Jonny Greenwood’s Rig

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

     Jonathan Richard Guy Greenwood (born 5 November 1971) is the guitarist of Radiohead and 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 composing classical music as well as 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).

Contents

expand all | collapse all

Guitars
-Electric Guitars[+]

-Acoustic Guitars[+]

-Bass Guitar[+]

-Guitar Accessories[+]

Amplifiers
-Solid State[+]

-Tube[+]

Guitar Effects
-Pedalboards[+]

-Pedals Used[+]

-Off Board Effect and Software[+]

-Other “Effects” and Techniques[+]

-Cables

-Disputed Claims(no real evidence)[+]

Keyboards and Synthesizers
-Pianos and Keyboards[+]

-Keyboard Synthesizers, etc[+]

-Synth Controllers[+]

-Modular Systems[+]

-Midi Controllers and Software[+]

-Keyboard Effects[+]

-Keyboard Pedalboards[+]

Percussion[+]

Miscellaneous[+]

expand all | collapse all

Jonny’s Guitars

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).

Sunburst 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.

     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], and others(in addition, see section on his original Tele Plus to see which earlier songs he used the cuttoff switch on).

   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 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 resemble those manufactured by Kilo International which are used on the Diamond Memory Lane 2 pedal, used by Ed.

     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.

    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.

 Sunburst 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.

 Sunburst Fender Telecaster Plus (Old Tele2) Stolen.

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

     Acquired at some point before or during 1995, though the guitar was manufactured in 1990. Jonny’s spare for his original Telecaster Plus. Stolen in Denver 1995.

     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 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(?). From a distance, the two were nearly indistinguishable save for stickers. Jonny brings this guitar on every tour as it’s his backup, though initially (in 1997) he used it quite frequently at shows. Since then, however, he’s only used it very rarely.

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.

     Probably from 2008.

     Jonny with his No. 2 Telecaster.

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

 1975 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. Generally used 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.

     Though used on OK Computer for The Tourist and some parts on other songs, it was used most on Kid A and Amnesiac, particularly the latter, judging by live usage. Since those albums, Jonny has only exceedingly rarely used anything besides his Telecaster Plus, but the Starcaster has remained in frequent live use.

    In 2011, Jonny used the guitar for his first performance of Steve Reich’s Electronic Counterpoint.

     Used live for Subterranean Homesick Alien(in the 90’s and in 2011), The Tourist, Optimistic, 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.

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

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

     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-

 Gibson Les Paul Standard

     Likely a late 70’s or early 80’s Les Paul Standard, in Gold Top finish. The pickup selector and knobs are non-original.

     This guitar was first seen in 2006, in pictures on Dead Air Space from the recording of In Rainbows. It was next seen during their performance of The Headmaster Ritual from the Thumbs Down webcast. The only time it was used live was at the Radiohead for Haiti show.


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

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

 Rickenbacker 360 Fireglo

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


-Jonny, standing on stage with his Rickenbacker-

 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.

 Gibson ES-335

     For one performance, during the acoustic Tour 2003, Jonny used a Gibson ES-335(the only time he has ever done so). It is very likely he was just borrowing Ed’s 335, however. 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 guitar, but used by Jonny for acoustic shows in 2003. Jonny also has one, possibly Thom’s and possibly a different one he purchased for himself, as part of his rig for the 2012 tour, although he has yet to use it live.

 Martin D35

     Jonny’s main acoustic on the In Rainbows tour. Equipped with a Fishman rare earth pickup on April 27th, 2006.

A picture of Jonny’s Martin.

 Taylor Big Baby

     Played by Thom and Jonny in pictured on Dead Air Space.

 Gibson Hummingbird

     Belongs to Thom, but used at the Haiti Benefit show.


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 1972 Sunburst 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.

Guitar Accessories

 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). Used for Street Spirit, at the twevlth fret, and Separator, at the sixth fret. He may have used a different one in early years, but he’s had it since 2010 at least.

Woodies G-Band Two String Partial Capo

     Used at the twelvth fret on Ful Stop.

Strings:

     Jonny’s electric guitars(or at least all his Tele’s) are equipped with Dean Marley Signature Series 10-46 strings, though he previously used Elite .010 gauge strings.

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

Picks:

     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 just to add some variety.

 1mm Green 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:

 Silver Schaller Strap Locks

     This is probably the brand. All of his Fenders are fitted with the locks.



