Rectifier Question: For Foo Fighters tribute: which Recto

[guitarrhinoceros]

Anyone have any idea of what pedal Chris or Dave used to use for solo's? Specifically the days when they played with the 3ch DR's. It seems that Chris has changed his pedals so many different times over the years that I haven't really been able to narrow down what he used during his time with the DR's.

Live, Dave doesn't really use many pedals. He just uses a stock MXR Phase-90, Boss DD-3, Boss Analog Delay pedal, and a tuner. He did use a Rat for a long time as well, and even had a Keeley Kitana on his board at one point. Considering Dave doesn't really do much soloing back when he used a Rectifier, I don't think he had a specific pedal dedicated for such uses.

Chris on the other hand has gone through a lot of pedals. Off the top of my head, I remember him using a lot of Fulltone boosts and gain pedals when he had his Rectifier rig.

 

[guitarrhinoceros]

Here is a snippet from a GW interview with the Foos about their latest album:


SMEAR I usually put it through either my Peavey 6505 or else a Roland JC-120 Jazz Chorus amp and an MG Music Lexotone stomp box, this crazy distortion pedal.
GW The baritone with the Roland is an interesting combination.
SMEAR I know. But in some cases I decided it's better to use a clean amp and mess it up a bit. 'Cause the JC120 is a transistor amp.
GW I know. It's not a rock and roll amp really.
SMEAR It is now.
GW What other main guitars and amps came into play?
SHIFLETT I ended up buying a few guitars on eBay while we were working on this album. I don't normally do that, but I'd be sitting at Dave's house waiting to play my tracks. We had the backyard set up with a tent, because there was only so much room in the control room. So I'd be sitting there buying guitars on eBay, and then I used them on the record. I bought a 1968 non-reverse Gibson Firebird and a brand-new traditional sunburst Les Paul. And I actually assembled a Tele Deluxe and Thinline Tele out of Warmouth parts.
GROHL They're incredible guitars.
SHIFLETT That's the beauty of when we get all these people together to record. We all bring our favorite guitars and amps.
GW What about amps?
SHIFLETT I've got these handwired Vox AC30s. We AB-ed them with my vintage AC30, and the new ones sound better. That's not to say they all do. I also have a Marshall JMP that I used, and our engineer, James Brown, had a couple of Audio Kitchen amps that we used.
GW What about you, Dave?
GROHL I mostly used my Gibson Trini Lopez guitars. I used my old faithful red Trini, which was the first Trini I ever bought, back in around 1993. I think it's a 1966. I'm bad when it comes to gear. And I have a couple of Pelham Blue Trinis, which is a very rare color. Someone told me there are only 11 of them. One is sort of fucked up, and the other is in really great condition. They have two different sounds: one is a lot warmer, and the other has more chime.
There's something about the Trini Lopez model; it works well in any situation. You can brighten it up or warm it up. And it really rings because of the tailpiece, due to the amount of string between the bridge and the tailpiece. It's also a percussive guitar. It has some attack to it, so it works well clean and dirty. You can modify it to sound good in a big chorus or a quiet intro. So on the album I basically went between those three Trinis that I have. I started to get lazy after a while. I don't think I played anything else.
SMEAR It seems like you did, but then you always went back to the Trini.
GROHLI think I picked up a Danelectro, but I ended up putting it away and using the Trini again.
GW What amps did the Trini Lopez guitars go through?
GROHL Mostly the Fender Tonemasters that I have. I found them at Norm's Guitars here in the [San Fernando] Valley. I walked in and said, "I want a really great amp that I've never used before for this album that's really meant to be raucous." And apparently Tonemasters were used by Jimmy Page and Joe Perry. So I plugged it in, turned it up and it sounded exactly how I wanted the guitar to sound. Another great thing about the Trini Lopez guitar is that it's sensitive to touch, and the Tonemaster is very responsive to that.
GW What did Butch Vig bring to the picture?
SHIFLETT He's a really great guy to work with. Making a record brings out the best and the worst in people. You have these moments where you feel so great. You can do anything and it'll work, and everything's smooth. But then you have these moments where you're super frustrated. Whatever you're doing is wrong, and you know it's wrong, but you can't figure out how to make it better. And one of Butch's greatest strengths is defusing those moments when it gets tense and can get really ugly. He has a good way of just mellowing you out somehow.
GROHL You can tell when a band has its Butch Vig record. Take Nirvana for example. Here you had a band that was kind of rough around the edges but had this clear pop sensibility. Butch managed to take these songs, pull out the sweet pop sensibilities but retain the raw, edgy energy of it without it becoming out of control. Butch makes huge-sounding rock records. But make no mistake, that dude is a pop producer. He would layer on sweet harmonies all day if he wanted to. But he likes big fucking guitars and big fucking drums.
GW Speaking of pop sensibilities, Dave, you excel at writing great, massive pop choruses. What's the secret?
GROHL I'll tell you: the Bee Gees.
SMEAR Uggghhh.
GROHL I'm not kidding. I listen to a lot of Bee Gees. You listen to those Bee Gees songs and it's not verse, chorus, verse; it's four or five sections that repeat only twice. But every time you think you're at the chorus, it's not the chorus. The next section comes and you think it's the chorus. It's not. The section after that comes, and you think that's the chorus. But that's not it either. The next section comes. That's the fucking chorus.
I approach every song trying to write the biggest chorus I possibly can. But then what I'll do is use that as the prechorus and go ahead and write an even bigger fucking chorus. That chorus should have a melody and lyric so simple and recognizable that you can mock the melody in the intro with a guitar line. So I'm basically pounding that riff into people's heads right from the intro of the song. Then I'll go to a verse, then the prechorus — which, to the listener, is the chorus — and then, bam, I hit them with a bigger chorus that incorporates the intro riff. Basically, you just try to keep lifting and lifting. That's how you do it.

