Joe Gosney

These two absolute babes joining @blackpeaks for tour next week. @fender

"I use it just for the octave and dry signal. Its just for those single-note riffs, to fatten the low-end up a bit."

“I use some chorus but also the Leslie effect, the rotating speaker... I use that a bunch, more on the new songs.”

My first guitar was a Mexican Fender Stratocaster in Arctic White. I got bought this by my dad on my 15th birthday and I still have it in pride of place at home. It's always been one of my go-to guitars for writing on.

Joe Gosney uses the Marshall JCM900 SL-X, praised for its straightforward design and comprehensive capabilities. This is highlighted in the Marshall source titled "JCM900 4100."

“I’m running it in stereo, which is really cool, actually, especially for the single-guitar stuff. It doubles the signal but with the slightest bit of latency on one of the amps, and it just sounds chunkier; you put it on and just everything widens out. It’s on everything, all the time.”

Can see an image of the RV-5 on Joes pedalboard

New @fender tele deluxe making sweet sweet sounds in the studio

Assuming its the selected amp but not quoted as to the exact version:

"Aside from firing up a cornucopia of living-the-dream amp heads, including a Marshall Plexi, Diezel VH4 and Orange Thunderverb, Joe’s other great discovery on All That Divides was a quick-fire alternate tuning. While he usually opts for D standard, with the odd drop-C sledgehammer thrown in, he explains that one small tweak was behind a number of the album’s highlights and his now-trademark chord drones."

"my Gibson SG that was also given to me on my 18th birthday. That guitar is my baby and is consistently on tour with us"

"I’ve gone through a bunch of different presets: dual delays, reverse on some things, and then it’s all running on MIDI through to the ES-8, so I have a bank for each song. We don’t play to a click, but tempo-wise, they’re in sync roughly, if we’re playing in time! [laughs]”

"I’m using both sides on that. It’s running through the ES-8; you can toggle between the settings via the ES-8, which is cool. I run it into the distortion with the octave on; it just gives the octave a bit more bite, and then I use it again with the distortion, but the Blues Driver side of it with the drive turned right down but the volume right up; I use it more as a clean boost for solo stuff.”

Assuming its the selected amp but not quoted as to the exact version:

"Aside from firing up a cornucopia of living-the-dream amp heads, including a Marshall Plexi, Diezel VH4 and Orange Thunderverb, Joe’s other great discovery on All That Divides was a quick-fire alternate tuning. While he usually opts for D standard, with the odd drop-C sledgehammer thrown in, he explains that one small tweak was behind a number of the album’s highlights and his now-trademark chord drones."

As seen on pic of Joes pedalboard in the article. no quote from artist

JOE GOSNEY PLAYS THROUGH... JCM900 4100

1960A AND 1960B

Assuming its the selected amp but not quoted as to the exact version:

"Aside from firing up a cornucopia of living-the-dream amp heads, including a Marshall Plexi, Diezel VH4 and Orange Thunderverb, Joe’s other great discovery on All That Divides was a quick-fire alternate tuning. While he usually opts for D standard, with the odd drop-C sledgehammer thrown in, he explains that one small tweak was behind a number of the album’s highlights and his now-trademark chord drones."

In an article on MusicRadar, a photo of Joe Gosney's pedalboard features the Boss TU-3S Chromatic Tuner, highlighting its role in his setup.