David Rhodes

“Onstage,” says Rhodes, “I’ve got a whole rack of my own – a couple of digital delays, including an old MXRDS-2, a Yamaha SPX90 multi-effects processor, and a Roland SDE-1000. I always have the MXR on a very short slap – about 17 milliseconds – just to fatten up the sound a little. I use the SPX90’s stereo delay on the verse of ‘Red Rain’; I have one side of the delay in quarter-note time, and the other side in triplet time. I use the same effect on ‘San Jacinto’, where I play one of the keyboard lines."

"I also have a Roland 31-band graphic equalizer, the SEQ 331, a T.C. Electronic 1140 parametric equalizer, and an Ibanez HD-1000 Harmonics/Delay on ‘The Family and the Fishing Net’ for doing sound effects an octave up. I have quite a long delay on it – about 310 milliseconds – with a lot of feedback.”

"I also have a Roland 31-band graphic equalizer, the SEQ 331, a T.C. Electronic 1140 parametric equalizer, and an Ibanez HD-1000 Harmonics/Delay on ‘The Family and the Fishing Net’ for doing sound effects an octave up. I have quite a long delay on it – about 310 milliseconds – with a lot of feedback.”

“Onstage,” says Rhodes, “I’ve got a whole rack of my own – a couple of digital delays, including an old MXRDS-2, a Yamaha SPX90 multi-effects processor, and a Roland SDE-1000. I always have the MXR on a very short slap – about 17 milliseconds – just to fatten up the sound a little. I use the SPX90’s stereo delay on the verse of ‘Red Rain’; I have one side of the delay in quarter-note time, and the other side in triplet time. I use the same effect on ‘San Jacinto’, where I play one of the keyboard lines."

"And I’ve got a Roland SRV-2000 digital reverb, which I use pretty constantly with a few different settings. On ‘San Jacinto’ I use a very large room effect, and on ‘Red Rain’ I use a smaller room."

"My effects included a TC Electronic 2290 Dynamic Digital Delay, Roger Mayer Voodoo Vibe and Octavia pedals, an Electro-Harmonix Electric Mistress, a Boss Vibrato, an Ernie Ball volume pedal, and an old Matchless Hot Box distortion.”