Jonny’s Amplifiers

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 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.

     Jonny has had one since before Pablo Honey, though the original was stolen, and initially was used it for both his clean and distorted tones at early gigs and likely on Pablo Honey. 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.

The Fender Eighty-Five is mic’d with a Audix OM5.

     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.”

Tube

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 RE201 Space Echo 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:

 Fender “The Twin”

    Used circa late 1993.

 Silverface Fender Twin Reverb

     Used in 1995, until it was stolen. Jonny used its Vibrato Channel.

 ’65 Reissue Twin Reverb

     Obtained in 1995, after the theft of his Silverface Twin. He used it during shows for the rest of 1995 and in 1996.

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

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

  Vox AC30

     Jonny’s first AC30 was a 90’s re-issue AC306TB, which he acquired circa 1997. He has also used various other AC30’s throughout his career, including a vintage JMI from 1962(used in studio?) and a Dave Peterson Special AC30.

 Standard 1998-ish Reissue AC30 6TB

     Jonny’s main(touring) AC30 for 1997-2001 and 2006-2012. He also used this amp for the acoustic tour in 2003. Jonny used mesa boogie valves circa 2006-2009. During the 2012 Tour, he kept a spare AC30 behind his main stack of amps(he may also have done so on previous tours).

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

 Dave Peterson Special AC30

     Possible a ‘98?, and equipped with Tesla ECC83, EL84’s, Watford Valves. Used for touring 2003-2005.

Jonny’s AC30s were mic’d with a Shure SM57 for quite some time. In 2012, he switched to a Heil Sound PR40.

     He uses Celestion Alnico Blue speakers for all his Vox’s.

     For unknown reasons, Jonny keeps a direct box on top of his AC30.

-Jonny’s AC30 in 2008-

-Jonny’s AC30 in 2012-

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

 120v 1953 Fender champ 5C1

     Used in studio during the recording of In Rainbows, and apparently a favorite of Jonny’s. Plank misspelled it as SC1 on his blog.

 Ashdown 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. Based on the placement of the handle on the side, I’d bet that it’s a head and cabinet, but it’s impossible to tell. Also used with keyboards.

 Unknown amp

     Jonny used this amp with his Gretch and Akai Headrush E1 for one pre-In Rainbows recording session, and later during the actual In Rainbows sessions.

 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.

Bass Amplifier

     Though the head is unknown, in 2011 Jonny added an Ashdown USA 115 Cabinet to his setup for the Guild bass he started using.

-Jonny’s 2012 Tour setup. His amp stack can be seen in the center, fronted by his Telecaster Plus-

General Amplifiers/Monitors

 Yamaha NS10m

     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
B. BOSS OD3 - BOSS RE20  - BOSS RV3 - BOSS FV300L** - Akai Headrush(though possibly in effects loop) - VOX AC30

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

**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”:

Marshall Shredmaster - Fender Eighty-Five

1993 Board:

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:

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

1996 Board:

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:

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 AC30
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

Pyramid Song Top Of The Pops 2001

Boss LS2<
A. Demeter The Tremulator? - Vox AC30
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) <
A. BOSS SD1 - BOSS RV3 - Roland Space Echo(activated via Vox Egg footswitch) - VOX 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/B) <
B.(1) - Laptop - PA
A.(1) - A.(2)
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) <
A. BOSS SD1 - BOSS RV3 - Roland Space Echo(activated via Vox Egg footswitch) - VOX AC30
B.Marshall Shredmaster - BOSS FV300H - Fender Eighty Five

Hail To The Thief Glastonbury 2003 Signal Order:

Guitar - BOSS LS2(1) (A/B) <
B.(1) - Laptop - PA
A.(1) - A.(2)
PA - B.(2) Korg Kaoss Pad
> BOSS LS2(2)(A/B) - EHX Small Stone V2 - Demeter The Tremulator - DOD440 - WH1 Whammy - BOSS LS2 <
A. BOSS SD1 - BOSS RV3 - Roland Space Echo(activated via Vox Egg footswitch) - VOX AC30
B.Marshall Shredmaster - BOSS FV300H - Fender Eighty Five

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

Guitar - BOSS LS2(1) (A/B) <
B. - Laptop - PA(?)
A. - ? - BOSS RV3 - Boss LS2? - VOX AC30 6TB

At the Maida Vale Studios and KROQ Breakfast shows from this tour, Jonny also used an overdrive pedal, which I believe was his Boss SD1.

