron Lung when the band was forced to use a playback, rather than actually playing their instruments. Jonny wasn’t too happy about the whole affair, it seems. Maple fingerboard and black pickguard.

Rickenbacker 350

Jonny is seen with this guitar, a rental, in the Stop Whispering music video, but he never actually used it on any recordings.

Acoustic Guitars

Fender Acoustic Guitar

Jonny’s first guitar, he bought it for £40 when he was 14. He still has the instrument.

Lakewood M14

Thom’s No1 Lakewood; used by Jonny for I Might Be Wrong during the acoustic shows in 2003. Jonny later had it as part of his setup for the 2012 Radiohead tour, though he did not use the guitar live. Fitted with a Fishman Rare Earth pickup. It was fitted with a volume knob when used by Thom, but that has since been removed.

Martin D35

The only acoustic known for certain to be owned by Jonny, based on Plank calling it “Jonnys Martin D35 Acoustic…” (stringsreunited). Used by Jonny during In Rainbows era for performances of Faust Arp, and also for a cover of Portishead’s The Rip. Equipped with a Fishman rare earth pickup on April 27th, 2006.

A picture of Jonny’s Martin.

Martin 000-18

Thom’s guitar, but also played Jonny in pictures on Dead Air Space


Taylor Big Baby

Played by Thom and Jonny in pictures on Dead Air Space


Gibson Hummingbird

Belongs to Thom, used at the Haiti Benefit show for Faust Arp.

60s Japanese Nylon String Guitar

Likely acquired in early 2010, though possibly late 2009. Probably used for the tracks 時の洗礼を受けていないものを読むな and いい子だから黙ってて from the Norwegian Wood soundtrack.

“In Norwegian Wood I hunted out a 60s Japanese nylon string guitar and some period home recording equipment, and recorded a bunch of solo guitar things that were meant to have been written and recorded by Reiko, the piano teacher. I imagined finding the tapes years later, and wondered what they’d sound like” Source.

Bass Guitar

Guild M85

The one pickup version, in Cherry Sunburst. Acquired October 2006. Jonny play it on SuperCollider. First live appearance: Supercollider on Sept 29, 2011 at the Roseland Ballroom.

Colin’s Vintage White Fender Precision Bass

Used for the premiere performance of There There from a webcast in February 2000. The arrangement featured Jonny on bass, Thom on guitar and vocals, and Phil on drums.

Colin’s Sunburst Fender Precision Bass

Used for a live performance of Supercollider in Berlin on September 30th, 2012. Jonny’s use of the bass for this show is possibly due to technical difficulties with the Guild, or it could be because Jonny simply wanted to try something new.

Regardless of his reasons for originally using the bass, he also used it for their next performances of Supercollider, in Antwerp, Belgium.

Jonny playing the instrument in Berlin (flickr).

Assorted Strings


Jonny has played viola since grade school, where he played it in the school orchestra. One can assume that he used it to write most(if not all) or Radiohead’s string parts, although prior to All I Need he had never actually recorded himself playing the instrument for Radiohead. Jonny mentioned in a mid-90’s interview that his viola was made by Topham.

From the New Yorke Times:
For “All I Need,” Mr. Greenwood said, he wanted to recapture the white noise generated by a band playing loudly in a room, when “all this chaos kicks up.” That sound never materializes in the more analytical confines of a studio. His solution was to have a string section, and his own overdubbed violas, sustaining every note of the scale, blanketing the frequencies.


Used on the Bodysong track 24 Hour Charleston, and on at least one live performance of the b-side I Am A Wicked Child.

Jonny with his banjo and Apple Powerbook or 1st Gen Macbook Pro (deadairspace).


First seen when used for a performance of the solo piece Miniature on Feb 23, 2014 (with the London Contemporary Orchestra at the Wapping Hydraulic Power Station in East London).

An image of Jonny with his Tanpura at the Wapping Hydraulic Power Station.


According to LeBurn, of whom Jonny is a friend, Jonny played harp at an electric jam session in 2007 (flickr). Jonny mentioned using sampled harps for the end of Motion Picture Soundtrack, due to not having one during the recording of Kid A and Amnesiac, so he must have learned the instrument some time between 2000 and 2007.

Guitar Accessories

Black Kyser Capo

Used in 1994, and probably several years after, for Street Spirit (at the twelfth fret).

Shubb Capo

Either the Original or Lite model (It is impossible to discern which from sight alone, but it’s clearly not the Deluxe model). He’s had it since at least 2010, and since obtained used for Street Spirit, at the twelfth fret, and Separator, at the sixth fret.


Woodies G-Band Two String Partial Capo

    Used at the twelfth fret on Ful Stop.


    Jonny’s electric guitars(or at least all his Tele’s) are equipped with Dean Markley Signature Series 10-46 strings, though he previously used Elite .10 gauge strings.

All acoustics are fitted with Martin SP 11’s (“extra-light” strings).


Jonny likes to place his picks in the pick guard of his guitar, something he has done since the 90’s. He does this both to hold the picks when not playing, but also for another reason. In certain songs, such as Paranoid Android or Staircase, Jonny switches between finger-picking and using a guitar pick. When he switches to the sections requiring finger-picking, he quickly drops his pick. When he goes back to using a pick, instead of finding it on the floor he simply grabs one out of his pick guard. This is also a failsafe in case he drops one of his picks.

Grey .60mm Dunlop Nylon Standard Picks

Used almost exclusively since Jonny began playing guitar, these are the “Jonny Greenwood” guitar pick. They are very thin, which gives makes Jonny’s tone slightly less bright than is the case with thicker picks. I find it difficult to play Radiohead tunes without them, though the difference is very subtle.

.88mm Green Dunlop Tortex Standard Picks

Jonny probably took one from Colin for bass use on Supercollider.

1mm Blue Dunlop Tortex Standard Picks

Jonny probably took one from Thom to add some variety to his pick collection.

Jonny during the 2012 tour. His .60mm Dunlop Nylon Standard picks can be seen stuck into his pick guard, along with many more of the same variety, in addition to two different Dunlop Tortex Standards, in a pick holder on top of the Analogue Systems Apprentice Cabinet.

Strap Locks:
 Schaller Strap Locks

Jonny has had all of his Fenders fitted with the locks since the early 90’s. He uses silver ones.

Jonny’s Amplifiers

Jonny’s 2012 Tour setup. His amp stack, consisting of two Vox AC30’s (one mostly obscured by the other amps), a Fender Eighty-Five, and an Ashdown USA 115 Cabinet, can be seen just left of center, fronted by his Telecaster Plus.

Solid State

For heavy distortion, Jonny uses a Fender Eight-Five Some sources claim he used a Fender Deluxe 85, but I have yet to find any real evidence. He did, however, obtain a Fender Studio 85 in mid-March, 2008 as a spare for the regular Eighty-Five, though it has yet to see any public use. It is also very unlikely to have seen any studio use, as Jonny hardly ever uses it anymore save to perform older songs.

His original Eighty-Five, which he had used since their earliest tours, and likely On A Friday shows, was stolen in 1995. He bought a replacement the same year which he likely uses to this day, assuming that is has not broken and been replaced. His current Eighty-Five is from 1988.

Jonny has had one since before Pablo Honey, though the original was stolen in 1995. It for both his clean and distorted tones at early gigs and likely on Pablo Honey, though . Though Jonny rarely used the amp’s own distortion, the amp is a big part of his infamous distorted sound, heard most prominently on early albums like The Bends.

The origin of Jonny’s heavy distorted tone is his Marshall Shredmaster, which is almost exclusively used with this amp(the exception being for a few minimal gigs where Jonny only brought one amp). Since he started using a tube amp for his cleaner tones in late 1993, Jonny switches between the Eighty-Five and his “clean” amp as needed using a BOSS LS-2 line selector, with the Shredmaster running after the LS-2 and into the amp. He does not use the reverb or overdrive channel on the Eighty-Five, getting all of his distortion from the Shredmaster, which is always on.

Jonny generally sets the Fender Eighty-Five with a slight midsboost(treble 11, mids 1, bass 11), and with the the volume relatively low, around 9 or 10. In 2012, Jonny set his eighty five to a flat EQt(treble 11, mids 11, bass 11), but as far as I can tell the midboosted setting was his standard for many years.

The Fender Eighty-Five is mic’d with a Audix OM3 (MIX Online).

Jonny’s signature Fender Telecaster Plus. Behind it is his Fender Eighty-Five, and the bottom his Vox AC30.

Fender Studio 85

Plank purchased a Fender Studio 85 on ebay in mid-March, 2008. He likely purchased it as a spare for Jonny’s main Eighty-Five, and it is probably the first time that Jonny has had the Studio version. I suspect he purchased one due to the scarcity of all of the Eighty-Five models, buying whichever he could find, especially since, according to Plank, “the 85 and Studio 85 are the same.”

Ashdown ABM 300 EVO I Combo Bass Amp

Used with his guitar in 2006; seen on pictures from Dead Air Space. It’s a model that is not featured on their website, even in the out of production section. It lacks the input mix knob found on the EVO II, so I suspect that it is an EVO I.

Roland CUBE-30x

Used by Jonny for his 2012 performance of Electric Counterpoint at the ACO in Australia, and likely as a practice amp for the road(judging by the fact that both lead and clean settings are marked).

The JC Clean setting only was used for Electric Counterpoint If he ran his entire computer through it, the amp would make sense for Electric Counterpoint, as the the backup recording for the piece features two bass guitars, and so, as a practice amp designed to be able to play recordings, the Cube’s range accommodates those bass guitars well, whereas the low-end might actually damage the speaker of his Vox AC30 or other guitar amps.

Marked Setting
Mode: JC Clean
Volume: 9:30
Mode: Brit Combo
Gain: ?
Volume: 9:30
Bass: ?
Middle: 10

Setting on Amp (in below picture)
Mode: JC Clean
Volume: 10
Mode: Stack Metal
Gain: 9:30
Volume: 9:30
Bass: 12
Middle: 11:30
Treble: 9


Very early in Radiohead’s career, Jonny’s only amp was his Fender Eight-Five, which he used for both his distorted and clean tones. By late 1993, however, Jonny had bought his first tube amp: a Fender “The Twin,” which is the version Twin Reverb which was produced at the same time as the Eighty-Five.

Jonny used a Boss LS2 to switch between the amps, a method he uses to this day. The Twin Reverb was set clean, while Jonny kept his Marshall Shredmaster in front of his Eighty-Five for distortion. As such, Jonny had a setup with a tube clean sound, but a kept his distorted sound clear and defined.

Jonny used this setup on The Bends, using a Silverface Fender Twin for clean sounds and his Eighty-Five+Shredmaster for distortion.

By 1996, Jonny added a Boss SD1 to his signal chain, running into his Twin Reverb(at that point, a ‘65 Reissue). This gave him the option to have a different timbre of distortion, and one with less gain than that of his Shredmaster. He also started using the Roland Space Echo RE201 with his guitar at this time, running his SD1 into the RE201, then into the Twin Reverb.

In 1997, for the recording of OK Computer, Jonny switched to an AC30, his first being a 90’s re-issue AC306TB. This amp was used in the same way as his Twin: for clean tones or lower gain. This basic setup has remained to this day.

The amps:
’65 Reissue Twin Reverb

Obtained in 1993. It had been replaced by a The Silverface Twin Reverb by 1995, but Jonny began using one again after the Silverface Twin was stolen in October of that year. He then used it during shows for the rest of 1995 and in 1996.

Jonny later used twelve ‘65 reissues for a performance of Electric Counterpoint at the Roundhouse on June 28, 2014. I suspect that each amp was used to amplify an individual one of the seven pre-recorded backing guitar parts, with some parts switching between Twins for different settings.

Jonny’s amp setup for a show in Amsterdam in 1993.

Silverface Fender Twin Reverb

Used in 1995 until it was stolen in October of that year. Jonny used its Vibrato Channel. It may have been used on The Bends.

Jonny’s amp setup for a show in 1995. Note the sticker on his old Fender Eighty-Five.

Vox AC30 Overview

Jonny’s first AC30 was a 90’s re-issue AC306TB, which he acquired circa 1997. He has also used a few other AC30’s throughout his career, includng a Dave Petersen Special AC30. He uses Celestion Alnico Blue speakers for all of his Vox’s.

With Radiohead, Jonny’s AC30s were mic’d with a Shure SM57 for quite some time. Circa 2008, he switched to an Audio-Technica AT3060 (Source). He used a Neumann U87 and a Sennheiser MD421 (each individually) when he rerecorded his backing track for Electric Counterpoint in June, 2014. He has used other mic’s for his solo performances.

