Boss TU-3 → Keeley Compressor Plus → TC 2290 (dotted 1/8) → DD-7 (dotted 1/4)

Two delays in series. First dotted-1/8, second dotted-1/4. Edge volume on the guitar does the dynamic work.

Vox V846 / Crybaby → Fuzz Face (germanium) → Uni-Vibe

Wah first, then fuzz, then Uni-Vibe. Roll the guitar volume back for the clean swell — Fuzz Faces clean up when the input drops.

Boss CE-2 → Ibanez DE7 / DD-3 → Spring (amp or pedal)

Mexican-made Strat into chorus into delay into a Mesa clean. Pick attack does most of the dynamics — keep the chorus subtle.

MXR Dyna Comp (light)

Strat in position 2 (neck + middle), volume back to 7. Fingerstyle — pick attack is the secret. Spring reverb only.

Boss DS-1 → EHX Small Clone (chorus on cleans)

DS-1 stomped on for the verses-to-chorus jump. The chorus pedal lives on the clean verses, not the dirt.

Boss TU-2 → Vox Tone Bender / Vibratone → Vox V846

13-gauge strings tuned half-step down. Pick HARD. The dirt is the amp's output stage cranked, not a pedal.

Morley Bad Horsie → Ibanez TS9 / Tube Screamer → Carvin Legacy preamp drive → Boss DD-500 (long modulated) → Strymon BigSky (Plate)

Tube Screamer ALWAYS in front of the high-gain — it tightens the low end before the distortion has a chance to flub it.

MXR Dyna Comp (light squeeze) → MXR Carbon Copy (short slap)

Two guitars, panned hard. Slight compression keeps the harmony notes glued together.

EHX Electric Mistress → Big Muff Pi

Flanger before the dirt = swirly cleans. Same flanger after the dirt = jet engine. Move it depending on the section.

Vox V846 / Crybaby → MXR Custom Audio Electronics → Boss DD-3 (slap)

Les Paul into the Silver Jubilee. Most of the sustain is the amp; the OD is just there to push the front end a hair harder.