THE MORE EFFECT PEDALS you use,

the more you need a pedal board. Even the

most basic unpowered board can provide a
useful platform to hold your pedals securely,
manage cables and keep everything from
sliding around onstage. Powered boards have
the added function of supplying electrical
connections to all your pedals, eliminating
the need for power strips and multiple wall
warts that can take up space and create a nest
of dangerous wires around your performance
area. For more complex or specialized
rigs, a custom pedal board can meet your
specific switching requirements and make
performance headaches a thing of the past.
Unfortunately for those who have never
had a pedal board, the prospect of building or
buying one can be overwhelming. You have
to determine not only what size youll need
for your setup but also make sure it matches
the power requirements of your pedals, some
of which might require, 12, 16, 18 or 24 volts.
Theres also the matter of cables, of which
youll need many, each cut to the minimum
length to ensure signal integrity and keep your
layout tidy. The confusion only increases once
you go online and see the plethora of pedal
board models and numerous options that are
available to you.
We wrote up this guide to make selecting
and setting up a pedal board easier. In this
tutorial, well walk you through every step of
the process, from choosing the board, power
supply and cables to laying out your pedals in
the order that suits you and making it all work
to your advantage.
ULTIMATE
ILLUSTRATED
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BOARDS
P R E S E N T S
ILLUSTRATED
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HOW TO CHOOSE, ASSEMBLE, WIRE
AND POWER UP YOUR PERSONAL RIG.
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4
The choice of a small, medium or large pedal board comes down
to the number and size of the pedals youll be using. If you use five
or fewer standard-size pedals and dont plan to add to your setup,
a small pedal board should suit your long-term needs. If you have
more than five pedals but fewer than 10, youll want to consider a
medium board. More than 10 and you should choose a large board.
And if you have only five pedals now but plan to add another two
or three in the near future, its better to plan ahead and go for a
larger board today.
Remember, too, that pedals with large footprints take up more
real estate, and even a small setup consisting of a few oversized
pedals may require a larger pedal board to prevent overcrowding.
When planning, leave enough space between the pedals to
facilitate cabling and create a clean, uncluttered and easily
accessible layout.
Pedal boards can be purchased off the shelf, custom-built
to your specs, or even built at home using readily available
building materials, cables and power supplies. Music stores
carry a range of boards, including bare unpowered platforms
and boards with built-in power supplies and power strips.
Other possible features include cable compartments, wheels,
cases, heavy-duty corners and raised or pitched surfaces that
make it easier to reach the pedals furthest away from you.
Need something special? Many companies are available
to build custom pedal boards to your specs, using the
materials, power supply, hardware, wire and cables of your
choice. If you have specialized switching, looping or MIDI
requirements, a custom pedal board can meet your specific
needs, though at a greater cost than an off-the-shelf unit.
For this demonstration, were using medium and large
Pedaltrain boards: the Pedaltrain 2 and Pedaltrain Pro,
respectively. Pedaltrain boards have lightweight frames and
strong construction, and theyre slotted for easy management
of cables and power supplies, all of which can fit under the
board and out of sight. Slotted boards are especially nice in
clubs, where spilled drinks can make a mess of your pedal
board. With a slotted board, spilled liquids drip off, unlike a
solid board, which will allow liquids to pool. The Pedaltrain
boards are also pitched, which makes it easy to reach pedals
that are furthest away from you without accidentally
stepping on other pedals or knocking their control settings
with your foot.
WHAT SIZE?
WHICH PEDAL
BOARD?
below
A
Pedaltrain-Pro
B
Pedaltrain-3
C
Pedaltrain-2
D
Pedaltrain-Jr
E
Pedaltrain-Mini
E
C
A
B
D
5
Two rules here: always use cables with right-angle plugs, which are
more compact than straight plugs, and keep your cable lengths to a
minimum in order to cut down on clutter and ensure the shortest and