Jonny keeps a direct box on top of his AC30. This is likely used simply to send the signal from his amp mics to the PA.

Jonny with Peter Bucks’ AC30 and toys in 1995, possibly an inspiration for why Jonny started using one.

Vox AC30TBX No1

Acquired circa 1996, this amp was used on the recording of OK Computer and for touring in 1997 and possibly in 1998. It may have broken during touring, because in 2006, Plank cited Jonny’s main AC30 as a “standard 1998-ish Vox AC30 6-TB,” meaning that the original AC30 used on OK Computer had fallen out of use entirely (StringsUnited).

Vox AC30TBX No2

From around 1998, and used in the recording of In Rainbows and The King of Limbs. It may have been used for touring in 1998. This was Jonny’s main (touring) AC30 from 2000-2001, and then from 2006-2012. He also used this amp for the acoustic tour in 2003, and for Jonny’s solo shows in 2014. He used mesa boogie valves circa 2006-2009.

A picture of the 6TB from Radiohead’s performance at Le Reservoir. Jonny is using the normal input.

Jonny’s AC30 6TB in 2012 (flickr).

Dave Petersen Special AC30

Possible a ‘98?, and equipped with Tesla ECC83, EL84’s, Watford Valves. Used for touring 2000/2001-2005 with use on Kid A, Amnesiac, and Hail To The Thief, although exact studio use is uncertain (Source).

During the 2012 Tour, Jonny kept a second AC30 behind his main stack of amps, used either as a spare, or as an amplifier for his bass guitar (running into the Ashdown Bass Cab). It is unknown if this amp is the Dave Petersen Special, or another AC30 entirely.

Vox AC30C2(x)

Used by Jonny with his student model Ondes Martenot for the two NYC performances of There Will Be Blood with the Wordless Music Orchestra. Jonny ran the Ondes into the amp’s normal channel low input, with the reverb almost maxed and the tremolo set to zero. Note that since none of Jonny’s playing on the soundtrack is of low enough pitch to damage the guitar-intended speakers of the Vox, he was able to use it without worry.

Jonny also used a Vox AC30with his Ondes Martenot for a 2006 performances of Cymbal Rush on the Henry Rollins show. However, The AC30C2 did not yet exist, so he must have used some other AC30.

120v 1953 Fender champ 5C1

Used in studio during the recording of In Rainbows, and apparently a favorite of Jonny’s. This amp was likely also used for some of Jonny’s backing tracks for Electric Counterpoint. Plank misspelled it as SC1 on his blog.

50’s/60’s Orpheum Amp

A rare 6AQ5-based amplifier, owned by Nigel Godrich (as pointed out by the man himself on twitter). Jonny borrowed this amp from Nigel, using it with his Gretch and Akai Headrush E1 for one pre-In Rainbows recording session, and later during the actual In Rainbows sessions. Seems to be identical to an old Omega amp, which I discuss in more detail in this post.

Unknown Amp

Used by Jonny during the sessions for In Rainbows, and for the Scotch Mist webcast.

Silverface Fender Super Reverb

Used by Jonny for his 2013 performance of Electric Counterpoint at the Open’er Festival. He used the vibrato channel. Seems like a mid-70’s model, based on the model label. It was also used when he rerecorded his backing track for Electric Counterpoint in June, 2014, and was used for more of the parts than any other amp. For the rerecord, both a Sennheiser MD421 and a Beyerdynamic M88 were used, to mic the amp, each for different parts.

New (Small) Tweed” Amp

This amp has never been seen, but was listed by Jonny as being used for one of the guitar parts on the backing track for Electric Counterpoint which he recorded in June, 2014. May be identical to another amp which was listed as “New Small Tweed.” Mic’d with a Beyerdynamic M88, and Sennheiser MD 421 if it is identical to the small tweed.

Fender Vibro King

Jonny’s first known use of this amp was for one of the guitar parts on the backing track for Electric Counterpoint which he recorded in June, 2014. For that recording session, it was mic’d with a Neumann U87. It was first publicly used for his  performances with the LCO at the Roundhouse on July 28, 2014.

It is possibly borrowed from Ed O’Brien, who used two Vibro King’s on the 2012 tour, much like how Thom borrowed Ed’s Epiphone Casino.

Jonny’s tricep, Vibro King, Starcaster, and Vox AC30.

Mesa Boogie

Unknown model. This amp has never been seen, but was listed by Jonny as being used for one of the guitar parts on the backing track for Electric Counterpoint which he recorded in June, 2014. Possibly borrowed from Ed O’Brien, who used Mesa Boogie Tremoverb’s extensively from the early 90’s until 2009. Mic’d with an AKG D12.

Ampeg B15 Portaflex Heritage Series Reissue

Originally used by Jonny during the early sessions for In Rainbows. The amp was used with his Guild bass for the band’s performance of Supercollider during The King of Limbs From The Basement. An original 60’s model would have the inputs jacks only at a level slightly below the center of the knobs, while with this unit the cable is clearly plugged in at a point slightly higher than the knobs’ center.

A picture of the Portaflex from during The King of Limbs From The Basement.

Marshall Half Stack

Marshall amps were seen behind Thom, Ed, and Jonny at only one gig: the Sopot Rock Festival in 1994. They are turned on during the band’s performances, but as Radiohead’s other amps were also on stage(and mic’d), the Marshalls were likely set up for a band performing before or after them.

Speaker Cabinets

Unknown Orange Cabinet

Used in 1995.

Home-Made Speaker Cabinet

According to Plank, used conjunction an early 60’s Fender Bassman head (StringsReunited), at least in 2006. Jonny made use of it during the sessions for In Rainbows, and during the Scotch Mist webcast.

Jonny with the cab during the Scotch Mist webcast. Since the Bassman head is not visible, with the Roland RE201 in its normal place, it is possible that the cab is instead being used in conjunction with the amp on the left.

Ashdown USA 115 Cabinet

Used with his bass guitar for some 2011 and all 2012 performances of Supercollider. Though not used for The King of Limbs From The Basement, it was used in 2011 for the band’s two performances at the Roseland Ballroom, and then in 2012 for all touring. I suspect that the amplifier used as a “head” with the cab is Jonny’s second AC30, which he kept behind the main stack of amps. This makes sense as playing bass through a guitar amp’s speakers would damage them, but running a bass through a guitar amplifier can have excellent tonal results.

A photo of Jonny’s amps from the 2012 tour. The Ashdown USA 115 Cabinet is visible, as well as part of the back of his second Vox AC30.

General Amplifiers/Monitors

Yamaha NS10

Used by Jonny with his modular systems.

Jonny’s Pedals and Effects

CURRENT Signal Order

BOSS LS2* - BOSS LS2* - EHX Freeze - EHX Small Stone V4 - Demeter The Tremulator - DOD440 - Wh4 Whammy - BOSS LS2 <
A. Marshall Shredmaster -
Ernie Ball VP Jr - Fender Eight-Five
BOSS OD3 - BOSS RE20  - BOSS RV3 - Akai Headrush - BOSS FV300L** - VOX AC30TBX

*Guitar - BOSS LS2(1) (A/B) <
B.(1) - Laptop - PA
A.(1) - A.(2)
PA - B.(2)
Korg Kaoss Pad
> BOSS LS2(2)

**Starting from May 29th, 2012, Jonny switched back to a BOSS FV300H.

-Photo of Jonny’s board from the Austin City Limits performance-

Past Pedalboards

Jonny keeps his pedals on two boards and not in order of signal chain, but rather in some strange setup of his own devising. Jonny’s originally only had one pedalboard, upon which he set up his Small Stone V3, Shredmaster, Volume pedal and Line Selector. When their gear was stolen(probably including that board) he obtained a new, larger board. By OK Computer, he had added another, smaller board for his distortion and reverb, with modulation on the larger one. This remained virtually unchanged until 2006/2007, when he switched out the smaller distortion board for one the same size as the one for his modulation, likely to accommodate his new RE20. This is his current setup.

1992 Pablo Honey “Board”:

Guitar - Marshall Shredmaster - Fender Eighty-Five

1993 Board:

Guitar - Demeter The Tremulator? - Digitech Whammy - EHX Small Stone V2 - Boss LS2 <
a. White Distortion Pedal(possibly the Shredmaster clone) - Boss FV100 - Fender Eight-Five
b. Fender Twin Reverb

1994-1995 Board:

Guitar -
Floating: Demeter The Tremulator - Digitech Whammy
Board: EHX Small Stone V2 - Boss LS2 <
White Distortion Pedal(he switched back to a Shredmaster later this year) - Boss FV100 - Fender Eight-Five
b. Fender Twin Reverb

1996 Board:

Guitar - EHX Small Stone V2 - Demeter The Tremulator - DOD440 - Digitech Whammy - Boss LS2 <
a. Marshall Shredmaster - Boss FV300H - Fender Eight-Five
b. Boss SD1 
- Roland Space Echo - Fender Twin Reverb

OK Computer 1997-1998 Board:

Guitar - EHX Small Stone V2 - Demeter The Tremulator - DOD440 - Digitech Whammy WH1 - Boss LS2 <
A. Boss SD1 - Boss RV3 -
Roland Space Echo(activated via Vox Egg footswitch) - Vox AC30TBX
B. Marshall Shredmaster - Boss FV300H - Fender EightyFive

Boss TU12H from the Tuner Out of the Boss FV300H.

SNL 2000

Radio - EHX Small Stone V2 - Demeter The Tremulator  - DOD440 - Digitech Whammy I - Boss SD1  - Boss RV3 - PA?

Pyramid Song Top Of The Pops 2001

Boss LS2<
A. Demeter The Tremulator? - Dave Peterson SpecialAC30
B. Boss TU12H

Kid A/Amnesiac Live(in Paris) 2001

Guitar - A.
PA(Thom’s vocals) - B. (2) Korg Kaoss Pad
> BOSS LS2(2)
(A/B) - EHX Small Stone V2 - Demeter The Tremulator - DOD440 - WH1 Whammy - BOSS LS2  (A/B) <
- Roland Space Echo(activated via Vox Egg footswitch) - Dave Peterson Special AC30
B.Marshall Shredmaster - BOSS FV300H - Fender Eighty Five

Hail To The Thief (Later With Jools Holland) 2003 Signal Order:

Guitar - BOSS LS2(1) (A Bypass) -
A.(1) Laptop
PA - B.(2) Korg Kaoss Pad
> BOSS LS2(2)
(A/B) - EHX Small Stone V2 - Demeter The Tremulator - DOD440 - WH1 Whammy - BOSS LS2  (A/B) <
- Roland Space Echo(activated via Vox Egg footswitch) - VOX AC30 6TB
B.Marshall Shredmaster - BOSS FV300H - Fender Eighty Five

Hail To The Thief Glastonbury 2003 Signal Order:

Guitar - BOSS LS2(1) (A Bypass) -
A.(1) Laptop
PA - B.(2)
Korg Kaoss Pad
> BOSS LS2(2)
(A/B) - EHX Small Stone V2 - Demeter The Tremulator - DOD440 - WH1 Whammy - BOSS LS2 <
- Akai Headrush E1 - Roland Space Echo(activated via Vox Egg footswitch) - Dave Petersen Special AC30
B.Marshall Shredmaster - BOSS FV300H - Fender Eighty Five

Acoustic Tour (Live at Le Reservoir) 2003 Signal Order:

Guitar - BOSS LS2(1) (A Bypass) -
A. - Laptop
- EHX Small Stone (KROQ Breakfast) - Boss SD1 - BOSS RV3 - Boss TU2 - VOX AC30TBX

In Rainbows Recording Sessions April 2006

Guitar - BOSS LS2(1) (A Bypass) -
A.(1) Laptop
A. - EHX Small Stone V4 - Demeter The Tremulator - DOD440  - EHX PolyChorus - WH1 Whammy - BOSS LS2 <
Akai Headrush E1 - Roland Space Echo (activated via Vox Egg footswitch) - VOX AC30TBX
B.Marshall Shredmaster - BOSS FV300H(FV500L later on supporting tour) - Fender Eighty Five

Boss TU12H from the Tuner Out of the Boss FV300H.

Place des Arts June 10, 2006 Signal Order:

Guitar - BOSS LS2(1) (A Bypass) -
A.(1) Laptop
PA - B.(2)
Korg Kaoss Pad
> BOSS LS2(2)
(A/B) - EHX Small Stone V4 - Demeter The Tremulator - DOD440 - EHX PolyChorus - WH1 Whammy - BOSS LS2 <
A. BOSS SD1 - Boss OD3? - BOSS RV3 -
Akai Headrush E1 - Roland Space Echo (activated via Vox Egg footswitch) - VOX AC30TBX
B.Marshall Shredmaster - BOSS FV300H(FV500L later on supporting tour) - Fender Eighty Five

Boss TU12H from the Tuner Out of the Boss FV300H.

