Andy Timmons

At 13:34, an MXR Script Phase 90 pedal can be seen on Andy Timmons' pedalboard.

The Carl Martin Andy Timmons Signature Compressor/Limiter has been developed in corporation with Andy Timmons to create a user-friendly yet versatile compressor/limiter with its two presets.

On Radial's website, Timmons was featured as user of Radial Loopbone.

In the video "Andy Timmons - Live Setup" by GuitarSpotGr, Andy Timmons is shown using the TC Electronic Stereo Chorus Flanger as part of his setup.

Seen on Andy Timmons website http://andytimmons.com/gear/

During his time with Danger Danger, Andy Timmons used the Peavey Rock Master Pre-amp, as evidenced by a Peavey advertisement featuring his flight case.

Andy Timmons is an Educator on the TrueFire online guitar lesson website. His courses include:

• 30 Electric Expressions You MUST Know
• Melodic Muse
• Electric Expression: Blues
• Electric Expression

His full list of courses can be found on TrueFire here.

As seen in this "Ear X-tacy" era Hughes & Kettner ad found on Pinterest.

Andy's Lone Star and Stiletto rig A/B Comparison with 2x12 Recto Horizontal Cabinets

In the article "Tones from a Perfect World with Andy Timmons" on Tumblr by nikfix, Andy Timmons is shown using the JHS Emperor V2 chorus effects pedal.

In the article "Tones from a Perfect World with Andy Timmons" on Tumblr by nikfix, Andy Timmons is mentioned using the Dunlop Volume X Mini Pedal DVP4.

As I started writing tunes I was inspired by seeing Josh playing his old vintage Teles and Strats, so I was writing a few tunes on a lovely old ‘68 maple neck Telecaster. Most notably, you can really hear that on the opening track EWF: it’s got that middle position funky tone. That’s a live take with the band, so that’s the ‘68 Tele on the entire track. There’s a little bit of it on the main melody of Apocryphal, too.

Johnny T, the following tune, that's an early 90s Les Paul Standard. It’s tuned down a whole step with 13s on it. That song didn’t start out that way. That’s one tune that Josh wrote specifically for that record. I’d heard him and his band play this groove on a jam track he'd done for Truefire, and I said, ‘Man, give me a tune like that: I love that feel!’ He was like, ‘Oh yeah, that’s a Johnny Taylor groove!’ Okay, whatever, I like that! So he wrote that tune and played it in the key of D. We kept his track but I wasn't happy with how I was playing the song in general, so when I got back to my studio to work on it, I started to detune. It felt kinda swampy so I figured I’d tune the whole guitar down and get away with really heavy strings. So, with the 13s on the Les Paul tuned down to D, it was very manageable but had a nice fat tone. It worked well! I think John Forgerty tuned his Les Paul a whole step down sometimes. There’s quite a few Creedence Clearwater Revival tunes where that guitar is tuned down a whole step, and it’s got a vibe to it, you know?

That’s why I put the tremolo on the very beginning of the song! It’s almost like CCR meets Billy Gibbons, cuz I got the Les Paul and the rock tone. I was a Les Paul guy growing up: one of my first guitars was an Electra Les Paul copy. That guitar got stolen sadly when I was 16 but the band I was in has an insurance policy, so when it got stolen I got to replace it with a Gibson Les Paul. So all through my early years, I was playing a Les Paul, until I got a Squier Strat in 1983 and started morphing over to the Strat style.

But then the bandwidth of the sound gets narrower and narrower. You have less dynamic, less articulation, and the sound can get very buzzy, thin and harsh. Distortion can eventually be very harsh, so it’s about trying to keep it as warm as possible, having it be as articulate as possible, but you need enough gain…but I’m getting away with a lot of that with the use of my echo. That’s where a lot of sustain is also coming from. When the echo’s set right, the repeats become unnoticable. Digital effects, when they first came out, could be very exact, where the old analog and tape delays, the first repeat would start to duck and leave this beautiful palette behind you. I call it the ‘halo’, where the repeats would be slightly more and more out of tune as they’d go along. That’s what creates the beauty. Using real tape echoes was not cool for me because they take a lot of upkeep and they never work properly (laughs) so I started using the EHX Memory Man because those units had modulation available. The note stays pure but everything around it’s like the ripple in the lake. I call it the halo.

The pedal is clearly visible at 5:00.

The switching system is clearly visible at 5:00

Andy Timmons stopped by Sweetwater Sound HQ with his full pedalboard

Andy Timmons stopped by Sweetwater Sound HQ with his full pedalboard

Andy Timmons can be seen using the Keeley Muse Driver in this video with Sweetwater, as the pedal replaces the limited edition Keeley Super AT Mod. This newer version features the AT clipping mode of the Super AT Mod, along with an new clipping mode designed by Robert Keeley.

In a detailed discussion about his gear in the video titled "Andy Timmons Talks All Things Pedals, Guitars, and Gear!" hosted by Vertex Effects, renowned guitarist Andy Timmons is shown utilizing the MXR M109S Six Band EQ pedal on his pedalboard. The specific gear is clearly visible from the timestamp 45:49, providing concrete evidence of its use in his setup. This source is part of a series aimed at exploring the intricacies of pedalboards and guitar gear with industry professionals.

In a video demonstration and review hosted by Keeley Electronics on YouTube, guitarist Andy Timmons showcases the Keeley Super AT Mod Andy Timmons Signature Overdrive Pedal, a limited-edition signature pedal he developed in collaboration with Robert Keeley. The video serves as direct evidence of Timmons’ use and endorsement of this specific pedal. In the description accompanying the video, Timmons is quoted saying, "The Super AT Mod Overdrive is the ultimate expression of the slightly broken up/clean tone I have been searching for all these years. It also rocks with an amazing overdrive tone that is incredibly amp-like. I already have 2 on my board!" This statement underscores his personal connection and satisfaction with the pedal's performance, further affirming his use and preference for it.

In an episode of "That Pedal Show" on YouTube titled "Andy Timmons Visits TPS [Awesome Pedalboard, Unbelievable Tones & Playing]," it is confirmed that guitarist Andy Timmons utilizes the Neunaber Immerse Reverberator Mk II on his pedalboard, as the pedal is distinctly visible during the show's exploration of his equipment setup.

In a YouTube short by GuitarChina吉他中国官方 titled "Revealed! The secret behind guitar master Andy Timmons' pedalboard! 🎸," the Keeley Electronics Zoma (black version) is barely visible as the first effect from the left.

In a YouTube video by youngguitarmagazine Andy Timmons shows the Keeley Octa Psi Transfigurating Fuzz Pedal and explains its use.

In a YouTube video by youngguitarmagazine at 13:44 Andy Timmons shows the Keeley Compressor Plus pedal and explains its use.

In a YouTube short by GuitarChina吉他中国官方, Andy Timmons' pedalboard is shown, and the Keeley California Girls pedal is clearly visible as the first effect from the left on the top side.

In the youngguitarmagazine YouTube video, Andy Timmons demonstrates and explains the use of the Dunlop FFM1 Silicon Fuzz Face Mini at the 14:41 mark.

In a YouTube video by youngguitarmagazine, at the 0:42 mark, Andy Timmons demonstrates the A3 Stompbox Custom Volume Pedal and explains its integration into his pedalboard.

According to an official article by JHS Pedals, Andy Timmons purchased and used the JHS Angry Charlie V3 as his primary tone in 2013.