At around 19:55 in this Rig Rundown video, you can see the Stereo Chorus sitting on the top left of Jesse's pedalboard. He does not use it for the Chorus sound, instead he uses it to split the bass signal between his two amps (Peavey Festival 800 and Acoustic 450B) He says he discovered it "by accident" because he did not have a 1/4 inch splitter. He says he "noticed the stereo part of the pedal" and seeing as he "hadn't used both outputs before" he used them to split the signal to both his amps. In the [accompanying article](http://www.premierguitar.com/articles/21712-rig-rundown-death-from-above-1979) from *Premier Guitar*, they write: "Keeler’s aggressive, distorted bass tone comes mostly from his amps. His pedals are relatively straightforward, and he uses them sparingly. The signal chain starts with a Dunlop Wah, then into an [MXR M80 Bass D.I.+](https://equipboard.com/items/mxr-m80-bass-di), which sends a bass signal to the FOH engineer. From there, the signal goes to an [MXR Ten-Band EQ](https://equipboard.com/items/mxr-m-108-ten-band-graphic-equalizer-pedal), an [MXR Carbon Copy Analog Delay](https://equipboard.com/items/mxr-m169-carbon-copy-analog-delay-guitar-effects-pedal), [Morley A/B switcher](https://equipboard.com/items/morley-aby-footswitch), then off to the Ibanez CS9 Stereo Chorus, which splits the signal between his two amps. Before hitting the amps, one signal is run through an [Electro-Harmonix Micro POG](https://equipboard.com/items/electro-harmonix-micro-pog). The last stop in the signal chain is a [Dunlop Kerry King KFK Q Zone](https://equipboard.com/items/mxr-cry-baby-kfk-q-zone)."more
By 1985 he was also using an Ibanez Stereo Chorus pedal and an Electo-Harmonix Small Clone Mini-Chorus. For the recording of Metal Circus (and subsequent recordings) a harmonizer was fed directly into the recording desk. Later on a rack mounted harmonizer was used on stage. By 1987 a Roland SDE-1000 digital delay had also been added to Bob's stage gear.more
"My argument for having this pedal in my top five might have the most holes in it, because I’ve had many of these, and several were duds. But the one that’s been on my board for over a decade is a champion of a chorus. I remember getting my hands on John Scofield’s Loud Jazz, being blown away by the music, and finding out he used a CS-9, so I had to get one. I lucked out and found this early-’80s version that is so smooth, transparent, and water-like that I haven’t been able to replace it. I recently put a Jacques Stompboxes Meistersinger on the party board. It’s a great analog chorus, but I feel the CS-9 is just more versatile. It can do the slow, signature chorus sound, but I really dig chorusing effects when you crank the rate to 75 or 80 percent. They get choppy, hectic, and almost abrasive. I add the CS-9 to songs like “You Wouldn’t Believe” and “Revelation of the Year.”more
another pedal I prefer to the CE2... sounds the same, has rudimentary stereo. I wish I had kept this pedal but I was really down on the bypass sound at the time and I had this idea that I needed a d-time control on a chorus back then. I dunno. The reissues of these sounds great too as does the mini version.