Geoff Kraly

Geoff Kraly: On the bass end of things, the bass is going through the pedal board that you’ll see, so all the pedals are for the bass. There’s three distortion pedals, there’s a Devi Ever Bit, which is an 8-bit gated fuzz. There’s a Tech 21 VT Bass, which is a SansAmp distortion. I use it more like a clean boost in a way, it’s not heavily distorted. There’s a Prunes and Custard pedal by Crowther Audio, which is made in New Zealand. It’s kind of a filter distortion. There’s two delay pedals. One is a Malekko 616, and a crazy, Particle granular delay by Red Panda. Probably the biggest part of the sound for Paris Monster is the Eventide PitchFactor. That’s doing all the pitch shifting on a few different settings. That’s on 80% of the time in this band. Maybe a little less than that. Then, an Ernie Ball volume pedal. I think that’s about it. Yeah, and then some expression knobs and AUX switches for the Eventide.

Geoff Kraly: On the bass end of things, the bass is going through the pedal board that you’ll see, so all the pedals are for the bass. There’s three distortion pedals, there’s a Devi Ever Bit, which is an 8-bit gated fuzz. There’s a Tech 21 VT Bass, which is a SansAmp distortion. I use it more like a clean boost in a way, it’s not heavily distorted. There’s a Prunes and Custard pedal by Crowther Audio, which is made in New Zealand. It’s kind of a filter distortion. There’s two delay pedals. One is a Malekko 616, and a crazy, Particle granular delay by Red Panda. Probably the biggest part of the sound for Paris Monster is the Eventide PitchFactor. That’s doing all the pitch shifting on a few different settings. That’s on 80% of the time in this band. Maybe a little less than that. Then, an Ernie Ball volume pedal. I think that’s about it. Yeah, and then some expression knobs and AUX switches for the Eventide.

On the bass end of things, the bass is going through the pedal board that you’ll see, so all the pedals are for the bass. There’s three distortion pedals, there’s a Devi Ever Bit, which is an 8-bit gated fuzz. There’s a Tech 21 VT Bass, which is a SansAmp distortion. I use it more like a clean boost in a way, it’s not heavily distorted. There’s a Prunes and Custard pedal by Crowther Audio, which is made in New Zealand. It’s kind of a filter distortion. There’s two delay pedals. One is a Malekko 616, and a crazy, Particle granular delay by Red Panda. Probably the biggest part of the sound for Paris Monster is the Eventide PitchFactor. That’s doing all the pitch shifting on a few different settings. That’s on 80% of the time in this band. Maybe a little less than that. Then, an Ernie Ball volume pedal. I think that’s about it. Yeah, and then some expression knobs and AUX switches for the Eventide.

Geoff Kraly: On the bass end of things, the bass is going through the pedal board that you’ll see, so all the pedals are for the bass. There’s three distortion pedals, there’s a Devi Ever Bit, which is an 8-bit gated fuzz. There’s a Tech 21 VT Bass, which is a SansAmp distortion. I use it more like a clean boost in a way, it’s not heavily distorted. There’s a Prunes and Custard pedal by Crowther Audio, which is made in New Zealand. It’s kind of a filter distortion. There’s two delay pedals. One is a Malekko 616, and a crazy, Particle granular delay by Red Panda. Probably the biggest part of the sound for Paris Monster is the Eventide PitchFactor. That’s doing all the pitch shifting on a few different settings. That’s on 80% of the time in this band. Maybe a little less than that. Then, an Ernie Ball volume pedal. I think that’s about it. Yeah, and then some expression knobs and AUX switches for the Eventide.

Geoff Kraly: On the bass end of things, the bass is going through the pedal board that you’ll see, so all the pedals are for the bass. There’s three distortion pedals, there’s a Devi Ever Bit, which is an 8-bit gated fuzz. There’s a Tech 21 VT Bass, which is a SansAmp distortion. I use it more like a clean boost in a way, it’s not heavily distorted. There’s a Prunes and Custard pedal by Crowther Audio, which is made in New Zealand. It’s kind of a filter distortion. There’s two delay pedals. One is a Malekko 616, and a crazy, Particle granular delay by Red Panda. Probably the biggest part of the sound for Paris Monster is the Eventide PitchFactor. That’s doing all the pitch shifting on a few different settings. That’s on 80% of the time in this band. Maybe a little less than that. Then, an Ernie Ball volume pedal. I think that’s about it. Yeah, and then some expression knobs and AUX switches for the Eventide.

Geoff Kraly: On the bass end of things, the bass is going through the pedal board that you’ll see, so all the pedals are for the bass. There’s three distortion pedals, there’s a Devi Ever Bit, which is an 8-bit gated fuzz. There’s a Tech 21 VT Bass, which is a SansAmp distortion. I use it more like a clean boost in a way, it’s not heavily distorted. There’s a Prunes and Custard pedal by Crowther Audio, which is made in New Zealand. It’s kind of a filter distortion. There’s two delay pedals. One is a Malekko 616, and a crazy, Particle granular delay by Red Panda. Probably the biggest part of the sound for Paris Monster is the Eventide PitchFactor. That’s doing all the pitch shifting on a few different settings. That’s on 80% of the time in this band. Maybe a little less than that. Then, an Ernie Ball volume pedal. I think that’s about it. Yeah, and then some expression knobs and AUX switches for the Eventide.

Geoff Kraly: On the bass end of things, the bass is going through the pedal board that you’ll see, so all the pedals are for the bass. There’s three distortion pedals, there’s a Devi Ever Bit, which is an 8-bit gated fuzz. There’s a Tech 21 VT Bass, which is a SansAmp distortion. I use it more like a clean boost in a way, it’s not heavily distorted. There’s a Prunes and Custard pedal by Crowther Audio, which is made in New Zealand. It’s kind of a filter distortion. There’s two delay pedals. One is a Malekko 616, and a crazy, Particle granular delay by Red Panda. Probably the biggest part of the sound for Paris Monster is the Eventide PitchFactor. That’s doing all the pitch shifting on a few different settings. That’s on 80% of the time in this band. Maybe a little less than that. Then, an Ernie Ball volume pedal. I think that’s about it. Yeah, and then some expression knobs and AUX switches for the Eventide.

Geoff Kraly: On the bass end of things, the bass is going through the pedal board that you’ll see, so all the pedals are for the bass. There’s three distortion pedals, there’s a Devi Ever Bit, which is an 8-bit gated fuzz. There’s a Tech 21 VT Bass, which is a SansAmp distortion. I use it more like a clean boost in a way, it’s not heavily distorted. There’s a Prunes and Custard pedal by Crowther Audio, which is made in New Zealand. It’s kind of a filter distortion. There’s two delay pedals. One is a Malekko 616, and a crazy, Particle granular delay by Red Panda. Probably the biggest part of the sound for Paris Monster is the Eventide PitchFactor. That’s doing all the pitch shifting on a few different settings. That’s on 80% of the time in this band. Maybe a little less than that. Then, an Ernie Ball volume pedal. I think that’s about it. Yeah, and then some expression knobs and AUX switches for the Eventide.