A picture from the first day of filming of the Ondes Martenot Documentary Wavemakers, in which Jonny stars. Source.

In Rainbows Recording Sessions/Touring 2007 Signal Order:

Guitar - BOSS LS2(1) (A Bypass) -
A.(1) Laptop
PA - B.(2)
Korg Kaoss Pad
> BOSS LS2(2)
(A/B) - EHX Small Stone V4 - Demeter The Tremulator - DOD440 - EHX PolyChorus - WH1 Whammy - BOSS LS2 <
Akai Headrush E1 - Roland Space Echo (activated via Vox Egg footswitch) - VOX AC30TBX
B.Marshall Shredmaster - BOSS FV300H (FV500L later on supporting tour) - Fender Eighty Five

Boss TU12H from the Tuner Out of the Boss FV300H.

Grammys 2007 to perform 15 Step

Fender Telecaster Plus >
Akai Headrush E2 - Demeter The Tremulator(set as a clean boost?) - Boss TU2(?)
Roland Space Echo - Roland Space Echo(He might just have this one as a spare, or he might be using both at once.)
> Vox AC30

In Rainbows Tour 2008-2009 Signal Order:

Guitar - BOSS LS2(1) (A Bypass) -
A.(1) Laptop
PA - B.(2)
Korg Kaoss Pad
> BOSS LS2(2)
(A/B) - EHX Small Stone V4 - Demeter The Tremulator - DOD440 - WH1 Whammy - BOSS LS2 <
- Boss RE20 - BOSS RV3 - Akai Headrush E1 - VOX AC30TBX
B.Marshall Shredmaster -BOSS FV500L** - Fender Eighty Five

Boss TU12H from the Tuner Out of the Boss FV500L.

*Jonny used both his BOSS SD1 and his BOSS OD3 during this era.**Jonny also used both his BOSS FV300H and his BOSS FV500L during this era.

Haiti Benefit Show 2010 Board

BOSS LS2(unplugged)
Guitar - EHX Small Stone V4 - Demeter The Tremulator(set as a clean boost) - Boss LS2(DOD440) - Digitech Whammy WH1 
- BOSS LS2 <
A. Marshall Shredmaster -
Ernie Ball VP Jr
B. BOSS OD3 - BOSS RE20 - Akai Headrush E2(though possibly in effects loop) - VOX AC30TBX

Boss TU12 from the Tuner Out of the Ernie Ball VP Jr. This is possibly the only time he has ever used a TU12 instead of a TU12H.

TKOL FTB/Roseland 2011 Signal Order:

Guitar - BOSS LS2(1) (A Bypass) -
A.(1) Laptop
- EHX Small Stone V4 - Demeter The Tremulator - DOD440 - Wh4 Whammy - BOSS OD3 - BOSS RV3 - BOSS RE20 - Marshall Shredmaster - BOSS FV300H - Akai Headrush E2 - VOX AC30TBX

Boss TU12H from the Tuner Out of the Boss FV300H.

Jonny’s board during “Feral” From The Basement.

 Shye Ben-Tzur Collaboration Alchemy 2014 Signal Order:

Guitar - BOSS TU2/3 - EHX Freeze? - Vox AC30TBX

Pedals Used

ElectroHarmonix Small Stone No1(V2), No2(V2), No3(V4)

The EHX Small Stone can be heard all over Radiohead’s discography. Jonny has used one nearly as long as the band has been signed, though it would not be featured on a Radiohead album until OK Computer. This is likely in part because Jonny enjoys making every live performances unique and different from recordings

Note: To read about Jonny’s use of the Small Stone with keyboard instruments, check the “Keyboard Effects” section.

Jonny started using a V2 Small Stone in 1992, though it would not be featured on a recording until the 1994 ITCH EP, on which Jonny uses it for Banana Co. His first Small Stone was a Version 2(V2; orange lettering), which he used for Banana Co, and later live performances of tracks from The Bends in 1995.

In October 1995, Jonny’s original Small Stone V2 was likely stolen along with the rest of the band’s gear. It was subsequently replaced with another Small Stone V2, a pedal which would be used live in 1995 and 1996, then on OK Computer, immortalizing the pedal for every Radiohead fan during the “verse” of Paranoid Android.

At an unknown point, circa but almost definitely later than 1997(I suspect 1999), Jonny switched to a Small Stone Version 4(V4) which he has used to this day. One possible reason is that the V4 has an LED, which the V2 lacks. It is also possible that Jonny simply prefers the sound of the V4, or that his V2 broke and he sought a replacement.

Jonny always runs his Small Stone before his line selector, so he can use it with whichever amp he chooses. This also means that it is always prior to his distortion pedals.

Jonny’s first known use of the Small Stone was for live performances of Prove Yourself in 1992, where is could be heard during the solo of the song. In 1993, Jonny started using the phaser during the final chorus as well, and continued to use it on Prove Yourself until 1995. It can be heard during the performance at the Astoria, when Jonny adjusts the speed of the phaser with his foot while playing the solo.

It can be heard quite prominently on Banana Co, especially during the solo during which Jonny adjusts the knob with his foot while playing, eventually turning it completely to the right at 1:45 to create the crazy sounds heard from then until 1:52.

For some live performances of Inside My Head, Jonny would turn on the Small Stone, on a slow setting, as he played the last chord. Though this is not heard on the recorded version, Jonny would go on to use the same technique quite often at the end of Airbag.

In 1993 and early 1994, the pedal was used for live performances of Faithless The Wonder Boy. The pedal make an appearance when Jonny enters the song, during the buildup to the chorus.

In 1995(Toronto), Jonny used his Small Stone during the bridge of Just.

Jonny uses his Small Stone from many live performances of Planet Telex, specifically ones on which he plays the album version’s keyboard part on guitar. It is used in conjunction with delay.

Similarly, the pedal is used on Fake Plastic Trees, but only for live versions. It is used while Thom sings “it wears me out,”  deactivated just before Thom sings “she looks like the real thing,” and used again for the final verse/chorus/coda.

Used during the outro of a performance of Street Spirit circa 1995, set slow and with the color switch down.

Jonny’s uses the phaser in a variety of ways on India Rubber.

A less noticeable use of the Small Stone by Jonny is when he sets it to an extremely slow speed. This causes his guitar to sound filtered, and different from a more general phase sound. It also causes a very long sweep, which can be heard if listened to closely. Jonny uses the Small Stone to this effect on India Rubber, and on a couple of OK Computer’s b-sides.

Jonny uses an usually fast setting(for him), in conjunction with delay, for live performances of the never released I Promise.

On Airbag, Jonny uses the pedal for when he tremolo picking, starting at 1:32. For live performances, he also activates the pedal as he plays the last chord, then turns up the speed knob with his foot as the chord rings.

Jonny uses the Small Stone on the Subterranean Homesick Alien from 2:36-2:51, along with his Boss SD1 and DOD440.

On The Tourist, Jonny’s rhythm parts have quite a bit of phase, though when he switches to heavy distortion for his solos at the end he deactivates the pedalr.

In 1998, Jonny used the Small Stone live for Pearly, set to an particularly fast, almost chorus-like sound.

Jonny used his Small Stone, on a slow setting, during the intro of an acoustic performance of Sail To The Moon at KROQ Breakfast in 2003.

Jonny used the EHX Small Stone for Radiohead’s live performances of Cinnamon Girl(Neil Young cover).

For live performances of Morning Mr Magpie in 2013, Jonny used the pedal briefly in the verses (see EHX Freeze), and possibly sometimes during the chorus.

For 2012 and early 2013 live performances of Feral, Jonny used the Small Stone in conjunction with his Whammy, Boss RE20, and volume pedal during the first half of the song to create interesting textures.


Demeter ‘The Tremulator’

Jonny obtained the pedal some time in 1994, around the time when he also bought his Digitech Whammy WH1. Though often miss-identified as a custom build pedal, it is actually an early version of the currently produced “Demeter Tremulator.”

Jonny’s original The Tremulator was stolen in 1995, so the one used from OK Computer onwards is technically a different, if theoretically identical, unit to the one used on The Bends.

Used extensively on The Bends, and can be most notably heard during the intro and verses of Bones, when Jonny can be seen leaning - or sitting - down and slowly turning down the speed on the pedal after hitting each chord.

It can also be heard on Planet Telex, Lucky, Punchdrunk Lovesick Singalong, and possibly the album version of Just in the solo before the final chorus(though that is probably Ed). It was also probably used for in studio for the intro of Sulk, and possibly on the keyboard in Planet Telex.

In addition to Tremolo, the Tremulator can also be used as a clean boost; when the depth is at zero, increasing the speed will increase volume. Jonny likely used it for this in later years, especially when his use of the pedal for Tremolo became less frequent. The setting of the knobs in the below photo is one such. It is likely used in this capacity for the song Identikit live in 2012.

Tremolo Setting (Marked in yellow)
Depth 5
Speed 2:30

Clean Boost Setting (Orange)
Depth 7
Speed 3

DOD440 Envelope Filter

Modified with an LED. Obtained in 1995 after the gear theft, possibly at a guitar shop in the US during touring for The Bends.

The DOD440 was used on the recorded version of Lucky to create dynamic filter swells, and is used live for the same purpose. Heard from 1:45-1:54 and from 3:17-3:47. Jonny uses it in conjunction with his Boss SD1 and Demeter Tremulator, and by placing the DOD after the Tremulator Jonny causes the guitar’s playing to be sliced up by the tremolo, but leaves the swelling and descent of the filter completely intact.
*Since Lucky was recorded during a separate session from that for OK Computer, and since he definitely had the DOD at that point but may not have had the Mutator, it is relatively safe to assume that the DOD440 was used for the recording.

It is also used live for Paranoid Android and Subterranean Homesick Alien, in place of the Mutronics Mutator, and for Everything In Its Right Place, to filter the samples of Thom’s voice.

During the outro solo of live performances of Paranoid Android, Jonny furiously adjusts the Range knob with his foot while playing the guitar part. This is creates a similar effect to that heard on the album, for which he adjusted the knobs on his Mutronics Mutator (read entry for the effect in the Offboard and Studio Effects  section). When he plays the part with the DOD, the level knob is usually turned all the way to the right.

General Setting
Level: 5
Range: Adjusted by foot whilst he plays.

ElectroHarmonix PolyChorus

Obtained around 2005. Used for the recording of In Rainbows and for shows in 2006, and possibly for early In Rainbows touring (in 2007).

Jonny’s PolyChorus is not a vintage unit, but actually one of the later big-box reissues, meaning he probably bought it new in his local guitar store. (The locations and names of certain knobs changed for the later reissues).

I think that Jonny might have used the Polychorus for early live performances of Videotape.

Chorus Setting (Marked in Orange)
The PolyChorus can very easily make some very strange noises, and as such the exact position of its knobs are far more important than on many other pedals, since a slight change can produce radically different results.
Mode: Chorus
Width: 9:15
Rate: 12:15
Tune/Delay: 8:30
Feedback: 7

Digitech Whammy I WH1 No1, No2

Jonny used a WH-1 from 1994, when he bought his first which was stolen in 1995 and replaced, until about 2011, when he switched to the Whammy WH-4. At some point from 2007 to 2010, Jonny replaced the knob of the pedal with an unusual blue-topped one.

At least from what I could tell from a few shows in 2012, Jonny has the Whammy activated at all times and set to an octave up, but with the expression pedal at the heel position. As such, Jonny doesn’t turn on the pedal to use it, but simply moves the expression pedal to the toe position. It is likely that this is also what he does for Just, but with the pedal set two octaves up. Jonny has likely not done this throughout his career, since the heel position for the octave up harmony setting(used on My Iron Lung) would create a harmony an octave down, something which Jonny does not use, though for My Iron Lung he deactivates the pedal when not in use, rather than just returning it to the heel position. He may keep the Whammy in its active, pedal at heel position state on all songs save My Iron Lung, since he only ever uses one or two octave up settings on other songs.

The Whammy was first heard on record when he used it for My Iron Lung, set to a 1-octave-up Harmony for the main riff, and for the second verse.

Other appearances include…(incomplete)

Creep set one octave up, live only in 1994, during the chorus.

Just set one octave up, used from 2:57-3:20.

(Nice Dream) set one octave up. Jonny keeps it on, and switches back and forth between an octave up and unshifted by moving the treadle. Live, he hits the unison bends and slowly moves the Whammy from the toe to the treadle position whilst also hitting his cuttoff switch, creating strange descending staccato arpeggios.

