Jamie West-Oram

In a November 2022 interview with Premier Guitar, West-Oram states:

When I first joined the band, I had one of the [Marshall] combos, and then I got the [MXR] Stereo Chorus and went 'I'm gonna have to get another amp-because this doesn't sound good with just one amp!'

This premierguitar.com article mentions Jamie West-Oram uses Ernie Ball Burly Slinky.

'However, as evidenced on the band’s 13th full-length release, this year’s Every Five Seconds, he remains a fan of Gibson-built single-cuts. For rawer tones on tracks like “Cold,” he used a two-pickup ’61 Epiphone Olympic (a recent gift from his wife, Bibi) through a couple of “just blisteringly good” early-’60s Vox AC30s that were on hand at Panic Button Studios in West London.'

'However, as evidenced on the band’s 13th full-length release, this year’s Every Five Seconds, he remains a fan of Gibson-built single-cuts. For rawer tones on tracks like “Cold,” he used a two-pickup ’61 Epiphone Olympic (a recent gift from his wife, Bibi) through a couple of “just blisteringly good” early-’60s Vox AC30s that were on hand at Panic Button Studios in West London.'

As you might expect, that means he depends on pedals to muck up his tones. Live, he’s recently been using an Xotic SL Drive for dirt—although for the Five Seconds sessions he used an Ibanez Tube Screamer. “Otherwise, I used pretty much the same gear that I use live. I’ve got the Suhr Koji Comp compressor, which is on probably 50 percent of the time. Back in the olden days, I’d have everything on all the time—it never occurred to me to bypass them! [Laughs.] Now, I bypass them so they sound more exciting when they do come in.” A Boss DD-500 delay is another go-to. “It can do a whole whack-crazy amount of things, though my presets are mainly based on tempo and varying the modulation of the delay. So, you can have a straightforward delay, or you can have a slightly seasick delay or change the actual tone of the delay signal. I’ve also got an old Electro-Harmonix Memory Man, which sounds really sick, but it’s too big to fit on my pedalboard. I use that for recording at home.”

As you might expect, that means he depends on pedals to muck up his tones. Live, he’s recently been using an Xotic SL Drive for dirt—although for the Five Seconds sessions he used an Ibanez Tube Screamer. “Otherwise, I used pretty much the same gear that I use live. I’ve got the Suhr Koji Comp compressor, which is on probably 50 percent of the time. Back in the olden days, I’d have everything on all the time—it never occurred to me to bypass them! [Laughs.] Now, I bypass them so they sound more exciting when they do come in.” A Boss DD-500 delay is another go-to. “It can do a whole whack-crazy amount of things, though my presets are mainly based on tempo and varying the modulation of the delay. So, you can have a straightforward delay, or you can have a slightly seasick delay or change the actual tone of the delay signal. I’ve also got an old Electro-Harmonix Memory Man, which sounds really sick, but it’s too big to fit on my pedalboard. I use that for recording at home.”

As you might expect, that means he depends on pedals to muck up his tones. Live, he’s recently been using an Xotic SL Drive for dirt—although for the Five Seconds sessions he used an Ibanez Tube Screamer. “Otherwise, I used pretty much the same gear that I use live. I’ve got the Suhr Koji Comp compressor, which is on probably 50 percent of the time. Back in the olden days, I’d have everything on all the time—it never occurred to me to bypass them! [Laughs.] Now, I bypass them so they sound more exciting when they do come in.” A Boss DD-500 delay is another go-to. “It can do a whole whack-crazy amount of things, though my presets are mainly based on tempo and varying the modulation of the delay. So, you can have a straightforward delay, or you can have a slightly seasick delay or change the actual tone of the delay signal. I’ve also got an old Electro-Harmonix Memory Man, which sounds really sick, but it’s too big to fit on my pedalboard. I use that for recording at home.”

“For a ‘typical’ Fixx song, you might expect a solid, sync’d rhythm section, chiming guitars, animalistic keyboard sounds, and strong vocals,” he begins, “but I don’t think we dismiss an idea because it doesn’t sound like ‘a Fixx song.’ We might actually lean more towards one that isn’t an obvious Fixx song. There’s a couple on the new album that aren’t what we’d normally do, and because of that, rather than despite that, they made it to the album. On ‘Suspended in Make Believe,’ there’s aren’t any chiming guitars, and I ended up with a very strange sound. I have this Music Man guitar, an Axis Super Sport, with a piezo pickup so you can make it sound like an acoustic. I plugged that straight into a Fender amp and cranked it up. It’s got quite a strange, slightly grating sound. There’s also one called ‘Neverending,’ which almost has this arena-rock thing. It was starting to get a little bit Bruce Springsteen and, I mean, he’s great—but that’s not us. And then it started to get a bit U2-ish and we didn’t want that either, even though they’re great as well. And then Cy said, ‘Less U2, more New York Dolls,’ and I went, ‘Ah, that’s it. Now we got it!’ It’s not really like the New York Dolls, the way it ended up, but little comments like that can knock you sideways in a good way. Then you end up following it down another rabbit hole.”

