Tak Home > Effects > Survive Tour Rig
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Stage Rig Survive Tour:Left & below. Another Custom Audio Electronics based setup. This is obviously an earlier setup than the CAE 2000 one, and some comparisons can be made. The main amps are still 5150s, but these are the old type, while the CAE rig uses 5150 IIs. He had not as much CAE gear at this point in time. More effect pedals on the floor, and not a harmoniser in sight??!! Not sure, he might have been feeling sick when he assembled this rack.
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A pair of Custom Audio Electronics RS-10 Midi Foot Controllers - to select the active program. |
Mystery Grey
Switch
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NO PHOTO YET |
Korg Volume Pedal. This makes swells and things possible. He uses it very occasionally. It may be that it is mostly used to mute the guitar between songs or for changing guitar. |
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Digitech Whammy Pedal - this does the squealing effect in "Swimmer Yo" (0:46, Track 2, Survive) among other things. It bends notes up & down in pitch, or creates harmonies. (This is probably either the original model or the reissue, far superior to the Whammy II which couldn't track properly as notes faded out.) It's odd that this is the shelf too, because this is a foot controlled effect (he's got another one on the floor), so perhaps he comes over to operate both the Kaoss and the Whammy by hand at some time in the Live Gym when he needs a really bizarre sound. Hakkai the guitar tech twists the control knob on this to produce the stutter sound at the start of "Showtime" (Track 6, Big Machine). |
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Fulltone Supatrem - probably the best tremolo available in a pedal, uses a proper opto circuit like in an old tube amp, no ticking. This gives a fluttering variation in volume, such as can be found at the start of "Nagare Yuku Hibi" (Track 8, Brotherhood). |
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A Korg G4 Rotary simulator provides fluttery watery effects. This could be part of the effect at the start of "Survive" (Track 3, Survive), but couldn't say for sure. |
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A Crowther Hotcake - hand made in New Zealand by Paul Crowther of Split Enz - for some overdrive. No specific example for this, because overdrive is so global and impossible to pin down to any one source. Tak has the older version with the switch instead of the tone knob. |
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A Korg DTR1 rack tuner keeps it all in tune. This is kind of an industry standard, perhaps for those who can't quite shell out for a Peterson Strobe tuner, or don't have the space. Can also be seen in the CAE 2000 rig. |
Next 2 rack spaces are a mystery to me.
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| Tak has four Maxon UR5J Wireless systems and one Maxon DA5 Distribution Amplifier. It's likely that four guitars each have their own wireless pack, and so when he wants to change guitar, he just puts on the new one and selects the corresponding wireless. At roughly US$1500 per wireless unit this is clearly only an option for mega rock stars like Tak. KOSHI INABA (hi fangirls!) also uses a Maxon wireless for his microphone. |
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A Custom Audio Electronics 3+SE preamp for three channels of guitar tone, one clean, one crunch, one lead. This is a popular and very expensive rack preamp, designed by Bob Bradshaw. It's kind of an upgrade of a very similar Soldano, which Bradshaw also had a part in designing. Users include Megadeth, U2, Andy Summers, Steve Lukather, and ... Eddie Van Halen. |
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Korg Kaoss Controller - - this is an extremely strange device for a guitarist to be using. I'm not sure what he does with it. It's a midi-controller / multi-effects unit. The touch pad in the middle can be stroked, tapped, etc. to modify the effect or parameter in real time. So he would have to take one hand off the guitar to use this. Normally it would be in a keyboardist's rig. |
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Boutique overdrive pedal, the Klon Centaur. The one in the rack has redder knobs. |
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What Eddie Van Halen fan's rig would be complete without an MXR phaser? Well EVH used a Phase 90. Tak has gone 10 better with an old script Phase 100. The rhythm guitar at the start of "Fireball" (Track 6, Survive) is a good example of phasing. Except I think I've misidentified this, and it is really a Maxon Flanger. |
Mystery Pedal
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Boss CS-3 Compressor. Keeps the volume fairly constant for the clean funk rhythm bits, such as in "Vampire Woman" (Track 7, Risky). |
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Probably a Dunlop CryBaby Wah in the middle left of the right hand photo. Hard to tell which of the many varieties it is. These are fairly ubiquitous. I wouldn't have said he's a big wah user, he uses it subtley now and again. Probably the best example of wah would be Jimi Hendix "Voodoo Chile" or the "Theme From Shaft" - see, now you know what wah is. |
Then the Korg
Volume pedal again
Bottom Row,
mystery switch/pedal
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T.C. Electronics Chorus/Flanger, from the famous Danish company. No longer in production, extremely collectable for its quiet clean modulation effects. As used by Andy Summers, Robert Fripp, many others. A strong example of the chorus effect can be heard in "Risky" (0:39, Track 1, Risky). That chorused guitar is also wahed, and there's harmonized guitar just before it. Another good example is the clean guitar in "Mars" (Track 2, Mars), also accompanied by harmonized whammy abuse. |
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Boss 5SL - it's just a switch, I don't know what it is controlling. |
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A Fulltone Fulldrive supplies another overdrive tone. Fulltone is Mike Fuller's company, making boutique pedals by hand. This is the original Fulldrive, no longer in production. |
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A Roland Space Echo. I'm not sure if he's got an RE 150, an RE 210, or a RE 310. These are amazing old things, the echo is created by a tape loop, like a Watkins Copy-Cat. It's very different from modern echos which use digital memory ics, it's a more fuck-up-able technology, and that's a good thing for guitarists. |