In Rainbows Recording Sessions April 2006

Guitar - BOSS LS2 (A/B) <
B. - Laptop - Speakers
A. - EHX Small Stone V4 - Demeter The Tremulator - DOD440  - EHX PolyChorus - WH1 Whammy - BOSS LS2 <
A. BOSS SD1 - BOSS RV3 - Akai Headrush E1 - Roland Space Echo(activated via Vox Egg footswitch) - VOX AC30
B.Marshall Shredmaster - BOSS FV300H(FV500L later on supporting tour) - Fender Eighty Five

Boss TU12H from the Tuner Out of the Boss FV300H.

In Rainbows Recording Sessions/Touring 2007 Signal Order:

Guitar - BOSS LS2(1) (A/B) <
B.(1) - Laptop - PA
A.(1) - A.(2)
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 RV3 - Akai Headrush E1 - Roland Space Echo(activated via Vox Egg footswitch) - VOX AC30
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/B) <
B.(1) - Laptop - PA
A.(1) - A.(2)
PA - B.(2) Korg Kaoss Pad
> BOSS LS2(2)(A/B) - EHX Small Stone V4 - Demeter The Tremulator - DOD440 - WH1 Whammy - BOSS LS2 <
A. BOSS SD1orBossOd3- Boss RE20 - BOSS RV3 - Akai Headrush E1 - VOX AC30
B.Marshall Shredmaster - BOSS FV300HorBoss FV500L - Fender Eighty Five

Boss TU12H from the Tuner Out of the Boss FV500L.

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 AC30

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 (A/B) <
B. - Laptop - PA
A. - EHX Small Stone V4 - Demeter The Tremulator - DOD440 - Wh4 Whammy - BOSS OD3 - BOSS RV3 - BOSS RE20 - Marshall Shredmaster - BOSS FV300H- VOX AC30 - Akai Headrush E2

Boss TU12H from the Tuner Out of the Boss FV300H.

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


Pedals Used

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

     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 The Bends.

     After the original pedal was stolen in 1995, Jonny obtained a second Small Stone V2, which he subsequently used it to record the strings sound for Talk Show host(likely from his Mellotron), with the speed set pretty low(listen to the song to hear the sweep). Soon after, it was used 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.

    This pedal can be heard all over Radiohead’s discography; its most famous use likely being during the first section of Paranoid Android.

     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.

     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.

     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.

     The Small Stone is very prominent on Subterranean Homesick Alien, and Jonny’s part on that song is heavily phased.

     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 remove deactivates his phaser.

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

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

     Jonny uses the Small Stone throughout Feral.

V4

 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

 DOD 440 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.

     Used live for Paranoid Android in place of the Mutronics Mutator. Also used live for Everything In Its Right Place to filter the samples of Thom’s voice.

     Live, Jonny uses the DOD440 for the final solo of Paranoid Android. At the last section of that solo, he furiously adjusts the Range knob with his foot while continuing to play the guitar part. This is done to create a similar effect to the one heard on the album, on which he adjusted the knobs on his Mutronics Mutator while he fed the solo through it. When he plays the part with the DOD, the level knob is usually turned all the way to the right.

     Jonny also uses the DOD440 in conjunction with his Demeter Tremulator on Lucky. By placing the DOD after the Tremulator, Jonny causes the guitar’s playing to be sliced up by the tremolo, but leaves the swelling of the filter completely intact.

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

     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 one octave 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.

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

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), 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

 BOSS RV3

     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

     Adopted circa 2009, it has come to replace his Roland 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 ease of use(the RE20 has tap tempo).

     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 new one at some point, which included some mods, but it was “stomped on one too many times.”(see below) His current Shredmaster is a stock model. Originally this pedal was used solely with the Fender Eighty-Five, which was EQ’d especially for it(with a mids boost), but recently Jonny has taken to using solely an AC30 on occasion, in which case the Shredmaster is run through that amp.

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+1) The Modified Shredmaster Clone ,and Return to the Old Shredmaster
    From late 1993 to some time in 1994, Jonny was using a modified Shredmaster Clone(see the following entry). It is possible that that pedal was used on The Bends, or it may have broken by that point and Jonny had switched back to his old Shredmaster. It is also possible that Jonny used the clone on the earlier recorded songs, such as those taken from the Astoria concert such as My Iron Lung, but was back to his original Shredmaster for songs recorded during the later 1994 sessions for the album.

