Chords for John Petrucci Gear Run with tech, Maddi Schieferstein

Hey guys, this is Jor from [Gb] TC and I'm here with my good buddy Maddy.
Yay!
Yay!
We've done this before.
We have.
We have.
I'm going to try and remember the names this time.
_ So yeah, let's go over this stuff real quick.
So here's the MIDI pedal board.
This is the intimidating part and it's got all these cool little colored screens on it and
buttons and oh my god, what is it?
So just imagine you take all your pedals at home and you hook them all up together.
_ That's pretty much what you have right here, except my pedals are in a drawer right here.
_ You know, yeah, a _ plethora of TC Electronics gear for your listening pleasure.
_ _ _ _ _ So _ the MIDI foot controller controls this box here.
This is a MIDI loop switcher _ and the pedal board and the loop switcher are made by a
company called RJM. _ _ _
So anyway, the guitar comes in and there's a little _ _ magic that happens there because
John's guitars have a magnetic pickup system and a piezo pickup system.
So in order to get both of those systems to work together, I use _ what would be called
a stereo cable, but it's really just a tip ring sleeve connector.
It's two independent lines in one cable.
_ So the guitar plugs in there and then the split for the magnetic and the piezo systems
happens at this A-B box.
[Ab] So I have two outputs.
I have the ability to plug two guitar cables in and switch back and forth between A and
B so I can always have a guitar ready to go for switches.
_ I have a master mute which kills everything.
Then we have two outputs.
[Gb] We have electric output and acoustic output.
_ The acoustic output is the simple signal chain.
I go from the A-B box to a little isolation transformer just to cut out any grounding
problems to a TC body res pedal set at 12 o'clock.
And then from the body res pedal, we go right into a radial DI box out to the PA.
Just straight to the PA.
Yep, that's it.
_ So yeah, so then _ the magnetic side of things.
So we come into the rig in the back and the first thing we hit is the Crybaby system.
So John has his signature Crybaby with Dunlop.
When I was putting this rig together for the tour last year, I said, you know, I don't
really want to run 100 feet of cable out and back for the wah pedal.
So can you take the signature pedal and just put it back in a rack chassis for me and give
me a control pedal out front?
They went, yeah, sure, we can do that.
And then from there, we'll come back up to the pedal drawer. _ _
_ _ _ So _ I touched on the MIDI loop switcher, which is this box right here.
So the audio signal comes in and then there's five loops that are in series.
So if you have loop one and loop two on, loop one is going to feed loop two, _ etc.,
etc., etc.
That's how this is set up.
So it'd be like daisy chaining your pedals in front of you.
Loop one is the hypergravity.
So that's the first thing, you know, when we go to a clean sound, it turns loop one on.
_ There's his tone print installed, all set to go.
Loop two is an overdrive pedal.
And like I was saying before, this _ rotates a lot.
Right now, it's this Keeley Red Dirt pedal.
A couple of days ago, I think we had a Boss Super Overdrive in there.
So just try _ different things.
Are those mainly added to the lead sound from time to time?
Yeah.
Just to get like even more_
Just a little bit.
Yeah. _
Pretty much what it does is, _ you know, he kind of likes the more tube screamer-esque type sound.
So it's just more pushing the front of the amp just a little bit harder.
_ For the opening of a song called Hell's Kitchen in the set, he's got the Univibe turned on.
And that's in loop four.
And that's set on tone print.
And I went on the app and we were trying all the different ones out.
And there's one on there.
It's called Classic Vibe or something like that.
So I dumped it into the pedal and I was like, that's it.
That's the sound.
That's the one. _ _ _
We have the Helix Phaser, _ _ which of course we have a tone print for, but we're using it
on the vintage setting right now.
And that was Aces right there.
Okay.
That was it.
Absolutely.
We can reveal that because there's a certain orange pedal that, you know, is a classic phaser pedal.
Correct.
_ You were kind of asking me, how do we get something in that sort of vein?
Yeah.
You know, there it is.
There it is. _
So of course we have a Dreamscape pedal, which we're using as a flanger currently.
_ And then also in the same loop, Daisy Chain together, we were scoping the internet one
night and I saw this nifty little pedal right here _ and I went, oh, what is that?
And why didn't I tell you about it?
So Tor, what _ the_ _ WTH, man.
_ So we'll switch back and forth between the phaser sound on the Dreamscape and the _ _ Corona
Chorus Plus here, _ _ [Bb]
which [B] _ is cleverly labeled SCF on the pedal board.
Easy to find.
There it is.
This is basically recreated out here [Ebm] for John to see and they're talking together.
So _ we leave the pedals and we go to the amp.
So this is the Mesa Boogie _ JP2C.
_ _ John's been a Mesa Boogie user since the beginning, pretty much. _ _
And that's the basis of his tone.
_ _ _ That's everything about _
_ [Abm] his tone is based around a Mesa Boogie.
So yeah, that's the amp.
That's a bitching amp.
Yeah, it sounds really good.
_ _ And as you saw here, we have two amplifiers.
So the top one is the main _ [Ebm] tone _ and acts as the left side power amp.
The rig's in stereo.
So there's two 4x12 cabinets with two sets of microphones, runs in full stereo.
So the top amp is the left side.
The bottom amp is, we're just using it as a power amp.
So we just come into the effects return [N] and that acts as the right side power amp.
And then I have a second set of outputs that feeds a little Mesa power amp at the bottom.
And that's for the two 1x12s at the pedal board.
Which is essentially just wet switch. Exactly. _ _ _ _
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