 

[Sparkle]

Do you the roadster to dark?

He's only using the Vox and the HiWatt for specialized stuff. He's always had those.

Most of the early recordings were done with a Single Rec 50 Solo until Colour and the Shape, when the switch to Dual Recs was made. He still had his Vox's for cleans, but that was when Mesa came to him with the RoadKing, which covers most cleans now (and everything else) when playing larger venues.

His main amp right now for large venues is 2 RoadKings, a Fender Tone Master for smaller venues.

Chris still plays his RoadKings, though for smaller shows he uses Fender tweed amps, and his pedals for OD. I've seen him with Blues Jr's at the garage tour.

They both still have Vox's that are used for cleans and some OD. I don't think they will ever give those up.

I play in a FF cover band. I play Lead and Rhythm (not much lead in FF tracks). MANY times i have heard the comment "You've nailed that tone".

I run a Roadster in 50 Watts with 2 power tubes and a rec pulled (I know it's not neccessary, but I'd rather save my heater elements as spares).

I also have a Mesa-DC3 that I use in the practice area, and for smaller gigs. I was able to dial it pretty **** close. It cuts through everything.

I use a TS808 and a few different Fuzz pedals (Karl, CoolCat), phaser 100, and a Carbon Copy. We cover about half of their catalog right now. I have never needed anything more than this.

Not trying to sound like a know it all or anything like that, just sharing my experience, and my sickening love for the Foo.

PreAmp tubes
V1 - TungSol Re-issue
V2 - Mesa SPAX7
V3 - Stock Russian Mesa
V4 - Stock Russian Mesa
V5 - Stock Russian Mesa
V6 - Stock Chinese Mesa (Russians kept dropping in there)

Power Tubes
Stock Mesa

 

[boss4]

Nothing better than use what they used for a long time (of course there's more involved like guitars, pickups, pedal/effects, sound tech, etc), so you can get a starting point to go from:
http://www.performing-musician.com/pm/a ... chthat.htm

Nowadays They use this:
http://www.google.pt/imgres?q=dave+groh ... x=80&ty=66

For more versatility the Road King woulb be better (and expensive also) but maybe you can reduce the expenses by acquiring a 2X12" instead a 4X12" cab.

 

[Nigel]

It was a Zinky era Fender Tonemaster and Mesa OS 4x12.

It’s why I pulled the trigger on my first Zinky Mofo: same dirt channel. I’ve never heard a recto get that Foo tone dead ***. My Zinky does though.

https://m.youtube.com/watch?v=1LDGYI2oaVI

 

[Nigel]

Guitar, Gibson RD standard:

Maple neck/body, 25.5” scale.

https://www.vintageguitarandbass.com/gibson/RD_Standard.php