Whichever it was(or whichever combination), it was used Planet Telex, The Bends, High and Dry, Fake Plastic Trees, Bones, (Nice Dream), Just, My Iron Lung, 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), Electioneering, 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, but that is unconfirmed. If so, Jonny stopped using it after the enclosure broke and the pedal was squashed.

 BOSS FV100

     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.

 Boss FV300H

     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

      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 RE201 Space Echo, 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.

image
1997.


2006.

     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, rather than through his pedalboard, so that it might be effected by his Max/MSP stutter patch.

 BOSS TU12H Chromatic Tuner

     Jonny uses two of these, one for his guitar and one for the French Connection. For guitar, he runs it from the tuner out of whichever volume pedal he’s using, a setup he’s used since the early 90’s. For the French Connection, he runs his signal through the Tuner before connecting to his other keybaord pedals.

 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, if only for one gig(the Haiti Benefit Show).

 BOSS TU2 or TU3

     Kept behind Jonny’s 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 FC-200 Midi Controller

     Used to activate computer effects and for sampling. Used for  15 Step.

 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. Source.

Off Board Effects

 Roland Space Echo RE201

     Activated via a Vox Egg footswitch. Used often in the studio. Jonny does, indeed, have two of these, though they are worn out and often do not work(hence his use of a Boss RE20).

     Originally used on The Bends, though 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, and also used them on tour until 2010, when he began using the Boss RE20 in its place live. He still uses it in studio, however.

     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.

     Used on Airbag, Subterranean Homesick Alien, Exit Music(for a film), 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 Box

     At most gigs since 2003, when Jonny started using MAX/MSP live, a direct box has been visible on top of Jonny’s Vox AC30. This is possibly used in conjunction with another box 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.

 MAX/MSP

     Jonny runs his guitar into his computer and processes it with MAX/MSP patches which he writes.

     Jonny’s most famous use of Max/MSP on record is his shutter effect, which he uses on the solo of Go To Sleep. He has also used it live on Airbag, 2+2=5, Feral(later half of the 2012 Tour), and a few others.

     For live performances of The Gloaming, Jonny uses a complex patch to essentially sample and process the entire band. For performances of Backdrifts, Jonny uses a patch which quickly reverses his guitars, to the point that held notes seem to be played over and over quickly.

     For In Rainbows, it is likely that portions of many songs were manipulated using Max/MSP programming. For the King of Limbs, Jonny’s guitar, along with basically everything else, was processed in a variety of ways through MAX/MSP.

     Live, he uses a Boss LS2 to send his signal to a Metric Halo Mobile I/O 2882, which then feeds the guitar’s signal into his Mac laptop. The laptop, which is running the Max/MSP software, is where the guitar’s sound is processed, before being sent to the PA. To adjust the actual parameters of the 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.

     He runs the software off of his own laptop, which live he keeps to the left of his keyboards. In 2008 he used an Apple PowerBook G4 12”, but for TKOL From The Basement and live shows in 2011 he had switched to an Apple Powerbook G4 15”. For the 2012 tour, Jonny switched to an Apple Macbook Pro 13”, which he quickly added a The King of Limbs Emblem sticker to. After the stickered Macbook was destroyed in the 2012 stage collapse, Jonny replaced with a new Apple Macbook Pro 13”.

     Not Max, but relevant to this section: For his performance of Electric Counterpoint in Poland, Jonny used an Avid Mbox USB interface. He also used a 15” Macbook Pro for his performance of the same piece at the ACO Underground.

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


Idiotque(though possible open after use on a previous song)

In Studio

 Mutronics Mutator

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

 EMT 140 Plate Reverb

     Jonny’s feet along with his pedal boards some time after the release of In Rainbows.

Other guitar “Effects”

 Coin

    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.

 EBow?

     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.

Cables

     Plank, the band’s guitar tech, makes their guitar and patches cables 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(?)

    Possibly used during The Bends era.

 Line 6 DL4 Delay Modeler(?)

     Possibly used during the 2007 Tour for Everything in Its Right Place.



Keyboards and Synthesizers

Pianos and Keyboards

 Piano

     First he used a Kemble, then a Yamaha, then a Young Chang, now a Kemble again. With Radiohead, Jonny has played piano on Creep, Karma Police, and Life In A Glasshouse. He has, of course, also used it to aid in the composition of his classical works, such as Piano For Children.

