Maxwell Royce

I am the 2nd owner of a 1966 Fender XII electric 12 string. It was my main guitar for many years when I played indie folk music regularly. It's a fantastic guitar, though i've had maintenance to do to keep it in regular playing shape (as you do for 50+ year old guitars). I had it refretted, and the pick guard replaced (those old nitrocellulose guards slowly shrink with time, and it was pulling on the screws in the body). Other than that, it's a work horse, and has that beautiful vintage electric 12 string jangle.

I am the original owner of this 2015 Gibson Firebird 7. It's my main guitar and is a total workhorse. I replaced the 3 full size Gibson 57 Classic humbuckers with a Monkeybucker and two P90s from Wolfetone Pickups. I also replaced the toggle with a 6 position Freeway switch. I also had the frets redone about 2 years after getting it. They didn't really need it, but I wanted larger frets than what came stock with it. Tonally diverse, and an excellent player, I'll be buried with this thing.

My first electric guitar. Mine is tobacco burst...I modified this thing with locking Sperzel tuners, a graphite nut, custom mirrored truss rod/pick guard, a Bartolini PBF-55 Jazz humbucker in the neck (coil tapped), a Gibson 57 Classic humbucker in the Bridge, a chrome Bigsby with my name engraved on the handle, push/pull pot, and strap locks. I played it in a skate punk/thrash metal band for almost a decade. Fast neck, heavy body, good for high gain.

I am the 3rd owner of this 1975 Epiphone Nova Jumbo Acoustic. It was bought in the mid 80's from a pawn shop by my mother, who gifted it to my father. He gave it to me about 5 years ago. My father put a lot of work into it, gluing the bridge down, replacing the end pins, pick guard, as well as installing an internal pickup. It plays great and has that big sound you only get with an auditorium body.

I'm the 2nd owner of this 1998 Gibson Flying V. I bought it off an old bass player when I was playing in a pop punk band. Everything is stock, and it's a ripper! I used it with the pop punk band, my thrash metal band, as well as my indie band. Dirty tones are best, as the pups are pretty high output. The cleans are pretty unremarkable, even through something decent, like a twin. A solid rock guitar.

I'm the original owner of this Dr. Z MAZ Jr. 18 watt head. It was my main amp for years. Fantastic clean tone, lots of head room. Takes pedals like a champ.

I am the 2nd owner of this Mesa Single Rectifier Solo 50 Head. I bought it off the other guitarist in a pop punk band I used to play in. Mesa has a very distinct high gain sound, and it's honestly not my favorite. The bottom end is pretty flabby (though i've heard it tightened up when pushed with the right overdrive pedal). The cleans are unremarkable. All in all, this thing is a workhorse, and until I can afford a better head, it definitely does the job.

The Z Best 2×12 closed back cab is an animal all its own. Theile Ported design which allows us to dial in the full frequency range of the guitar. Low end is determined by the port width, mid response by the shelf depth, and top end by choice of speakers. Placed vertically, the Z Best delivers a tuned, focused sound yet has the airy qualities associated with open back cabs due to the front port. When placed horizontally, you pick up more low end as the front port is then coupled with the floor. This is a long throw cabinet that will get the sound to the back of the room. Standard speaker configuration is a Celestion Vintage 30 and Celestion G12H30.

A staple for any board. Works great, easy to see in any lighting situation. At some point I might switch over to a rack unit to free up more space on my board, but for now it does the trick.

I love this thing. Super solid tracking. I use the attack feature to create organ-like swells that are great for ambient stuff. Pairs great with other effects, and features a good amount of parameter control.

This thing is wild. Two fuzz in one box. The left side is really nasty, splatty, unpredictable awesomeness...and the right side is a more focused, octave fuzz. Stacking them makes for some cool options too.

This thing is burly. It does an excellent job of recreating that classic Sunn Model T tone. One giant knob for volume, and damn does it get LOUD. Excellent for all your super saturated heavy distortion needs.

Super simple, easy to use tremolo. It has a few wave patterns to pick from, and a tap tempo. I don't use much trem, but this is perfect for my needs. True bypass, doesn't color the sound really at all when engaged. A good pedal for the price. Only gripe is that you can't achieve specific note divisions with it, like on some other higher end pedals.

A cool concept, though im not sure how much longer it'l be on my board. I have yet to find a use for it live, and really just mess around with noodling over pedal notes.

This thing is great, and I don't use it enough. Tons of effects, the ability to create, name, and save presets...I need to get on figuring this thing out and start using it live.

The MF-102 Ring Modulator is an award winning effect designed by Bob Moog. It contains an analog Ring Modulator with a built in Carrier Oscillator and LFO. Used with guitars, basses, keyboards, samples, or recorded tracks, the MF-102 can create subtle, or completely over-the-top effects. Uncontaminated by the digital world!

More than just a simple Chorus/Flange pedal, the Cluster Flux is the ultimate time modulation pedal! From subtle swirling to complete insanity, the Cluster Flux defies the laws of time and space. This limited edition 100% analog Moogerfooger features a Bucket Brigade Chip based delay line that oozes vibe and tone. Like all Moogerfoogers, it’s built like a tank for a lifetime of use.

Vintage volume pedal. Excellent sweep, and quiet. It's footprint is huge though, which may be a turn off for some.

The MF-103 12-Stage Phaser is a high quality effect designed by Bob Moog. It contains an amazing-sounding 6 or 12 stage phaser circuit as well as a wide-range LFO with an adjustable sweep amount. Used with guitars, basses, keyboards, samples, or recorded tracks, the MF-103 can apply subtle tonal coloration or extremely deep phasing that spins your speakers and ears out of control. Uncontaminated by the digital world!

Built like a tank. I have this running into my Moogerfooger Low Pass Filter, and it functions as a wah. Compatible with all o my other Moogerfoogers, to make any parameter foot controllable.

The MF-101 Lowpass Filter is an award-winning effect designed by Bob Moog. It contains the legendary Moog filter as well as an envelope follower for dynamic-controlled filter sweeps. Used with Bass, Guitar, Keys, Samples, or recorded tracks, the MF-101 is ready to be tweaked for classic Moog filter effects. Uncontaminated by the digital world!

560 piece limited production analog delay based on the MF-104M. Features include 1.2 seconds of analog delay time, 6 NOS Panasonic BBD chips, and complete MIDI control.