quietest signal path.
For these reasons, we suggest making your own cables, as this lets
you choose the exact hardware and lengths that you need. Planet Waves
Cable Station pedal board kit (shown below) is ideally suited for this. It
features 10 feet of low-
capacitance cable for
signal transparency
and 10 24k gold-
plated right-angle
plugspretty much
everything you need
for the average pedal
board setup. The plugs
are solderless, so you
can create a cable in
seconds, anywhere, to
the exact length, and
the kit even includes a
cable cutter.
Whether youre buying a pedal board with a power supply or choosing a power supply for an
existing board, be sure that it meets your voltage requirements. Most pedals operate on nine
volts of power, but many require 12, 16, 18 and even 24 volts. Before purchasing a power supply,
check the power requirements of every pedal youll be using. Then, choose a power supply
robust enough to deliver the voltages you require and one that also includes outputs for as many
pedals as youll be using. Also be sure to choose a supply that has isolated output sections to
eliminate ground loops, hum and undesirable interactions between your pedals.
Some examples of power supplies include Voodoo Labs Pedal Power series, T-Rex Engi-
neerings Fuel Tank offerings, the Godlyke PA-9 Power-All, the MXR DC Brick power supply,
and the Pedaltrain Powertrain 1250 multi-output power supply.
For this example, were using Visual Sounds 1 Spot power supply. The 1 Spot is a nine-volt
adaptor that takes up just one power strip outlet, yet it can accommodate up to 20 guitar pedals.
It works with more than 90 percent of the effect pedals on the market, including those that use
popular adapters from Boss, Danelectro, Dunlop, Korg and others. The 1 Spot also makes it easy
and affordable to expand your system and isolate noisier effects by placing them on their own
separate power supply.
If you use a lot of pedals that draw a great deal of current, you may want to consider an
isolated power supply, like the T.Rex Fuel Tank Goliath, to reduce noise and ground-loop hum.
On our larger board, we used a combination of the Goliath and 1 Spot to power everything.
WHAT POWER SUPPLY?
WHAT CABLES?
A
B
below
A
T.Rex Fuel Tank
Goliath power supply
B
Visual Sound 1-Spot
power supply with
multiplug cable
RANDALL
RG13 PEDAL
The RG13 is a three-channel, one-watt
high gain FET solid state guitar pedal/
amplifier with a switchable effect loop
and volume boost function. The RG13 can
be used as a gain/distortion/tone/boost
pedal in front of your amp, or used as a
preamp when plugged into the effect
return of any amp. The XLR speaker
emulated output is great for recording or
sending signal to the PA. The RG13 loop
is switchable with a level control and can
switch to be an output level boost or cut
to control your level in the mix
Street Price: .
randallamplifiers.com
DECIBEL ELEVEN
SWITCH DR. MIDI CONTROLLER /
LOOP SWITCHER
The new Decibel Eleven Switch Dr. is a
versatile and easy-to-program controller
that combines fully programmable MIDI
control, true-bypass audio effect loops
and amp channel-switching capabilities.
Its compact, yet powerful enough
to control an entire rig. The Switch
Dr. features 128 presets capable of
sending multiple MIDI program changes,
continuous controller messages and
note-on messages as well as Continuous
Controller data. It provides up to four
true-bypass pedal effect loops, up
to three switch control functions for
channel switching, and much more.
Street Price:
decibel.com
BOARD MEMBERS
Make your setup even more versatile
with these add-on components.
6
Before you start Velcro-ing pedals to your pedal board, take some time to think about the most efficient and
easy-to-navigate way in which to arrange them. Pedal boards are typically deep enough, from front to back,
to accommodate two and sometimes three rows of pedals, giving you yet another dimension to consider
when planning your layout. Its best to keep your most-used pedals nearest to you, where theyll be easiest to
adjust and reach with your foot. Staggering the pedals between the front and back edges of the pedal board
will also make it easier to navigate your setup and avoid confusion in the heat of performance. When cutting
cables, eyeball the length youll need for each connection, and add enough extra length to run the cables
underneath the pedal board.
1
Cut adhesive-
backed Velcro
loop strips to
the length of
each rail and
adhere them to
the board.
3