Jamie West-Oram's gear list, from Premier Guitar:

Guitars Suhr koa S-style (“Woody”) replica of ‘84 Schecter “partscaster” Suhr Classic T Fender ‘62 Stratocaster reissue with signature pickups by Dave Walsh 1961 Epiphone Olympic Ernie Ball Music Man Axis Super Sport Early-’80s Ibanez Blazer (used on original “One Thing Leads to Another” tracks) Custom 1991 Ibanez S-style

Amps Two Fender Hot Rod DeVilles running in stereo 1962 Vox AC30 (studio) Suhr Corso (studio) Cornell Plexi (studio) 1964 Elpico 18-watter (studio)

Effects 1981 MXR Stereo Chorus Suhr Koji Comp Suhr Shiba Drive Suhr Riot Xotic SL Drive Vemuram Jan Ray Boss DD-500 Boss SL-20 Slicer Boss volume pedal Assorted pedals (studio)

Strings & Picks Ernie Ball Burly Slinkys Jim Dunlop 1 mm picks

Jamie West-Oram's gear list, from Premier Guitar:

Guitars Suhr koa S-style (“Woody”) replica of ‘84 Schecter “partscaster” Suhr Classic T Fender ‘62 Stratocaster reissue with signature pickups by Dave Walsh 1961 Epiphone Olympic Ernie Ball Music Man Axis Super Sport Early-’80s Ibanez Blazer (used on original “One Thing Leads to Another” tracks) Custom 1991 Ibanez S-style

Amps Two Fender Hot Rod DeVilles running in stereo 1962 Vox AC30 (studio) Suhr Corso (studio) Cornell Plexi (studio) 1964 Elpico 18-watter (studio)

Effects 1981 MXR Stereo Chorus Suhr Koji Comp Suhr Shiba Drive Suhr Riot Xotic SL Drive Vemuram Jan Ray Boss DD-500 Boss SL-20 Slicer Boss volume pedal Assorted pedals (studio)

Strings & Picks Ernie Ball Burly Slinkys Jim Dunlop 1 mm picks

Jamie West-Oram's gear list, from Premier Guitar:

Guitars Suhr koa S-style (“Woody”) replica of ‘84 Schecter “partscaster” Suhr Classic T Fender ‘62 Stratocaster reissue with signature pickups by Dave Walsh 1961 Epiphone Olympic Ernie Ball Music Man Axis Super Sport Early-’80s Ibanez Blazer (used on original “One Thing Leads to Another” tracks) Custom 1991 Ibanez S-style

Amps Two Fender Hot Rod DeVilles running in stereo 1962 Vox AC30 (studio) Suhr Corso (studio) Cornell Plexi (studio) 1964 Elpico 18-watter (studio)

Effects 1981 MXR Stereo Chorus Suhr Koji Comp Suhr Shiba Drive Suhr Riot Xotic SL Drive Vemuram Jan Ray Boss DD-500 Boss SL-20 Slicer Boss volume pedal Assorted pedals (studio)

Strings & Picks Ernie Ball Burly Slinkys Jim Dunlop 1 mm picks

Jamie West-Oram's gear list, from Premier Guitar:

Guitars Suhr koa S-style (“Woody”) replica of ‘84 Schecter “partscaster” Suhr Classic T Fender ‘62 Stratocaster reissue with signature pickups by Dave Walsh 1961 Epiphone Olympic Ernie Ball Music Man Axis Super Sport Early-’80s Ibanez Blazer (used on original “One Thing Leads to Another” tracks) Custom 1991 Ibanez S-style

Amps Two Fender Hot Rod DeVilles running in stereo 1962 Vox AC30 (studio) Suhr Corso (studio) Cornell Plexi (studio) 1964 Elpico 18-watter (studio)

Effects 1981 MXR Stereo Chorus Suhr Koji Comp Suhr Shiba Drive Suhr Riot Xotic SL Drive Vemuram Jan Ray Boss DD-500 Boss SL-20 Slicer Boss volume pedal Assorted pedals (studio)

Strings & Picks Ernie Ball Burly Slinkys Jim Dunlop 1 mm picks

Jamie West-Oram's gear list, from Premier Guitar:

Guitars Suhr koa S-style (“Woody”) replica of ‘84 Schecter “partscaster” Suhr Classic T Fender ‘62 Stratocaster reissue with signature pickups by Dave Walsh 1961 Epiphone Olympic Ernie Ball Music Man Axis Super Sport Early-’80s Ibanez Blazer (used on original “One Thing Leads to Another” tracks) Custom 1991 Ibanez S-style

Amps Two Fender Hot Rod DeVilles running in stereo 1962 Vox AC30 (studio) Suhr Corso (studio) Cornell Plexi (studio) 1964 Elpico 18-watter (studio)

Effects 1981 MXR Stereo Chorus Suhr Koji Comp Suhr Shiba Drive Suhr Riot Xotic SL Drive Vemuram Jan Ray Boss DD-500 Boss SL-20 Slicer Boss volume pedal Assorted pedals (studio)

Strings & Picks Ernie Ball Burly Slinkys Jim Dunlop 1 mm picks

Jamie West-Oram's gear list, from Premier Guitar:

Guitars Suhr koa S-style (“Woody”) replica of ‘84 Schecter “partscaster” Suhr Classic T Fender ‘62 Stratocaster reissue with signature pickups by Dave Walsh 1961 Epiphone Olympic Ernie Ball Music Man Axis Super Sport Early-’80s Ibanez Blazer (used on original “One Thing Leads to Another” tracks) Custom 1991 Ibanez S-style

Amps Two Fender Hot Rod DeVilles running in stereo 1962 Vox AC30 (studio) Suhr Corso (studio) Cornell Plexi (studio) 1964 Elpico 18-watter (studio)

Effects 1981 MXR Stereo Chorus Suhr Koji Comp Suhr Shiba Drive Suhr Riot Xotic SL Drive Vemuram Jan Ray Boss DD-500 Boss SL-20 Slicer Boss volume pedal Assorted pedals (studio)

Strings & Picks Ernie Ball Burly Slinkys Jim Dunlop 1 mm picks