But Perry, without the cash, had to decline. As the story goes, he sold his original tobacco-hued Burst in the 1970s and lost track of it until 1984, when its then-owner Eric Johnson offered to sell it back to him. One of the most noteworthy guitars in the rack is a Gibson Custom replica of Joe’s storied 1959 Les Paul Standard. There’s a cup filled with mints on the mic stand, presumably to keep Perry’s playing fresh.
On the board, you’ll find a fifth-generation Digitech Whammy, an MXR Boost/Line Driver, a Real McCoy Custom wah, and various tap tempo switches for his time-based effects. Delay and echo comes courtesy of the Dunlop Echoplex Delay, Wampler Faux Tape Echo, and the Strymon Volante.Īt Perry’s mic station is a sparse pedalboard with a bank of switches for his most-used backstage effects, although he has a few pedals up there as well. In those cabinet drawers are delights such as the MXR Ten Band EQ, a DryBell Unit67 compressor, Gamechanger Audio’s Plasma distortion unit, and a J Rockett Audio Designs Archer overdrive pedal.įor modulation and pitch, there are DryBell Uni-Vibe and Vibe Machine pedals, a Tsakalis Audio Works Phonkify envelope filter, a big box Electro-Harmonix POG, a Fulltone Ultimate Octave, and a Diamond Tremolo. The bulk of Perry’s effects are stored in drawers backstage and linked up to an enviable Bradshaw switching rig, a set-up that leaves the stage relatively uncluttered. Let there be rock: the SoloDallas Schaffer Replica imitates the legendary wireless preamp that helped give Angus Young his high-voltage tone Near the front of his chain, Perry employs a SoloDallas Schaffer Replica, a legendary preamp that recreates the sound and response of the Schaffer–Vega Diversity System wireless units of the 1970s, long touted as the secret to Angus Young’s blistering guitar tone. We’ve been sworn to secrecy on a few matters, too, but there are a few things we’re allowed to show you. The Dan Armstrong ‘Plexi’ has found its way into the hands of many stars over the years, not least Mr Perry Foot stompingįull disclosure: try as we might, we couldn’t fully unravel the deep mysteries of the Massachusetts-born rocker’s signal path – and it wasn’t for lack of trying. In a venue such as this, having the rig constantly cranked for feedback could become problematic. It’s a brilliant solution for a sound meant as punctuation rather than a peal. Its purpose? So that Perry can walk up to that cab, hit the switch and be greeted by easily controllable feedback at moderate volume. Whatever it is, it’s cranked all the way up and connected to a single speaker of one of the 4×12 cabs. It’s hooked up to a tiny amp above, what appears to be an Alessandro Bone Yard stripped of its livery. One secret he is willing to discuss is the curious footswitch tucked away between the amplifier stacks. Mysteries abound the mental notes are stacking up. Unsurprisingly, these are also shrouded in secrecy – what Moir knows, he isn’t telling.
To the left, there’s an oscilloscope and a reel-to-reel tape machine performing some indiscernible and presumably indispensable task. Joe’s tech draws the line at telling us too much about the oscilloscope and reel-to-reel tape machine in Perry’s rig The tower is tall and intimidating, like some sort of supercomputer.
#ANGUS YOUNG GUITAR RIG FULL#
The stage rig also features a refrigerator-sized case full of Fluke decibel meters and Veeco gauges beneath a green-and-black readout. In an array of oversized road cases next to the Marshalls sit a few small Supro amps, all mic’d and isolated from stage volume.
What advantage this configuration offers isn’t immediately clear and, while Moir isn’t willing to unravel the mystery for us, he agrees that it looks cool. The bottom two cabs are of the tall Hendrix-style variety, while the top two are standard angled models that are oriented upside-down. Ushering us backstage, he walks us around to his stage-left tech station and then out to an imposing sight – Perry’s monolithic wall of amplifiers.Ī centre column of Supro and Friedman cabs is flanked by two rear-facing Friedman heads atop four Marshall pinstripe 4x12s. He’s excitable and eager to give us as much of a rundown of the guitarist’s gear as time will allow. He began as Whitford’s tech before moving over to work with Perry a few years later. As the guitar techs for Joe Perry and Brad Whitford, respectively, it’s Moir and Howard who keep the six-stringers – and the show – ticking over night after night. Before the photo session, before the interviews, before the rock ’n’ roll masterclass we receive while witnessing Aerosmith live in concert, we meet Marco Moir and Greg Howard.
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