Attach the
frst pedal in
your chain to
the board and
connect a cable.
Run the cable
under the rails to
keep the board
uncluttered.
5

Place your
most-used
efects closest
to you for
easy access.
2

Cut Velcro
hook strips and
apply them to
the backs of
your pedals.
For a frmer
grip, remove
any feet from
the pedals.
4

Continue
adding pedals
in the order
that they
appear in your
chain, from the
guitar toward
the amp.
6

Once the
pedals are
connected,
attach the
power cables
to all the
efects, again
running the
cables under
the rails.
LAYOUT

This is our completed large pedal board. The Fuel Tank powers the
digital pedals (the TC Electronic Ditto X2 Looper, Strymon Big Sky
and TimeLine, and DigiTech Whammy Pedal). The 1 Spot is used for
all other pedals. This setup reduces hum and places the most power-
hungry pedals on their own isolated circuit.
WHAT
ORDER?
Theres an ideal way to lay out
effect pedals, and then theres
an individual way to do it. The
ideal way is based on practical
considerations, like placing a reverb
pedal last in the chain rather than in
front of the distortion pedal, where
it will muddy up your sound. The
individual way is all about how you
make things work for you. Some
guitarists like to place their wah
before the distortion, while others
put it after for a more pronounced
and dirty tone.
While there is no right or
wrong way to order your pedals,
it helps to understand the basic
guidelines. In this section, well
show you the most logical,
efficient and least noisy way to
chain together your pedals.
In the most general sense, pedals
that amplify should go near the front
of the signal chain. This includes
filters (which can boost and cut
frequencies), compressors (which
reduce dynamic levels but can also
boost the overall signal), and all
types of distortion and overdrive
pedals. Tone modifiers such as
chorus, phase and flangers go next,
followed by ambience effects, such
as reverb, delay and echo.
The effects in a signal chain can
be arranged and grouped into four
general categories:
FIRST Filters, pitch shifters,
harmonizers and dynamic pedals
(such as compressors)
SECOND Distortion, overdrive, fuzz,
boost and EQ pedals
THIRD Modulation pedals (phaser,
chorus and fangers)
FOURTH Time-based efects
(echo, delay, tremolo and reverb)
For example, if your pedal board
consists of a distortion, a wah, a
compressor and a reverb pedal, you
would probably connect them as
follows:
WAH