Maquiladora (one octave up, second verse, live only in 1994) Jonny would hit a note, then quickly shift it up one octave. He would then quickly return it to its original pitch for the next few notes before repeating.

Airbag set one octave up, solo, turned on and off sporadically.

  Paranoid Android set one octave up, final solo.

Subterranean Homesick Alien set two octaves up, main riff and during the verses.

Everything In Its Right Place set one octave up, used on samples of Thom’s vocals.

Go Slowly(early performances in 2006) set one octave up, used during the choruses.

Digitech Whammy IV WH4

Jonny obtained this new Whammy in late 2010 or early 2011. It was used in the recording sessions for The King of Limbs, and for performances and touring in 2011 and 2012.

It is used for live performances of songs on which the Whammy WH1 was originally used.

The live adaptation of the TKOL track Feral is the first song on which Jonny publically used the Whammy WH4, set to one octave up. It was used on that song from 2011 until the second half of the 2012, when Jonny switched to using his Max/MSP stutter patch on the song.

Other uses unique to the new whammy are for 15 Step, used during the “bridge” and set to a one octave up harmony, and Meeting In The Isle, used throughout and set one octave up.

A picture of Jonny’s surprisingly beat-up Whammy WH4, from Radiohead’s performance at Austin City Limits.

BOSS SD1 Super Overdrive

Obtained circa 1996, it was used from 1996 to 2009, when Jonny switched to the Boss OD3. The pedal is used get distortion out of his tube amps, and is the only distortion which he used with his delay and reverb. Jonny uses the pedal alternately to add volume and and a little gain to his sounds, or to add a good amount of distortion, depending on the song.

The SD1 is never used in conjunction with his Shredmaster or the Fender Eighty-Five, but for his “clean” signal only. Jonny uses a Boss LS2 to switch between the Shredmaster’s chain and the SD1’s chain.

Used for Airbag (verse tremolo picking and the solo, though he uses the Shredmaster for main riff), Subterranean Homesick Alien (2:36-2:51), Lucky (chorus), Optimistic, In Limbo, Morning Bell(with delay and coin), I Might Be Wrong, There There(solo), A Wolf At The Door(live only), Bodysnatchers(all parts with delay, and for the palm muting section), Nude(on the recording, he probably set his amp at the verge of breakup and didn’t use a pedal, but live its definitely used), House of Cards(with tons of delay and reverb), an during the 2006 Tour for Spooks and early live performances of Videotape, Down Is The New Up,Go Slowly.

Standard Setting
Volume: 12-1
Tone: 11 
or 1:30(depending on the song)
Gain: 1:30

Higher Gain Setting
Volume: 5
Tone: 12

Gain: 5

BOSS OD3 Overdrive

Jonny starting using this alongside the SD1 during the In Rainbows tour, and has been using it instead since at least 2010, though probably 2009. It serves the same purpose as the SD1 on his board, and is used on the same songs.

The OD3 has higher gain and volume than the SD1, but on many songs from The King of Limbs Jonny is using settings with even lower gain than before. The setting marked on the pedal, on the other hand, is enough gain to nearly challenge his Shredmaster. I think he uses the pedal set to the low setting visible in the picture below which is possibly used for his lead sound on Staircase.

Jonny uses the OD3 on songs on which the SD1 was originally used, as well as far songs written after he made the switch. These post-SD1 track uses are These Are My Twisted Words, The Daily Mail, and Staircase, and live performances of Morning Mr Magpie, Little By Little, and Identikit.

Higher Gain:
Volume: 9
Gain: 3
Tone: 11

Lower Gain:
Volume: 12
Gain: 9
Tone: 11


Obtained in 1996. On The Bends, Jonny had used his Fender Twin’s reverb, but when switched to a Vox AC30 6TB, an amp lacking onboard reverb, he needed a new way of getting the effect. The Boss RV3 was the result.

Used for its Reverb, specifically the Plate(to emulate the EMT 140 used in studio), and its delay. It is unknown if this is used on recordings, but it likely only for live use and conventional playing.

The pedal is used for reverb quite a lot by Jonny, who uses reverb on nearly all of his clean guitar playing, as well as with his Boss overdrive’s distortion. It can be heard very noticably on Subterranean Homesick Alien, Lucky, Optimistic, In Limbo, You And Whose Army, There There, House of Cards(probably), 2+2=5, Scatterbrain, and was used, sometimes more subtly, on many others.

It may have been used on Go To Sleep, with the delay set very fast, to create the weird, almost metallic sound in the background whilst Thom sings the chorus.

General Reverb Setting
Mode: 11 (Plate)
Mix: 11:30
Tone: 8
Reverb Time: 1:30

General Delay Setting
Mode: 1
Mix: 11:30
Feeback: 8
Delay Time: 12

BOSS RE20 Space Echo

First used in 2007, when Radiohead’s guitar tech Plank introduced Jonny to the pedal in the week of the 17th of December, 2007 (stringsunited) It was used side-by-side with the RE201 during In Rainbows From The Basement and for 2008-2009 shows, but by 2010 had come to completely replace the RE201 for live use. The reason for this is a mixture of the fact that the band’s RE201’s were subject to many mechanical issues due to constant use, and for the RE20’s extra features like tap tempo and twists.

Jonny uses the RE20 live for the same songs on which he originally used the use his RE201. He likely also continues to RE201 use it in studio. However, newer songs, either from being adapted differently from studio to performance or from only ever having been performed live, have only seen use of the RE20 for their performances. These are Feral(live) and Identikit(set to a slapback delay).

Jonny began using the “Twist” effect available on this pedal for live performances of Feral in 2011, and has since used the feature on live performances of the song, as well as These Are My Twisted Words, Morning Mr Magpie, and others.

General Setting
Possibly for Airbag, In Limbo, BodySnatchers, Identikit, etc, as the delay time is changed by knob or tap tempo depending on the song.
Mode: 1
(Setting Five)
Bass: 5 (o’clock for this and all others)
Treble: 5
Reverb: 4:30 (marked though not heard on this setting)
Input: 5 
Volume: 4:30
Repeat Rate: unmarked, so possible tap tempo’d
Intensity: 8:30

Reverby Setting (Marked in black)
Likely used for House of Cards. Jonny might have the “Direct” set to off
Mode: 5 (Setting Five)
Bass: 1:30(o’clock for this and all others)
Treble: 7
Reverb: 4:30
Input: 5
Volume: 4:30
Repeat Rate: 7
Intensity: 8:30

Akai Headrush

Jonny has used both an Akai Headrush E1 and E2 quite a bit, and the one in use seems to change between shows without apparent cause.

Its most noticeable use is for The National Anthem, when Jonny uses it to loop the output of his radio.

It is also used on 15 Step for subtle, washed out, ambient delay with the treble almost completely cut(AKA HF Damp turned up) during the choruses, and also for looping at the end of the song.

It is also used for looping on Weird Fishes/Arpeggi, Bangers and Mash.

Akai Headrush E1

ElectroHarmonix Freeze

First used March 5th 2012, with the debut of “Skirting On The Surface.” Since then, he has also used it for live performances of Morning Mr Magpie, though not used for the album or From The Basement versions.

For Skirting On The Surface, Jonny uses the pedal to sustain a single chord throughout the bridge. He then play arpeggios of the same chord, but those are less audible as he seems to have the Freeze’s output set higher than his guitar.

For the live performences of Magpie, it is used to play the sustained chords heard during the verses(the chords, played without the Freeze, can be heard at 1:18 and 3:53 during the From The Basement performance of Magpie). Using the “fast” or “slow” setting, Jonny steps on the Freeze just as he hits the chord to sustain, then, after the chord has been sustained for a second or two, throws on the Small Stone to add a slight phase. He then removes his foot from the Freeze before deactivated the Small Stone, then repeats the process for the next chord.

Mode: Fast? (Could be the slow setting, but definitely not  latch.)
Effect Level: 5

Marshall ShredMaster

Jonny’s main means of heavy distortion, this pedal is essential to his sound, especially on early records. It can be heard on nearly every pre-Kid A track, and on a great deal after. His original was likely stolen in ‘95. Plank hand built him a modded clone in 1993, but it was “stomped on one too many times”(see below). His current Shredmaster is a stock model. In general, this pedal was used solely with Jonny’s Fender Eighty-Five, which was EQ’d specifically for it (with a mids boost), but it has also been used with Jonny’s Vox AC30 on occasions when Jonny has employed only one guitar amp (Radiohead for Haiti, for example).

A rundown of Jonny’s Shredmasters, and how they were use:

(1) Original Shredmaster
His original Shredmaster was used for all of Pablo Honey except Thinking About You, and all of Pablo Honey’s b-sides.

(2) From late 1993 to some time in 1994, Jonny was using a modified Shredmaster Clone. The pedal was used for live performances during that time, and probably for recording sessions from the earlier part of 1994. See the pedal’s section for more details.

(2+1) The Modified Shredmaster Clone, and Return to the Old Shredmaster
Since it unknown exactly when Jonny broke his modified Shredmaster clone, it is possible that that pedal was used on The Bends. If the clone had broken by that time, however, then a stock Shredmaster was used for the recordings on that album (save for on My Iron Lung, which was taken from a couple of 1994 live performances).

Whichever it was(or whichever combination), it was also used on the reocings of Planet Telex, The Bends, High and Dry, Fake Plastic Trees, Bones, (Nice Dream), Just, Black Star, Sulk, The Trickster, Lewis(Mistreated), Maquiladora, Killer Cars (outro solo), Banana Co, and Nobody Does It Better (live, Carly Simon cover).

(3+) Third Shredmaster, and any newer replacements.
His next Shredmaster, likely used to this day if it hasn’t broken, was employed for Airbag (main riff), Paranoid Android, Electioneering, The Tourist, Palo Alto, You And Whose Army (live), Trans Atlantic Drawl, Bodysnatchers (only during the final section), Bangers and Mash, Jigsaw Falling Into Place (live), Follow Me Around, Big Boots, Feeling Pulled Apart By Horses(early live performances), Up On The Ladder(early live performances).

Aside from variation in volume, and occasionally gain, I’ve only seen Jonny use one setting on his Shredmaster, which can be seen in the picture below.

Gain: 3

Bass 2
Contour 7
Treble: 2
Volume: 5 (often it’s set lower than this, however).

White Distortion Pedal (modified Marshall Shredmaster clone)

Jonny used this from late 1993 until some point in 1994. It is very likely the modified Marshall Shredmaster clone that Plank built him. Jonny stopped using it after the enclosure broke and the pedal was squashed. It was used on the recording of My Iron Lung, which was taken in part from the band’s 1994 Astoria show, and probably also on the recordings of The Trickster, Lewis (Mistreated), and Permanent Daylight.

BOSS FV100 Volume Pedal

Jonny’s original volume pedal. It is unknown how early he obtained this, but it can be seen in shots from the Bends era and earlier. It was likely stolen in with the rest of their gear, to be replaced by the FV-300H. Used live to give his guitar violin-like attack during the bridge of The Bends, for slower volume swells during buildups on various The Bends era songs, and for plenty of other things.

Boss FV300H Volume Pedal

Previously, we miss-identified Jonny’s main volume pedal as the FV300L, rather than the FV300H(its true identity). As such, it is likely that all of our posts prior to June 2012 contain that mistake.

Used since the 90’s, obtained after the Bends era gear theft. Jonny uses this pedal as the name implies, to control volume, though some claim he also used it to control the amount of gain on his Shredmaster. It is used to create the volume swells on Feral. During the 2012 tour, Jonny alternated this with his other volume pedals.

Briefly replaced around In Rainbows Era by the FV-500H and then an Ernie Ball VP, he had one back on his board for The King of Limbs From The Basement and the Roseland shows(likely the same one, judging by the missing knob). Used almost constantly. The minimum volume knob is always set to zero.

Jonny stopped using one to control his distorted tone during Tour 2012, although for the second half of the American tour he began using a new FV-300H(now with a knob) for his clean guitar for use on Feral.

BOSS FV500L Volume Pedal

Replaced the RV-300L during In Rainbows era. He doesn’t use it for the stereo outputs, but for the low independence, as he has it after buffered pedals(BOSS, Digitech, Shredmaster)

Ernie Ball VP JR

Used instead of his FV-500 at the Haiti show in 2010. During the 2012 tour, he used it with his guitar and keyboards at different points.

BOSS FV300L Volume Pedal

 Jonny first began using the low-impudence during Tour 2012, to control the volume of his signal going to his AC30 for use on Feral. By the second half of the American tour, he had switched to the FV-300H for that purpose.

