Chris Bishop

Chris Bishop owns a "Vox Time Machine Delay that was modded" (source). Expanding on this in an Ultimate Guitar review, he said, "That's the one that has the super crazy oscillation. I took the tap out of it; I did some changes to the knobs so that I can hit them with my feet. I use that for building tension between parts.".

"For years, I’ve been playing a Fender ’72 FSR Telecaster. It’s sunburnt orange and has a Bare Knuckle P90. It’s got a standard Tele neck, so it feels nice. I recorded the whole album with it. I use the low-octave pedal on a lot of my single-note riffs to compensate for the Tele sound, which is very high-end and piercing, sometimes. The low octave gives a huge, unique sound. You still get the attack and the metallic-ness of the strings, but you get all that low-end. It’s really awesome."

• Chris Bishop; Vintage Guitar Magazine interview

“I’ve played Orange for years and have yet to find more responsive, durable amps than the Orange Terror series. They’re great for touring and recording. Oh and the cabs can hold the weight of my big ass!”

-Chris Bishop; Orange Amplifiers

According to a Vinage Guitar Magazine interview, the Tiny Terror amplifier is a back up to the bigger Dual Terror amplifier, both of which are great due to the massive headroom.

"I’ve played Orange amps for years. I use the Dual Terror and I have the Tiny Terror for a backup or to play a small room. If it’s a decent-size room where I can crank it up a little bit, I’ll use the Dual Terror. They’re both awesome, and it’s vital that I have that because the way I run the crazy delay stuff, I need a bit of head room so I’m not working with straight feedback. The Duals are pretty good for that. I don’t have to run it too hot, but I still have a good, solid tube sound."

• Chris Bishop; Vintage Guitar Magazine interview

"I also have a Way Huge Swollen Pickle and a Z-Vex Fuzz Factory."

• Chris Bishop; Vintage Guitar Magazine interview

In the "Reverend Guitars 12 Questions with... Chris Bishop" video on YouTube, Chris Bishop discusses his use of the Reverend Charger electric guitar.

“I’ve played Orange for years and have yet to find more responsive, durable amps than the Orange Terror series. They’re great for touring and recording. Oh and the cabs can hold the weight of my big ass!”

-Chris Bishop; Orange Amplifiers

In this image, Chris can be seen performing with Crobot with an Epiphone Sheraton II.

In this image, Chris seems to have mounted all his pedals on a Pedaltrain 1.

"I’ve got a Morley Bad Horsie Wah, which is one of the first they ever made. I use it more as a filter effect."

• Chris Bishop; Vintage Guitar Magazine interview

"I also have a Way Huge Swollen Pickle and a Z-Vex Fuzz Factory."

• Chris Bishop; Vintage Guitar Magazine interview

"Then I have an Electro-Harmonix Micro POG and a POG 2. The Micro POG is set for one octave down, while the POG 2 I use strictly for my octave up. I stack them. That’s the holy grail of kick-you-in-your-face tone. When I want to get heavy and knock someone’s balls off, I put that Fuzz Factory on with that sub-octave from my POG."

• Chris Bishop; Vintage Guitar Magazine interview

Due to circumstances with the POG2 breaking, Chris has told Ultimate Guitar that he now uses two Micro POGs for the octave low and high.

"Then I have an Electro-Harmonix Micro POG and a POG 2. The Micro POG is set for one octave down, while the POG 2 I use strictly for my octave up. I stack them. That’s the holy grail of kick-you-in-your-face tone. When I want to get heavy and knock someone’s balls off, I put that Fuzz Factory on with that sub-octave from my POG."

• Chris Bishop; Vintage Guitar Magazine interview

In a second interview later on with Ultimate Guitar, Chris says that he stopped using this pedal later on due it breaking multiple times. It's possible that sometime before May of 2015, he stopped using this pedal.

"My other delay is an Ibanez Echo Shifter. It has a really big knob in the middle that you can use with your foot to move up and down. That’s how I get that whirly psychedelic sound."

• Chris Bishop; Vintage Guitar Magazine interview