COMPRESSOR

DISTORTION REVERB
In the next section, well explain
the rationale behind the ordering of
these categories to help guide you.
7
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8
These pedals typically work best at the front of the
signal chain, where they act upon the pure signal
from your guitar. Filters include pedals such as wahs
and the Line 6 FM4 Filter Modeler. Pitch shifters
and harmonizersincluding the ever-popular Digi-
Tech Whammy Pedalbenefit from having a strong
and unaffected signal from your guitar so that they
can track your notes cleanly and accurately.
Dynamic pedals include compressors, which
squeeze a signals dynamic rangeits quietest-
to-loudest valuesby reducing signal peaks as they
occur. Compressors typically feature volume or
make-up gain controls that let you boost the overall
signal to compensate for the lower volume that
results from compressing. For that matter, auto
wahs/envelope filters are actually dynamic filters
that allow a filters frequency cutoff to respond to
changes in signal response due to variances in pick
attack and volume.
Bear in mind that you should be careful of the
effect order within these categories. For example,
a compressor placed after a filter pedal will be
more responsive to any frequencies that the filter
is boosting, because the compressor seeks out the
loudest part of the signal and reduces its volume. Its
probably better to place the compressor before the
filter, where it can respond to your guitars signal
rather than the frequencies affected by the filter.
Conversely, placing a compressor before an
auto wah will reduce the guitar signals dynamic
range and impede the auto wahs expressiveness
(auto wahs thrive on dynamics). On the other hand,
placing a compressor before a wah pedal can help
you control some of the guitar signals inherent
brightness that can make some wahs sound shrill
and piercing at the top end of their range. Of course,
some of these considerations change if you raise
your compressors make-up gain to the point that its
actually increasing the signal like a gain boost (see
the next section on distortion and overdrive).
On the subject of wah pedals, its worth noting
that some guitarists prefer to place wahs after dis-
tortion and fuzz pedals, where they can be driven
hard for a funkier sound. Again, none of this is
carved in stone. Set up your effects as they work best
for you, but try to be aware of the interactions that
result from the order of pedal placement.
These are tone modifiers and sweeteners, and they include effects
like chorus, phasing, flanging and vibrato. Traditionally, these can
be noisy effects, and placing them before gain-increasing pedals
like distortion or compression will tend to intensify their noise. In
addition, chorus, phasing and flanging all introduce time delays
and pitch fluctuations that create a sense of spatial movement
similar to what happens in the physical world. Placing them
after amplification-style effects like distortions and overdrives
produces results that are in keeping with naturally occurring
sound. Plus, the extra boost a signal gets from an overdrive pedal
can help emphasize the oscillation of modulation effects.
Of course, plenty of players like to put modulation effects like
Uni-Vibes and phasers before distortion. Think Jimi Hendrix
(Uni-Vibe) and Eddie Van Halen (MXR Phase 90). Doing this
delivers more harmonic content to the distortion box and can
result in more dramatic and animated effects.
MODULATION EFFECTS
FILTERS, PITCH SHIFTERS,
HARMONIZERS AND DYNAMIC PEDALS
left
A
Earthquaker
Devices Pitch Bay
B
MXR Custom
Comp
C
Henretta
Engineering Orange
Whip compressor
D
DigiTech Whammy
E
Dunlop Clyde
McCoy wah
right
A
MXR La Machine
fuzz
B
Boss GE-7 EQ
C
Toneconcepts
Distillery overdrive
D
Earthquaker
Devices Terminal fuzz
E
Maxon Fuzz
Elements Wind fuzz
F
TWA Fly Boys
SC-05 Metal, SC-01
Distortion and SC-02
Overdrive
G
Boss Distortion
DS-1X
H
Boss Overdrive
OD-1X
I
Henretta
Engineering Pinkman
Dirty Boost
J
Visual Sound
VS-XO Dual
Overdrive
K
Ibanez Overdrive
Pro TS808DX Tube
Screamer
L
MXR Echoplex
Preamp
M
Randall MOR
boost
right
A
MXR Phase 99
B
DOD Phasor 201
C
MXR Uni-Vibe
D
TWA Fly Boys
chorus
E
MXR Micro Flanger
A
B
C
D
E
A
B
C
D
E
Distortion, overdrive and fuzz pedals affect harmonic content
by enhancing overtones and squashing peaks in the signal. Their
purpose is to simulate the sound of a cranked amp through a
speaker cabinet. In the natural order of things, these pedals go
after filters and EQ, just like your amps output and speakers.
They also follow the compression pedal, whose purpose is,
similarly, to flatten peaks and make the entire signal hotter.
Which brings us to another reason why you shouldnt put a
compressor after a distortion pedal: it can add volume to every-
thing that comes before it, including noise generated by effects
likeyou guessed itdistortion, overdrive and fuzz pedals.
Most modern fuzz pedals work very well after wah pedals, but
the same isnt true of some vintage fuzz units. If you have an older
fuzz pedal that doesnt sound good when placed after the wah, try
moving it before the wah and see if it improves things.
If you use boost or EQ pedals to give your tone a kick for
solos, try placing them after the distortion, overdrive and fuzz
pedals. This will help to raise your overall level without having
an undue impact on the sound. As always, experiment to see
what works best for the pedals in your setup.
DISTORTION, OVERDRIVE, FUZZ, BOOST AND EQ
A
B
C
D
E
F
G
H
I
J
K
L M
10
Remember that pedal order is subjective and varies from player to
player. If youre trying to nail a certain guitarists tone, then its useful to
know what effects he or she uses and the order in which theyre placed.
But when it comes to your tone, you have to decide what works for you.
Experimenting can be fun, so start plugging away. And dont worry,
there is no right or wrong order. Besides, the best part about effect boxes
and pedal boards is that you can always move things around as your
needs and tonal goals change.
Though theyre not effects, tuners are
a part of every guitarists setup, so its
important to think about where theyll
go in your signal chain. Some guitarists
like to have them at the front of the chain,
while others like them last or somewhere
in between. If you place your tuner at
the head of the chain, activating it will
silence your guitar but not your pedals.
This is fine if you want to allow time-
based effects to continue trailing off
while you tune up, but its not ideal if you
want to silence your rig between songs.
For that youll need to place the tuner last
in the chain, though doing so will require
you to turn off your distortions and other
effects prior to tuning. As you can see,
there are trade-offs to either scenario.
Pick the one that works best for you.
This one is pretty obvious. Reverb, delay and echo are ambience effects
that imitate how sounds are affected within room environments. Tremolo
is amplitude modulationamp on, amp offand therefore works best at
the end of the signal chain. Place loopers before your time-delay effects
to prevent delays from becoming recorded within the loop phrase and
having additional delay applied to them.
left
A
Strymon Big Sky
reverb
B
TAW SC-03 Echo
C
Empress Tremolo
D
TC Electronic Ditto
X2 Looper
E
Strymon TimeLine
delay
F
Ibanez ES-2 Echo
Shifter
right
A
Boss TU-3
Chromatic Tuner
B
TC Electronic
Polytune Mini
TUNERS
TIME-BASED EFFECTS AND LOOPERS
THE BOTTOM LINE
A
B
C
D
E
F
A
B
USEFUL TIP Before attaching
pedals to the board, arrange them
in their proper order along with their
corresponding cables so that you can
assemble the pedal board ef ciently.
(right) An assembled medium-sized
board using only the 1 Spot for power.
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