BOSS LS2 Line Selector

Jonny got his first LS2 in 1992 or 1993, on it was on his first “board” in 1993, along with his old Shredmaster. He probably bought it at the same time as his original EHX Small Stone and Boss FV300. The original LS2 was likely stolen in 1995, but he quickly bought a new one to replace it.

That LS2 was used to switch between Jonny’s two amps via the “A Bypass” option in 1997.* The main output went to a Fender Twin, and the “A” output went to a Marshall Shredmaster into a Boss FV300 into a Fender Eighty-Five. To this day, the order of effects by type** of Jonny’s “A Bypass” chain hasn’t changed. Though Jonny added other effects in 1994, they were placed before the LS2, and so the main output still went directly to the Twin. However, in 1996 Jonny added a Boss SD1, Boss RV3, and Roland Space Echo RE201, all placed after the amp’s main output and going into his new amp, a Vox AC30. That has remained Jonny’s effects/amp switching setup to this day.

*He used the “A Bypass” option in 1997, “B Bypass” in 2006, “A B” in 2010, and the “B Bypass” option again in 2012. There is no difference between any of these choices, save that using the “A B” option gives volume control over both outputs by the pedal, but this detail is irrelevant as Jonny always keeps the volumes at noon(no boost or cut).
**Distortion into Volume Pedal into Amp with a Tuner in the Volume Pedal’s Tuner Out.



He later added a second to his board in 2000 to switch to using his Korg Kaoss Pad KP1 as his input for Everything In Its Right Place. The Kaoss Pad is fed Thom vocals from the PA which Jonny then messes with and loops via the Kaoss Pad. The result is fed from Jonny’s Kaoss Pad into his pedalboard via the LS2. He uses the “A Bypass” option for this as well, but with the Kaoss pad plugged into the A input. That way, it selects between his guitar’s input and the Kaoss Pad’s.

In 2003, Jonny added his third and most recent Boss LS2 to his board. This pedal is used to send his guitar’s signal to his laptop, so that it might be modified by Max, and then back through his guitar rig.

BOSS TU12H Chromatic Tuner

Jonny has used one of these consistently as his guitar tuner since 1995. He runs it from the tuner out of whichever volume pedal he’s using, a setup he’s used for his tuners since the early 90’s.

BOSS TU12 Chromatic Tuner

Jonny originally used one of these, but it was stolen in 1995. He then obtained a TU12H which he’s used since. Surprisingly, Jonny went back to the TU12 in 2010 for only for one gig (the Haiti Benefit Show).


Jonny used a BOSS footpedal tuner, rather than his more usual chromatic TU12, for his solo shows in 2014.

In addition, Jonny kept a BOSS TU behind his Vox AC30 during the 2011 Glastonbury surprise show, though it is likely always kept there. The pedal can be used to allow the crew to check if Jonny’s signal is reaching his amp in the event of a problem, and also to mute his signal whilst he records his loop during Weird Fishes/Arpeggi.

Roland FC200 Midi Controller

Used to control his Max/MSP patches (See Offboard Effects and Software section). Used by Jonny on 15 Step and by Thom on Give Up The Ghost.

Voodoo Lab Pedal Power 2

He has one for each board(technically not a pedal but a power supply).

There are two more BOSS LS2’s in his signal. One for bringing the Korg Kaoss Pad into his setup and one for running his guitar through his Mac.

Z Vex Fuzz Probe

Jonny supposedly owns one, although it cannot be heard on any Radiohead songs (zvex forum).

Offboard and Studio Effects

Roland Space Echo RE201

Activated via a Vox Egg footswitch. Used frequently in the studio since 1995, and live from 1996 to 2009. Jonny has two units, though they have both worn out over the decades, leading to his use of the BOSS RE20 simultaniously from 2007 to 2009, and replacing the RE201 altogether since 2010.

Originally used on The Bends, though mainly on keyboard parts, Jonny soon adopted two for guitar use in 1996. He would record with these Space Echos on every album from OK Computer onwards.

As seen in photos on Dead Air Space, in studio Jonny might sometimes double up his Space Echos, running his guitar into both of his units at once. Indeed, during the recording of The Bends, Jonny set up three RE201’s in a single chain for use with the Rhodes piano. The setup was then used by Thom for Planet Telex.

Used on Airbag, Subterranean Homesick Alien, Exit Music(for a film) Optimistic(live only), In Limbo, Morning Bell(live at least), 2+2=5(during the “it’s the devils way now” section), Bodysnatchers(for slapback delay), House of Cards(using its delay and reverb), and on the 2006 tour for early versions of Videotape, Down Is The New Up(for slapback with several repeats during the verses), and 4 Minute Warning(for slapback delay). He also uses it live on Climbing Up The Walls and The National Anthem in conjunction with his handheld radio.

Airbag? Setting (Marked on his old main Space Echo)
Input Volume: 5
Mode: 2
Bass: 2
Treble 3:30
Reverb: 7
Repeat Rate: 7
Intensity: 11
Echo Volume: 5
Output: H
(High, I think)

Another Setting (Marked on his secondary Space Echo)
Input Volume: 5
Mode: 2
Bass: 2
Treble 3:30
Reverb: 1:30
Repeat Rate: 10:30
Intensity: 11
Echo Volume: 5
Output: H
(High, I think)

Direct Boxes

In 2003, Jonny started keeping a direct box on top of his Vox AC30.  This is likely used simply to send the signal from his amp mic to the PA. It is possibly also used in conjunction with another box, which his always seen next to the direct box, to send his guitar’s signal both to the amp AND to the PA. That way, if there is a problem with his amp, his original signal will still be heard by the techs, and might even be used in place if the amp if a quick repair is impossible.

Mutronics Mutator

Used to the recording of OK Computer for tracks such as Paranoid Android, Subterranean Homesick Alien, and The Tourist(?).

On “Android,” Jonny played the outro solo without the Mutator, then ran the recorded guitar part through the unit twice whilst adjusting with the knobs. On “Subterranean,” the Mutator is responsible for the descending filter sound at the end of each of his high pitched riffs (during the into, verses, and outro). First heard on the studio version from 0:10-0:13, in the left speaker. Live, he replaces the Mutator on both of these songs with his DOD440.

The Mutator may have been used for Lucky, but since that song was recorded prior to the OK Computer sessions, his DOD440 seems the more likely candidate.

EMT 140 Plate Reverb

Used in studio since OK Computer era. replaced live with his Boss RV3.

Other guitar “Effects”


Jonny creates a unique effect by rubbing the edge of a coin against the strings of his guitar(see below). First used on High and Dry, it was later applied for Exit Music, Morning Bell (with delay) and House of Cards (with lots of RE201 delay/reverb). Unlike the others, on which Jonny rubs the coin quickly for an almost EBow or tremolo-picking effect, on Exit Music he scrapes the coin up and down the strings.

Note that it is best to use a coin with a serrated edge for this purpose.

 Finger Massager

Bizarrely enough, Jonny used one of these for live performances of Anyone Can Play Guitar in 1996. One music magazine mistook it for a sex toy.


Though Ed is Radiohead’s main EBow player, using it on all songs where the EBow makes a significant contribution, Jonny appears to have used one very briefly in 1998. His use of the EBow appears to be far less melodic(ie: for noisemaking) than Ed’s applications.

Cello Bow

Since 2006, Jonny has played his Fender Starcaster with a bow for the first half of live performances of Pyramid Song.


Arm Brace

Jonny was forced to wear one of these on his right arm from 1995 to 2000, due to repetitive strain injury from his guitar playing. It can be seen clearly as late as this video.

Pedalboards and Cables

Plank, the band’s guitar tech, makes all of their pedalboards and cables. Both guitar and patch cables are made using angled and straight switchcraft 1/4” jacks and VDC oxygen free instrument cable.

~Disputed Claims~

Pedals that some claim Jonny has used, but for which I have yet to find ANY evidence.

ProCo Rat/Turbo Rat(?)

Claimed to have been used during The Bends era.

Line 6 DL4 Delay Modeler(?)

Claimed to have been used during the 2007 Tour for Everything in Its Right Place.

Computers and Software

Computers and Related Gear

For live performances with Radiohead, Jonny runs Max on a laptop running exclusively for the purpose, which live he keeps to the left of his keyboards. From 2003 until 2009 he used an Apple PowerBook G4 12”. For TKOL From The Basement in 2011, he used an Apple Powerbook G4 15”, but for the 2012 tour Jonny switched to an Apple Macbook Pro 13”, to which he quickly added a The King of Limbs Emblem sticker. After the stickered Macbook was destroyed in the 2012 stage collapse, Jonny replaced it with a new Apple Macbook Pro 13”. Jonny also used an Apple Macbook Pro 15” in 2012, but only to perform Electric Counterpoint at the ACO Underground; as such, I suspect the 15” Pro to be a personal computer. For solo performances in 2013 and 2014, Jonny used an Apple Macbook Pro 13”.

With Radiohead, Jonny gets audio into and out of his computer with a Metric Halo Mobile I/O 2882. The signals are then processed via Max. For guitar specifically, he uses a Boss LS2 to send his signal to the Metric Halo, before being sent back to to the LS2 and through his pedalboard and amp. To adjust the actual parameters of software in real time via midi, Jonny has used a Kenton Electronics Control Freak SE since at least 2006. He manipulates the Control Freak during live performances of Videotape.

For his performances of Electric Counterpoint, Jonny uses his laptop to play back his previously recorded backing track. At the 2011 Festival Sacrum Profanum, Jonny used an Avid Mbox USB interface. For his performances at Open’er Festival 2013, Barbican 2014, and at Bridgewater Hall in 2014, Jonny used a Focusrite Scarlett 2i4 USB interface. At the Barbican performance, each of the Scarlett's two main outputs running to a BSS Audio AR-133 Active DI Box, but the direct boxes used for the other performances are unknown. At the 2014 Big Ears festival, he used a Focusrite Saffire 6 USB running into a Radial Engineering DI Box. Since he uses Pro Tools for playback of the backing track, he also has an iLok USB Dongle plugged into his computer at performances.

A screenshot of Jonny at the Open’er Festival 2013. The Scarlett 2i4 can be seen to the right of his laptop (Youtube).

Jonny’s setup from the 2014 Big Ears festival. Note that the Focusrite Saffire 6 USB is used purely to supply high quality audio output for his laptop, hence the lack of inputs.

Jonny’s computer setup for Electric Counterpoint at Barbican 2014, featuring a Macbook Pro 13”, Focusrite Scarlett 2i4, and twoBSS Audio AR-133 Active DI Box’s.



"I’ve always felt uncomfortable having to use other people’s software to make music. However limitless sequencers, audio editors, and plug-ins claim to be, you still find yourself being forced, however subtlely, to work in certain ways. My copy of Emagic Logic insists on looping the first four bars whenever it can (although it’s good software in lots of ways)… With Max/MSP I finally got to think about sound and MIDI, and their manipulation, in a much purer way… I felt that all direct contact with computers had been taken away from me, until I found Max/MSP." - Jonny Greenwood. (Computer Music Journal Interview. Source.)

Since 2003, Jonny has run his guitar’s signal into his computer during live performances and processes it with MAX/MSP patches that he’s written. However, Jonny does not only use Max to manipulate his guitar, and it is not only programmed by him - the whole band takes part. The software has been used for sound modification, beat-making, and even as an alternative way to record.

For Hail To The Thief, the first album on which Radiohead used Max, the band actually programmed their patches in studio due to time constraints, figuring them out as they went. The software was used most prominently on The Gloaming, though also used noticeably on Backdrifts, and Go To Sleep. The Gloaming begins with what sounds like a delay-line or a sample in a buffer (more practical), the playback speed of which increases slightly on each repeat, causing the increase in pitch. Max processes most of the sounds heard on the track, sampling and sequencing them, and repeating them.  On Backdrifts, Max cuts Jonny’s guitar playing into short fragments and reverses them, first heard panned left at 1:54-2:24. Jonny’s most famous use of Max/MSP is his shutter effect, which he uses on the outro solo of Go To Sleep, both live and on the album. This patch randomly samples a short fragment of his signal, then plays it back at a speed randomly selected from a set of eight different ones. He has also used it live on Airbag, 2+2=5, Feral (later half of the 2012 Tour), and a few others.

In Rainbows saw less obvious use of Max, aside from the opening track. On 15 Step, the sounds of the beat were generated and sequenced in the software. Live, Jonny uses his Roland FC200 MIDI controller to selected preset sequences throughout the song and to control the volume of the beat.

For The King of Limbs, the band actually programmed their own DAW in Max, which was used to record the album. (Sunday Service, BBC Radio 6, June 2013. Source.) Live, Thom uses Max looper for his vocals on Give Up The Ghost, controlling it via the Roland FC200 MIDI controller.