     Jonny playing an upright piano at a radio-studio in Chicago during an interview.

     When on tour, the band brings their Upright Piano.

 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.

 Unknown Keyboard Organ

     Used by Jonny for a performance with Thom of Exit Music(For A Film) at the 1999 Tibetan Freedom Concert.

 Rhodes Suitcase Piano Mark I 73

     Acquired in 1996, and used extensively from then on by the band. Jonny plays it on Paranoid Android, Let Down, some 90’s live performances of Karma Police, and live performances of Kid A, All I Need, and Reckoner. It was also used in 2012 for the sole live performance of Treefingers.

 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.

 Celesta

     Used 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.

 Hohner Clavinet

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.

*”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).

     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.

     Used on The National Anthem, How to Disappear Completely, Pyramid Song, Kid A, Fast Track, Kinetic?, Amazing Sounds of Orgy, 2+2=5(Second half of the very last section, though not using the Sine wave setting which is seemingly his signature), Where I End and You Begin, and Jigsaw Falling Into Place.

     He has also composed for it in his classical piece Smear. The Ondes also saw use on Jonny’s soundtracks, and can be heard during Clockwork Tin Soldiers from Bodysong.

     This 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).

     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.

     Jonny, sitting at the Ondes at a circa 2000 live performance with Radiohead.

     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.

     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 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 Martenot to Jonny in 2011.

     “The drawer, the ribbon and the keyboard.”

 Yamaha DX27

     Used at On A Friday gigs.

 Korg Prophecy

     Acquired in 1995, and used during shows that year. Used on Ok Computer, post prominently for Climbing Up The Walls, Jonny also had this as part of his setup during the tour 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.

     It can be heard on pre-2000(ie 1996-1998) performances of Climbing Up The Walls, such as this one, during the final “coda.” Its unique “log controller” allowed it to achieve a sound relatively close to that of an Ondes, an aspect which Jonny used to full effect on that song. Jonny also used the Prophecy similarly on live performances of Airbag from 1997-2000 to play 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 to play an ascending and descending synth part.

 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, I Might Be Wrong, Hunting Bears, The Amazing Sounds of Orgy, Trans-Atlantic Drawl, Fast-Track, Kinetic, 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

 Arp 2600

     Seen in pics on DAS.

 ARP Strings Ensemble

     Used for all of Jonny’s strings parts at the Haiti Benefit show in 2010. Jonny probably uses this on his own, but not for recordings with Radiohead.

 Unknown White Keyboard

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

 Korg Poly-Ensemble

     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.

 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.

 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.

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.

     The French Connection was used by Jonny on Jigsaw Falling Into Place for the 2007 Scotch Mist performance.

     For the 2012 live performance of Pakt 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, playing the Analogue Systems French Connection.

     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.

     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 Pakt 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 filled with Jonny’s own arrangement of modules, rather than any of Analogue Systems’s.

Songs with beats created via Jonny’s modular system include Idioteque, Pakt Like Sardines In A Crushd Tin Box, Sit Down/Stand Up, and 15 Step. 

     Though it may sounds like it might be, the “beats” for The Gloaming were not created via a modular synth, nor by software. Jonny did it entirely on old tape machines and the like.

     Jonny’s modular setup in 2006, while being rearranged before touring.

     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.

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

 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 Sawtooth or Triangle wave. Both oscillators run into one of his VCA’s, controlled by the 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 Pakt Like Sardines In A Crushd Tin Box, is set to a Sine wave. 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 RS8500X

     Used in studio.

 Analogue Systems RS8000 Integrator

     Used to create the actual sounds heard in Idioteque, which are then arranged into the semblance of a beat by the RS200 Sequencer. It is used for the same purpose on Sit Down/Stand Up.

     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.

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

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 a
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.

     Jonny has since moved on from the rack setup, however. Instead, he switched over to a laptop for this purpose. ALL of the band’s recordings of their Mellotron, which were stored on the E-mu Classic Keys, were then either transferred or rerecorded onto the Laptop. The program Kontakt 3 is used to store and reproduce the sounds, which Jonny(as well as Colin) then triggers via his Fatar CMS-161. During the 2008 Tour, their keyboard tech Alan ‘Russ’ Russell mans the laptop during shows to switch banks 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(Planet Telex, Street Spirit, India Rubber, Talk Show Host, Bishop’s Robes). 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 through the Fatar. More recently, however, the Akai has been replaced by the computer software Kompakt, onto which the same loops were uploaded.