Pictures of Patches

Possibly the infamous shutter patch. (Macbook Pro 13” No1)

15 Step; Source: taytotim. (Powerbook G4 12”)

Videotape; source, source. His Metric Halo I/O is registering three inputs, so he is likely subtly manipulating the drums, piano, and either Thom’s vocals or Colin’s keyboard samples.

Codex (Powerbook G4 15”)

Bloom (Probably not used on Bloom; looks as though it may be a newer version of the stutter patch).

The Gloaming?

Avid Pro Tools

Seemingly Jonny’s preferred DAW for personal use. Jonny used it to write his piece Popcorn Superhet Receiver. For that, he recorded himself playing every note on his viola, adjusted parameters such as attack and dynamics for the different tracks, then transcribed it all onto paper for the orchestra to play (New York Times). Jonny also used the software to record his backing tracks for Electric Counterpoint, and uses it live to play back the recording as he performs the piece.

Emagic Logic

Jonny considers Logic to be a good software in lots of ways. However, finds it limiting and forc in some ways, such as how it “insists on looping the first four bars whenever it can…”(Computer Music Journal).

Native Instruments Kontakt

See the introduction of the Midi Controllers and Software section for more info.

OmniOutliner Pro 4

This software was used by Jonny to take notes on which gear was used for each track when he rerecorded the backing track for Electric Counterpoint in June, 2014. It is, I’m sure, used for other things as well.

HTML5 (Web Audio API)

Used by Jonny in 2014 to create the web-app for his piece Self-Portrait with Seven Fingers. During the performance, members of the audience could press button in the center of the page 7x7 (49) times to trigger sounds, which were generated in the browser itself. The sounds are triangle waves of random pitch, and with delays of random lengths and feedback.

Keyboards and Synthesizers

Pianos and Keyboards


With Radiohead, Jonny has played piano on the recordings of Creep, How Do You, Vegetable (Left channel 1:00-1:22), The Bends (Right channel 2:57-3:02), Karma Police, and Life In A Glasshouse, as well as Give It Up during the On A Friday days. In addition, Jonny played the piano on Thom’s solo track The Eraser – the part is sampled from a recording of various ideas that Jonny sent to Thom.

He has also used it for the compositions of his classical works, such as Piano For Children, and for his work on soundtracks as well. The instrument can be heard, though not played by Jonny, on Prospectors Arrive and Eat Him By His Own Lightfrom There Will be Blood. However, for his soundtrack for Bodysong, Jonny played the recorded piano parts on Moon Trills and Dreams (not featured on the released soundtrack).

Unknown Piano

Used during the On A Friday Days for Give It Up. May have been a workstation type keyboard, in which case Jonny would have used it for his organ sounds during that era as well.

Yamaha Digital Piano

Used live in 1996 to perform Karma Police.

A photo of Jonny playing the digital piano during a performance of Karma Police in Mansfield, Boston in 1996. Source.

Young Chang Piano

The band’s only brown piano. Made in Korea. It was likely used by Jonny for the recording of Life In A Glasshouse, and by Thom for several other songs. Used on tour from 2000 to 2002, during which time Jonny played it on Karma Police,Life In A Glasshouse. It has only been used in studio since then. Refurbished by Plank in November 2006.

Jonny playing the Young Chang piano at a live performance.

Yamaha U1 Piano Sold.

Black. Used for touring from 2003 to 2006, during which time Jonny played it on Karma Police and No Surprises, though on the latter only for the 2003 acoustic tour. It was also used for recording during the same period. It can be seen during Radiohead’s Le Reservoir performance. Mentioned by Plank as being for sale circa September 2006 (stringsreunited), it was later sold at an auction in 2013, possibly by whoever bought it from Radiohead (Bonhams).

Kemble KC121 Pian

Black. Mainly used for recording initially, but became the main live piano as well in 2007, after the Yamaha U1 was sold. Used live since 2007 for Karma Police, and in 2011 and 2012 for Kid A.

Mic’d with a Shure MC50B during the In Rainbows tour. In 2008 at least, the “piano pickup [was] a Helpinstill from the US….” Source. During the 2012 Radiohead tour, a Dave Smith Tetra was fitted to the front of the piano. In 2013, for the Atoms for Peace tour, a Boss DD7 was added in addition to the Tetra.

According to Plank (the band’s tech) “Useable as a normal acoustic piano or, with the centre pedal locked in, it lifts a bar across so the hammers don’t strike the strings and will trigger a sampled Concert Grand which can be sent to headphones or mixer / pa.” “We use a combination of all possible outputs and use mic / transducer and sample all blended together which works well and sounds better than ever…” Source.

Unknown Piano

Jonny’s own piano. Possibly the one used for The Eraser.

A photo of Jonny’s own piano, from his twitter account.

Jonny playing the Kemble U1 in 2012 (flickr).

Unknown Keyboard Organ

Used during the On A Friday Days. May have been a workstation type keyboard, in which case Jonny would have used it for both organ sounds and the wonky noises on Tell Me Bitch. Were that the case it may also have been used for the piano on Give It Up. Used on Climbing Up A Bloody Great Hill, Give It Up, Burning Bush, Tell Me Bitch, Keep Strong, Nothing Touches Me (Manic Hedgehog Version).

Hammond Organ

The same one as used by the Beatles, apparently. It was used in studio for Fake Plastic Trees and Punchdrunk Lovesick Singalong. It was used by the band, but not owned by them.

Hammond M102

Used by Jonny for a performance with Thom of Exit Music(For A Film) and a cover of Elvis Costello’s I’ll Wear It Proudly at the 1999 Tibetan Freedom Concert.

Rhodes Suitcase Piano Mark I 73

Acquired in 1996, and used extensively by the band since then. Jonny plays it on the recordings of Paranoid Android and Let Down, and for live performances of both tracks. It also was used for live performances of Karma Police in 1997 and 1998, live performances of Kid A since circa 2003, and performances of All I Need and Reckoner since 2007. It was also used in 2012 for the sole live performance of Treefingers.

Rhodes Stage Piano Mark I 73

As was shown in a picture from when he received his Ondes Musicales, Jonny has a Rhodes Stage piano in his house. The band used a Rhodes Stage piano, rather than their standard Rhodes Suitcase, in 2010 for their Haiti Benefit show, and the one in his house may well be the same Stage piano as was used for that performance.

Jonny’s Rhodes stage piano can be seen to the left of his Ondes Musicales.

Mellotron M400

Probably acquired in late-1995, it was subsequently used quite a lot on OK Computer, though it has seen far less use since then(or at least in subtler ways). The Mellotron is responsible for a large portion of the strings sounds and all of the choir sounds heard on that album, as well as some other sounds. It was also used a variety of later songs.

A Mellotron is, in a sense, an analog sampler. When pressed, each key triggers a tape reel which plays a recording of an instrument at the pitch of the key. Rather than risk damage to the instrument on tour, in 1997 the band’s Mellotron was sampled into a digital rack unit, allowing Jonny to access the sounds live via his midi controller(a Fatar CMS-161). Later, likely around 2000, the Mellotron was sampled into a computer, and used in the same way as the rack unit.

Likely the first uses of the Mellotron by the band were Molasses from 1:04-1:14 and 1:58-2:23 and Talk Show Host, though it is also possible that Jonny used his E-mu Classic Keys for those recordings.

The Mellotron’s choir can be heard on Airbag from 0:45-0:59, Paranoid Android from 3:33-5:35, Exit Music(For a Film) from 1:26-2:18 and 3:21-4:08, Lucky from 1:53-3:06 and 3:46-4:08, and The Tourist from 1:35-~2:17 and 3:22-~5:01. Live, of course, Jonny uses sampled versions of the same sounds(which are themselves samples).

Mellotron strings can be heard throughout Melatonin.

A picture of the inside of the Mellotron.


First used at the KOKO Festival in 2006, to a performance of Weird Fishes and No Surprises with Thom. tUsed in studio for Weird Fishes, during the section when Thom sings “get eaten by the worms,” and also on Go Slowly, throughout the song. Live, Jonny plays both of those parts on the Rhodes piano.

Jonny playing the Celesta during the performance of Weird Fishes at the KOKO Festival in 2006.

Hohner Clavinet D6

Used by Jonny during the recording of In Rainbows, though it doesn’t seem to have made it onto the album.


Keyboard Synthesizers, etc

Ondes Martenot

Jonny fell in love with the Ondes when he heard it on Messiaen’s Turangalîla-Symphony during his teens, but he did not so much as see one until around 1998-1999, when he obtained one from a special reproduction run of fifty created by Maurice Martenot’s son. Forty four of the instruments, which were digital versions of the Ondes,* went to a Japanese school, five went to other musicians, and one went to Jonny. According to Analogue Systems, Jonny’s Martenot is from 1983.

The instrument essentially a licensed digital Ondes Martenot, was Jonny’s first, and it served as a template for the Analogue Systems French Connection(hence the similarity between the two instruments).  1983 Jonny quickly put the instrument to use; he played it extensively during the Kid A/Amnesiac sessions, and it can be heard on many songs from that era.

(Note: how the Martenot was used on each track is explained later in this entry.)
Used on Kid A,The National Anthem, How to Disappear Completely, Optimistic, Pyramid Song, I Might Be Wrong, Fast Track, Kinetic?, Amazing Sounds of Orgy, 2+2=5, Where I End and You Begin, We Suck Young Blood, Myxomatosis, Scatterbrain, Nude, Jigsaw Falling Into Place, MKII, 4 Minute Warning, and The Butcher, and probably others.

He has also composed for it in his classical piece Smear. The Ondes also saw use on Jonny’s soundtracks. It can be heard during Moon Trills, Clockwork Tin Soldiers, and Tehellet from Bodysong, Open Spaces, Future Markets, Prospectors Arrive, Henry Plainview, and Stranded The Line from There Will Be Blood, and also on his soundtrack for We Need To Talk About Kevin.

Though since May 2001, Jonny has usually used his Analogue Systems French Connection for live performance, he has brought out the real Ondes Martenot for a few smaller shows. These were performance of Cymbal Rush on the Henry Rollins show with Thom and Nigel, the Glastonbury 2010 surprise show with Thom, and Radiohead’s 2011 performances on the Colbert Report and at the Roseland Ballroom.

*”His very first instrument has been delivered on the 14th of July[2011] to Jonny Greenwood (Radiohead) who owned a small digital copy of the ondes Martenot until now.” -Thomas Bloch on the Ondes Musicales(next entry) and Jonny’s old Ondes(the one featured in this entry).

Detailed Use (Assume waveform is Onde unless stated otherwise).

Jonny, sitting at the Ondes during Thom and his 2006 TheBigAsk performance. The Palme diffuseur is visible behind him.

The control panel of Jonny’s Ondes Martenot, as well as the ring and a few keys. The settings are those used for his 2014 NYC performances of TWBB, and I cover them in detail in this post.

Jonny’s keyboard setup from the 2000 tour, with the Martenot sitting on top of his Fatar MIDI keyboard.

The Palme speaker for Jonny’s first Ondes Martenot.

Thom and Jonny using the Ondes in studio circa 2006.

Jonny with the Ondes at Glastonbury 2010.

Ondes Musicales

On July 14, 2011, Jonny received the very first Ondes Musicales, a new run of Ondes Marenot the constructed by Jean-Loup Dierstein.

First used live for a performance of Messiaen’s Vocalise-Étude as well as his piece Prospectors Arrive (from There Will Be Blood) on Feb 23, 2014 (with the London Contemporary Orchestra at the Wapping Hydraulic Power Station in East London). At this performance, he used the Musicales with its Principal and Résonance diffuseurs.

Jonny also used the Musicales for his collaborative performance with Shye Ben-Tzur at Alchemy, at the Southbank Centre in London on May 17th, 2014. At this performance, he used the Musicales with its Principal and Résonance diffuseurs. He also used an Akai Headrush E2 connected to the Ondes during a rehearsal for the show, but it is unknown if it was used for the final perormance.

He received the keyboard, along with “the double pedal and (new) the CV gate out (on the floor), the Main and Resonance loudspeakers (left, near the Fender Rhodes) and the [new prototype] Metallic loudspeaker” ( Though new Palme loudspeakers are not currently being produced, Jonny likely intends to use his original with the instrument.

A photo of Jean-Loup Dierstein delivering the very first of his new Ondes Musicales to Jonny in 2011.

“The drawer, the ribbon and the keyboard” (

A photo of Jonny during a performance of Messiaen’s Vocalise-Étude with the LCO at Wapping Hydraulic Power Station on Feb 23, 2014.

Yamaha DX27

Used at On A Friday gigs.