     Jonny has likely been using the same CMS-161 since 1997. It was not destroyed in the disaster of 2012.

 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 Myxomytosis, using it to trigger bass samples. It fell out of use entirely in 2011, when Jonny switched to playing the MiniMoog on live performances of the song.

     Jonny playing the Roland PC-200.

 Unknown Midi Controller

     Jonny uses this controller on Codex From The Basement.

     Jonny playing the unknown Midi Controller.

Keyboard Effects

 Roland Space Echo RE201

     Three Space Echos were used on the keyboards for Planet Telex, though those may have been played by Thom. The Space Echo was later 

 ElectroHarmonix Small Stone

     Used at the end of Talk Show Host live. Also used for the keyboard on A Reminder.

     In the old days(circa 1996-2000or2002), Jonny kept the Small Stone, a version 2, under his keyboards setup, and would adjust the knob by foot whilst playing. Since, Jonny has taken to keeping on top of his Analogue Systems Apprentice Cabinet, and so adjusts it by hand instead.

     The Small Stone 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, which Plank purchased off of eBay in very early(3rd or 4rth of) July 2012.

 Akai Headrush E1 and E2

     Used live for looping and delay with his French Connection. It can be heard on live performances of How To Disappear Completely and Where I End And You Begin.

 BOSS RV3

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

 BOSS TU12H

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

 BOSS FV300

 BOSS FV500L

 Ernie Ball VP Jr

 Roland FS5U

     Used as a sustain pedal for his midi keyboard.

 BOSS LS-2 Line Selector ?

Keyboard Pedalboards

OK Computer Tour
     Features a Boss FV300 and Boss FS5U.

In Rainbows From The Basement
     Features an Akai Headrush, BOSS FV300, Boss RV3, and Boss FS5U.


Radiohead for Haiti; January 20th, 2010.
     Features a Boss FV300(likely used with the ARP Strings Ensemble) and an Akai Headrush E2(used with the French Connection).

Miami; February 27th, 2012.
     Features an Akai Headrush E2, Boss RV3, BOSS FV300, BOSS FV500L, and Boss FS5U. Jonny is using the BOSS FV300 for his French Connection, and the BOSS FV500L for his Fatar.

London O2; October 8th, 2012.
     Features an Akai Headrush E1, Boss RV3, BOSS FV300, BOSS FV500L, and Boss FS5U. Jonny is using the BOSS FV300 for his French Connection, and the BOSS FV500L for his Fatar.

Percussion

 Drums

     Jonny appears to favor Premier drums, having used them exclusively.

     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.

     During the recording of In Rainbows, Jonny messed with a tom and snare drum.

     He 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.

     Jonny, during the recording of In Rainbows.

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

     Jonny playing drums during Bloom.

 Lemon Shaker

    Used by Jonny during All I Need and Reckoner.

 Calabash

    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.

Miscellaneous

 Vocals

     Jonny contributes vocals on India Ruber(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).

 Accordion

     Jonny learned the instrument circa 2002.

 Banjo

     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 Macbook Pro-

 Trumpet

     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.

 Viola

     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.

     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.

 Recorder

    Jonny has played the recorder since grade school, but it’s only 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).

 Harmonica

     Used on I Am A Wicked Child and on the Pavement songs “Platform Blues” and “Billie” from their final album Terror Twilight.

 Glockenspiel

     Used on No Surprises, The Tourist, Lull, Morning 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.

 Horn of some sort

     Seen in an In Rainbows era picture on Dead Air Space.

 FM Radio

     Used on live performances of Climbing Up the Walls, The National Anthem, and Backdrifts.

-Jonny messing with his FM Radio-

 Television

     Used in Paris in 2001 for a live performance of The National Anthem.

 Laundry

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

 Korg Kaoss Pad KP1

     Used for sampling. Notably used during live performances of Everything in Its Right Place to sample and filter Thom’s vocals, though the vocal manipulations on the Kid A recorded version were created by Nigel Godrich with Pro Tools.

 Kalimba

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

Moving Pictures

-Jonny repositioning his lemon at the start of ‘Reckoner’ from the Live From the Basement webcast-

-Jonny shaking his lemon during the Thumbs Down webcast-




theme

Sources

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