Korg Prophecy

Acquired in 1995, and used during shows that year. Used on Ok Computer, most prominently for Climbing Up The Walls, Jonny also had this as part of his setup during touring for that album(see below). It sat on top of his Midi keyboard, a spot which would be permanently taken three years later by the then new Analogue Systems French Connection.

On Climbing Up The Ways, it is used from 3:07-3:31. For that song, Jonny took advantage of the keyboard’s unique “log controller,” which allows the instrument to achieve a sound relatively close to that of an Ondes Martenot (an attribute used by Jonny to full effect in this case).

It is likely used on Let Down for the synth part heard from 3:27-3:41 and from 4:40-4:53. The part sounds to be sequenced (likely by a computer), rather than played live or using the keyboard’s arpeggiator.

Live, it could be heard on from 1996 to 1998 on performances of Climbing Up The Walls, such as this one. Jonny also used the Prophecy in a similar way on live performances of Airbag from 1997-1998, to replace the choir heard from 0:44-0:54 on the album version. One late 1995 performance of True Love Waits features Jonny’s use of the Prophecy’s arpeggiator function. The instrument was used during the verse of at least one 1996 performance(at The Metro) of Planet Telex. Jonny also used the instrument’s keyboard on live performances of Talk Show Host from 1996 to 1998 to play an ascending and descending synth part.

An image of Jonny playing the Prophecy and Fatar CMS-161 live during a performance of Talk Show Host in 1998. Source.

Hammond XB2 Digital Organ

Obtained in 1996. Heard during No Surprises(entering at 1:17), where it is used quite subtly. Also used live for early performances of Paranoid Android (for the old keyboard solo at the end) and Let Down in 1996, and Nude(then called Big Ideas) in 1998.

It was also used by Thom in 2000 and 2001 for performances of Motion Picture Soundtrack.

Sequential Circuits Prophet 5

The Prophet 5 was first seen to be used by Radiohead on their failed attempt at recording Big Boots in March, 1998. Video of the attempt, in which Jonny can clearly be seen playing the synth, can be seen in Meeting People Is Easy. Though used quite extensively during the Kid A/Amnesiac sessions, the synth broke during touring in 2001 and was never replaced.

Used, by Thom and/or Jonny, on Kid A, Packt Like Sardines In A Crushed Tin Box, Hunting Bears, The Amazing Sounds of Orgy, Trans-Atlantic Drawl, Fast-Track, Kinetic (Center; 1:48-3:09, 3:20-3:35.), Worrywort, and Cuttooth.

Moog Rogue

Used by Jonny in studio. He played it during the March 1998 attempt at recording Big Boots. Some say that Thom or Jonny used the synth quite a lot during the Kid A/Amnesiac sessions, though I don’t know if those sounds are actually from the Rogue. It has also been mistakenly claimed to have been used on 2+2=5, when the synth used on that song is quite probably the Martenot.

Baldwin DS-50 Discoverer

Used in studio.


Emu Emulator

Used in studio, probably by Jonny.

Clavia Nord Lead 3

Seen in pics on DAS from the In Rainbows recording sessions.

Arp 2600

Seen in pics on DAS from the In Rainbows recording sessions.

Gakken SX-150

Given to Jonny by a fan in Japan in October, 2008. A (simple) kit synth, Jonny built it himself after recieving it, and subsequently posted the following picture on DAS. It’s unknown if it was used on any recordings.

Analogue Systems The Spawn

This was part of Jonny’s modular setup during earlier sessions of the recording of In Rainbows.

The Spawn is visible stacked on top of the sequencer module on the left.

 ARP Solina String Ensemble

Used for all of Jonny’s strings parts at the Haiti Benefit show in 2010, namely for Lucky, Dollars and Cents, Airbag, Exit Music, and Street Spirit. Jonny probably uses this on his own, but not for recordings with Radiohead. May have been used on the recording of Up On The Ladder, but the Korg Poly-Ensemble seems more likely candidate as the Solina’s chorus would mpart some phasing which the recording seems to lack.

Unknown White Keyboard

Not used, but seen under Jonny’s other keyboards at the Haiti Benefit Show.

Korg Poly-Ensemble P PE-1000

Likely used on the recording of Up On The Ladder. Played by Jonny for Street Spirit at Glastonbury 2010.

Moog MiniMoog Model D

Acquired The King of Limbs era, used in studio(and for the From The Basement sessions) for the main bass line of Lotus Flower, and heard through most of that song.

Moog MiniMoog Voyager Performer Edition

Used by Jonny on Tour 2012 in place of the original MiniMoog.

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Dave Smith Prophet ‘08

Acquired The King of Limbs era, and used extensively by the band on songs from that period. Jonny uses it during the bridge of Lotus Flower, live in 2012 and 2013 for that song, and also live in 2011 for All I Need and Myxomatosis.

Dave Smith Tetra

In addition to the Tetra which Thom had on the upright piano, for the European/Asian leg of the 2012 Tour Jonny added one to his live laptop setup. Its use is unknown, though it likely serves as a backup for the Prophet ‘08.

Synth Controllers

Analogue Systems French Connection

Jonny feared taking his Ondes Martenot on tour, lest it be damaged. However, his Ondes was part of a special run of 50, and he was unable to obtain a second(44 went to a school in Japan, and five went to other musicians). As a result, in 2000, Jonny approached Analogue Systems to ask them to create a controller to use with his Analogue Systems modular synths which would function like the Ondes, and the French Connection was born! A prototype was demonstrated to Jonny in April, 2001, and he received the first two made in May 2001, soon after also receiving the third unit produced. This “instrument” is actually just a controller, meaning it creates no sound on its own. Jonny runs his French Connection with an Analogue Systems “The Apprentice.”

As would be expected, Jonny uses this to duplicate his Ondes parts live for The National Anthem, How to Disappear Completely, Pyramid Song, Where I End And You Begin, and Jigsaw Falling Into Place.

Since 2001, the French Connection has also been used live to play all of Jonny’s Korg Prophecy parts. The synth part in Climbing Up The Walls, from 3:08-3:31 on the album recording, and the choir part in Airbag(played live with the Prophecy), from 0:44-0:54, are both played on the French Connection, using its ring controller. Jonny also uses the French Connection on Talk Show Host, wiring a different patch for the song and playing using the keyboard.

In June 2001, Jonny used his French Connection on a performance Feeling Pulled Apart By Horses/Reckoner, utilizing the controller near to the end of the song.

Though he generally plays guitar during live performances of the song, Jonny used the French Connection on Jigsaw Falling Into Place for the 2007 Scotch Mist performance.

For the 2012 live performance of Packt Like Sardines In A Crushed Tin Box, Jonny played a new part different from the recorded version or earlier live versions using the French Connection’s keyboard, along with delay from his Akai Headrush.

Jonny had a “No Star Wars” sticker on one of his French Connections from around 2010. Jonny would later incompletely remove the sticker from his “live” French Connection.

However, that specific French Connection was damaged during the gear disaster in 2012, and was replaced by a new French Connection. Luckily, since all French Connections are identical, this makes no difference in sound.

Jonny, playing the newer Analogue Systems French Connection in 2012. Source.

A picture of the old “live” French Connection, followed by a photo of its successor.

Jonny playing the French Connection’s keyboard with both hands during a performance of Packt Like Sardines In A Crushd Tin Box.

Modular Systems

Jonny uses these both on their own to create beats and strange sounds, and with his French Connection to generate the actual synthesizer sounds which he uses the Connection to control. Listed are Jonny’s cabinets, which are generally filled with Jonny’s own arrangement of modules, rather than any of Analogue Systems’s standard setups.

Songs with beats created predominantly via Jonny’s modular system include Idioteque and Sit Down/Stand Up. any other songs likely feature contributions from the modular. For example, the snare sounds heard throughout (while the additional snare at 2:02-2:54 and 3:14-4:19 in that song sounds as though it is from an acoustic kit).

Though it may sound like it, the “beat” for The Gloaming were not created via a modular synth; it was initially done by Jonny with old tape machines, then manipulated via laptop. Source.

Jonny’s modular setup from during the recording of Hail To The Theif, consisting of a RS8500x with Double Sequencer cabinet.

Jonny’s modular setup in 2005(?). It features two RS8000 cabinets, an RS10 cabinet with a sequencer as well as a row of other modules, a smaller wooden sequencer cabinet featuring various modules, and an Analogue Systems The Spawn.

Jonny’s modular setup in 2006, while being rearranged prior to touring. The full modular has never been taken on your, but he was likely trying to figure out what to bring on tour, as this is just before he scaled down his touring modular setup. Source.

Jonny’s modular setup in February, 2007. Included are aan RS8500, a Double Sequencer(above the the RS8500), three RS8000’s, and another Walnut Cabinet(above the lower RS8000). The modules are in a custom configuration. The setup includes three Analogue Systems RS200 Sequencer Systems. A pair of Yamaha NS10 Monitors are used to make the sound audible to Jonny. Source.

A picture either of the prior picture being setup, or of it being rearranged. Source.

Analogue Systems The Apprentice

This is a special cabinet Jonny uses this exclusively with his French Connection. Generally it has the “Systems 1” setup, but Jonny has also used it with only a few modules, namely the RS95 VCO module, which creates a note at the pitch specified via CV by the French Connection, and the RS180 VCA, which amplifies the output.

2012 Modules
In 2012, Jonny used three oscillators for various purposes. He ran his first two oscillators(VCO’s) for his “Martenot” sound, with the first(yellow path) set to a Sine wave, the second(blue path) to a Square or Sawtooth wave. The first is tuned for his standard higher pitch playing, and the second is tuned several octaves lower and used for parts of How To Disappear Completely. Both oscillators run into one of his VCA’s, controlled by the French Connection’s button out (other yellow cable). The output of the VCA goes to the Adaptor Converter, which then runs through his keyboard pedalboard, then to the PA.

His third oscillator(red path), used only for performance of Packt Like Sardines In A Crushd Tin Box, is set to a Sine wave. Since Jonny uses the French Connection’s keyboard for that song instead of its ring, the oscillator is likely tuned slightly differently (maybe up an eighth of a semitone) to accommodate the tiny pitch discrepancy between the two control methods. It runs to a second VCA, which is controlled by the second button out (other red cable). The output of the VCA also runs to the Adaptor Converter.

Jonny’s Analogue Systems French Connection and Apprentice Cabinet during the first half of Tour 2012. The patch is just his two main oscillators into a VCA, then to the Adaptor Converter.

A picture showing the velcro atop Jonny’s Apprentice Cabinet, which he uses to attach his tuner, pick holders, and EHX Small Stone to the top of it.

Analogue Systems RS8000 Integrator

Used in studio for the recording of Kid A and Amnesiac. Specifically used to generate the parts of the beat in Idioteque, which are then arranged into a beat by being triggered by the RS200 Sequencer. It is used for the same purpose on Sit Down/Stand Up. Jonny originally had two of these which he brought on tour from 2000-2006, with one used for performances of  Idioteque and the other used first as a spare and later performances for Sit Down/Stand. His studio setup from 2006 onwards contained three of the units.

Jonny with the Analogue Systems RS8000 Integrator and RS10 with Sequencer System. This was his live setup for Idioteque and Sit Down/Stand Up from 2000 through 2006.

A picture of Jonny’s system from a show in support of Hail To The Thief.

 Analogue Systems RS8500X

First used live circa 2002 for Sit Down/Stand Up. It was his main modular in studio for the recording of Hail To The Thief, paired with a Double Sequencer cabinet. It then became as part of his newer massive modular setup during the In Rainbows sessions.

CURRENT LIVE SETUP (Has been nearly identical since 2008.)

 RS200 Sequencer System(in RS10 Case)

Jonny uses this to control and arrange the sounds generated by the RS8000, or his more recent RS15 case setup(below). Used to trigger the beats and bleeps in Idioteque, Sit Down/Stand Up, and 15 Step.

 RS15 Case

I’ve arranged the modules into rows solely to make it easier to look at and refer to. The order of the modules is dictated by how Jonny patches them together(with cables), and their placement relative to each other is irrelevant, save for making patching easier.

Top Row

Bottom Row

Jonny operating his modular during a performance of Idioteque in 2012.Source.

Midi Controllers

Though Jonny played keyboards with the band before guitar, back during the On A Friday days, Jonny did not use a keyboard live with Radiohead until 1995. Jonny’s midi keyboard was run off of a rack mount unit, which some thought to be for his guitar. During touring for the Bends, he has one rack “set.” Jonny used a stock(as far as I know) E-mu Classic Keys running into the PA, which he trigger via his midi controller, a Fatar SL-161, at the time. Both the unit and the controller can be seen quite clearly during the band’s performance of Fake Plastic Trees at the 2 Meter Session.

On OK Computer, Jonny used an authentic Mellotron quite extensively. But rather than bring the instrument on tour, Jonny had his techie(s) record every single note of his Mellotron onto a Akai S3000XL. He also added some other units for effects such as reverb. As a result, he brought two almost identical rack setups on the OK Computer tour, likely with one serving as a spare for the other.

In this picture, from Glastonbury 1997, one can see Jonny’s two rack setups, as well as his Fatar CMS-161, Korg Prophecy, and Roland Space Echo. The Akai S3000XL is the white unit at the top of each rack, and the E-mu Classic Keys are the units with a green screen in the middle. Between them is an Akai S01 on the left, and a TC M-One XL CD-ROM Drive on the right. The unit on the bottom of the rack on the right is his Mutronics Mutator(used only with the keyboards in this capacity), and the bottom unit on the left is an Alesis Q Reverb.

However, Jonny has since moved on from the rack setup. Instead, he’s switched over to laptops for sampling purposes. ALL of the band’s recordings of their Mellotron, which were stored on the  Akai S3000XL, were then either transferred or rerecorded onto the laptops. The program Kontakt 3 is used to store and reproduce the sounds, which Jonny then trigger via his Fatar CMS-161. Colin also triggers samples on the same computers, but using his own MIDI controllers. During the 2008 Tour, their keyboard tech Alan ‘Russ’ Russell maned the laptops during shows to switch banks of sounds according to song.

A screenshot from one of Jonny’s laptops which is running Kontakt 3.

The main and backup computers.

Fatar SL-161

First midi keyboard to appear on a Radiohead track. Jonny used this during The Bends sessions and the subsequent tour. Possibly stolen in 1995, after being used live for Planet Telex, Fake Plastic Trees, Street Spirit, Talk Show Host, and Nobody Does It Better. Can be seen during their 2 Meter Session performances.

Fatar Keys CMS-161

Five octave midi keyboard. Acquired OK Computer era, replacing the SL-161. Instead of using a Mellotron on tour, Radiohead sampled their Mellotron into a Akai S3000XL. As such, Jonny could essentially play his Mellotron via the Fatar. More recently, however, the Akai has been replaced by the computer software Kontakt, onto which the same loops were uploaded.

Jonny has likely been using the same CMS-161 since 1996. It was not destroyed in the terrible stage collapse of 2012.

Jonny played this keyboard with the headstock of his guitar for
Street Spirit, since 1996, and A Wolf At The Door, in 2008-9 and 2012. Also used for Talk Show Host, Planet Telex, Fake Plastic Trees, Street Spirit, Talk Show Host, Bishop’s Robes,Airbag, Paranoid Android, Exit Music(For a Film), The Tourist, Dollars and Cents, Where I End And You Begin, Myxomatosis, Codex

An image of Jonny adjusting the pitch wheel on the Fatar during a performance of Talk Show Host in 1998 (youtube).

Roland PC-200 MKII

Originally used by both Colin and Jonny from 2003 to 2007, and later used exclusively by Jonny from 2008 to 2009. Greenwood plays it on live performances of Myxomytosis, using it to trigger bass samples. It fell out of use entirely in 2011, when Jonny switched to playing a MiniMoog for live performances of the song.

Jonny playing the Roland PC-200.

Roland PCR-500

Possibly Colin’s. Jonny uses this controller on Codex From The Basement.

Jonny playing the unknown Midi Controller.

Kenton Electronics Control Freak SE

Part of Jonny’s setup since at least 2006, this unit is used to adjust the actual parameters of Max(see the Offboard Effects and Software section) in real time. He manipulates the Control Freak during live performances of Videotape.

Keyboard Effects

 Roland Space Echo RE201

Three Space Echos were used on the keyboard for Planet Telex, though that may have been played by Thom. The Space Echo was also used later for a variety of things in studio.

 ElectroHarmonix Small Stone

Jonny’s original Small Stone (No4) was used on the recordings of Talk Show Host and A Reminder. It was used live for performances of Talk Show Host, during which he would adjust its speed knob whilst playing. The pedal was originally kept to the right of Jonny’s midi controller, from1996-1998?. Later, Jonny moved it to the second shelf of his keyboard stand. Circa 2006, he again switched its position, this velcro’d to the top of his Analogue Systems Apprentice Cabinet.

The original Small Stone was a V3 or V4. Circa 2006, Jonny switched to a Small Stone V4 (No5)(?). The Small Stone (No5) which Jonny had been using for some time, a Version 4, was destroyed in the stage collapse of 2012, and was replaced by a newer Version 4 (No6), which Plank purchased off of eBay in very early(3rd or 4rth of) July 2012.

An image of Jonny adjusting his Small Stone live during a performance of Talk Show Host in 1998 (youtube).

Akai Headrush E1 and E2

Used live for looping and delay with his French Connection. Used as a looper for live performances of How To Disappear Completely and Where I End And You Begin, and as a delay for 2012 performances of Packt Like Sardines In A Crushed Tin Box.


Used live with his Analogue Systems French Connection for reverb only. Jonny gets delay, as well as looping, from his Headrush.


In addition the one used with his guitar, Jonny uses on with his Ondes Martenot, French Connection, and modular setups.


Likely used to control the volume of Jonny’s MIDI setup.

Ernie Ball VP Jr
Roland FS5U

Used as a sustain pedal for his midi keyboard.

BOSS LS2 Line Selector

Used in 2003.

Keyboard Pedalboards

OK Computer Tour 1997-1998:
For Fatar/MIDI - EHX Small Stone V3/4, Boss FV300, and Boss FS5U.

Kid A/Amnesiac Touring 2001:
For French Connection - Boss RV3, Boss LS2, Akai Headrush E1.
    For Fatar/MIDI - EHX Small Stone V?, Boss FV300, and Boss FS5U.

Hail To The Thief Touring 2003:
For French Connection - Boss RV3, Boss LS2, and Akai Headrush E1.
    For Fatar/MIDI - EHX Small Stone V?, Boss FV300, and Boss FS5U.

In Rainbows From The Basement 2008:
For French Connection - Boss RV3 and Akai Headrush.
    For Fatar/MIDI - EHX Small Stone V4, Boss FV300 and Boss FS5U.

Radiohead for Haiti; January 20th, 2010:
For French Connection - Akai Headrush E2.
    For ARP Strings Ensemble - Boss FV300.

Miami; February 27th, 2012:
For French Connection - Boss RV3 and Akai Headrush E2.
    For Fatar/MIDI - EHX Small Stone V4, Boss FV500 and Boss FS5U.

London O2; October 8th, 2012:
For French Connection - Boss RV3 and Akai Headrush E1.
    For Fatar/MIDI - EHX Small Stone V4, Boss FV500 and Boss FS5U.

Shye Ben-Tzur Collaboration - Southbank Centre, London; May 17, 2014:

For Ondes Musicales - BOSS RE20 and Akai Headrush E2



Jonny appears to favor Premier drums, having used them almost exclusively, though he has also used a Gretsch kit.

Jonny plays a set of two Tom drums on live performances of There There. He plays the drums for the first half of the song, switches to guitar for most of the rest, then switches back to the toms for the final few measure. His Toms were originally a matching pair, but he has since used a few different combinations depending on the tour.

The first recording on which Jonny played drums was the Bodysong track Convergence. For the song, he played all of the percussion himself. “There’s one track called ‘Convergence’ where it sounds like a drum troop all playing out of time, and slowly it all falls in-time. But the way that it was done, with lots of tape loops and just simply involved me sat on the floor like a child with one drum at a time, playing this very simple thing over and over again” (citizeninsane).

During the recording of In Rainbows, Jonny messed with a tom and snare drum. He also had a drum kit (described below) set up with the rest of his gear during the In Rainbows sessions.

Jonny plays drums on Down Is The New Up, one of the bonus tracks from “In Rainbows”. For live performances, he used the same Premier mini-drum kit that Thom used for Bangers and Mash.

On the King Of Limbs track Bloom, Jonny plays a simple setup of just a snare and a tom. On the first half of the 2012 tour, he used a Premier Modern Classic snare, and for the second, he used a Premier Artist Birch snare.

Circa 2008.

Jonny playing the Toms during a live performance of There There circa 2009 (flickr).

Jonny, during the recording of In Rainbows (deadairspace).

Another photo of Jonny’s setup from the recording of In Rainbows. Jonny’s setup includes a Gretsch drum kit consisting of a kick, snare, ride cymbal, and two cymbals.

Jonny playing the mini-kit during a permonance of Down is the New Up.

Jonny playing drums during Bloom.


Used on No Surprises, The Tourist, LullMorning Bell/Amnesiac, Sit Down/Stand Up and All I Need. Also used on performances of Big Ideas in the late nineties, a song which would later be recorded as Nude on In Rainbows. Mic’d with a Shure MC50B.

Jonny playing the Glockenspiel during a concert (flickr).

Lemon Shaker

Used by Jonny during All I Need and Reckoner.

Wood Block

Used by Jonny on the Bodysong track Convergence.


An In Rainbows era picture(below) of Jonny with these was captioned “What are these called?”


Akai MPC-60

Jonny used this during the sessions for In Rainbows.


Roland TR909

Played by everyone in the band, depending on the song. Jonny used it for the Thumbs Down version of Videotape, although for live performances he instead manipulates a Max patch(see “Max” entry). He also uses it for basic beats for acoustic shows, on songs such as A Punch Up At A Wedding and Everything In Its Right Place.

Roland MC505

Acquired circa 1999, and used during the sessions for Kid A/Amnesiac. Used by Thom for Pulk/Pull Revolving Doors, and possibly also used for Backdrifts and The Gloaming.



Jonny contributes vocals on India Rubber(the looped laughter during the song’s second half), Paranoid Android(live, at least, he says “ugly” and “piggy”), and the Bodysong track Trench(heavily effected and autotuned).


Jonny learned the instrument circa 2002.


Jonny has played the recorder since grade school, and played in teen recorder ensembles until he was seventeen or eighteen (Stuart Maconie’s Freak Zone Jul 2014, audio available during Mary Anne Hobbs’ Music of the Natural World). It’s most notable appearance in Radiohead’s music is on the song The Bends, where it can be subtly heard repeating a simple five note melody during the solo (3:08-3:27).


Though he actually joined the band on the instrument (back in the late 80’s), Jonny first played the harmonica on a Radiohead recording for the track I Am A Wicked Child, though the harmonica was used for 2000 live performances of the song Kid A. He has also played the instrument on Blind Mr. Jones’ Crazy Jazz EP, and on the Pavement tracks Platform Blues and Billie from their final album Terror Twilight.


Jonny started learning the instrument circa 2002, very likely inspired by his longtime admiration for Miles Davis. The instrument was used for his soundtrack for the movie “Bodysong,” though Jonny did not play it on the recording.

Bladder pipe

Seen in an In Rainbows era picture on Dead Air Space. Jonny said that he bought it in Prague (Stuart Maconie’s Freak Zone Jul 2014, audio available during Mary Anne Hobbs’ Music of the Natural World).


Roberts R737

This is an authentic radio, and so the sounds produced during each live performance depend on the local radio stations. Modded to include a 1/4” output. During soundcheck, Jonny tunes the radio to four channels which he thinks could work with the song, then saves them as presets and switches between during the performance. Used on live performances of Climbing Up the WallsThe National Anthem, and Backdrifts.

Jonny messing with his radio in 2012 (flickr).


Used for live performances of The National Anthem in 2001, specifically the Paris and Jools Holland performances.


The secret to Jonny’s live sound. Used during touring in 2007-8.


Korg Kaoss Pad KP1

Famously used during live performances of Everything in Its Right Place to sample Thom’s vocals and manipulate the loop’s playback speed. This is meant to reproduce the vocal manipulations on the Kid A recorded version of the song, which were created by Nigel Godrich with Pro Tools, but Jonny goes further than the original by also running the loops through his pedal effects.

Jonny uses the Kaoss pad’s effect #60, SAMPLE/PLAY2+PAN. He only uses one of the pad’s outputs, however, which is why he keeps in index or middle finger in the horizontal center of the pad (no panning) while playing. He then uses his ring finger to start and stop looping.


Jonny with the Kaoss Pad in Paris. Note how his index finger is horizontally in the center of the pad (no panning), but vertically at the bottom (full speed reverse playback). Also his ring finger is tapping the record button, starting or stopping recording (youtube).


Plank posted a picture of one on his blog, and one can only assume that it is Jonny’s.

Ugly Dog

Possibly sampled for House of Cards with heavy delay/reverb.