Matthew Followill

Matthew Followill showcases his Fender Custom Shop Stratocaster on Instagram, referring to it as his "new love."

In the 2004 T in the Park performance of "Genius," Matthew Followill plays a Danelectro 56 U2 guitar, as seen in the YouTube video by Novemberregen.

Pedalboard for new album.

This photo is from Xact Tone Solutions, who made Matthew Followill's pedalboard. The top row of the pedalboard, 4th pedal from the right, is the Chase Bliss Audio Gravitas.

On August 21, 2016, Matthew Followill shared a photo on Instagram with the hashtags #KOL7 and #WALLS. The image features a fuzz pedal with the label "CNYTHNK" on its face. While it's not definitively identified as the Spaceman Effects Sputnik Fuzz, it is another fuzz pedal model.

'@matfollowill - At headquarters getting sounds for #WALLS on my new love @fanoguitars #rb6 with #p90s'

posted on instagram 28 August 2016

You can see a Digitech Obscura Altered Delay on the top row left.

In an Instagram video, Matthew Followill is seen playing the Gibson Hummingbird while performing "Find Me," years before recording "Walls."

Matthew has been using a Black Fano Guitars Alt de Facto GF6 with a Bigsby on Kings of Leon's 2017 WALLS tour. It can be seen clearly at 3:09 in this video of the song "Radioactive".

Here is are some photos of matts boards designed and produced by xact tone solutions as you can see he is using the TC electronics alter ego x4.

Here is are some photos of matts boards designed and produced by xact tone solutions as you can see he is using the Mastermind GT 16 for his rack ground control.

In the Red Bull Sound Space show, Matthew can be seen playing a Goldtop Les Paul for a good portion of the set. The first appearance is around 19:35.

Looks like an early picture of Matthew playing a double-cut les paul junior.

Matthew Followill is seen with a Fender Telecaster Custom Electric Guitar in an Instagram post captioned "Gearing up!!" with hashtags suggesting preparation for Kings of Leon's seventh album, #kol7.

Another new @fanoguitars that I love! #sp6 @tcelectronic #alteregox4 delay with an expression pedal controlling the feedback parameters.

In this Instagram photo posted by Matthew Followill, he can be seen holding his Fano Alt de Facto TC6 electric guitar. His has a rosewood fingerboard (dot inlays), and the color appears to be Shell Pink, with a white pickguard.

Check out this #tc6 #rolandspaceecho in the reflection

#KOL7 #WALLS #cs80

Posted on Matts instagram 21st August 2016. '#KOL7 #WALLS'

Matt posted on instagram 21st August 2016 #KOL7 #WALLS, If you zoom into the photo you can see that its the 104-M analog delay, not the super, or the 104-Z, as this one has the 3 led lights at the bottom.

On August 21, 2016, Matthew Followill shared an Instagram photo featuring the Classic Audio Effects Passive Volume Roller G2, indicating its use in his setup.

In an Instagram post dated August 21, 2016, Matthew Followill showcases the Old Blood Noise Endeavors Procession reverb pedal, visible on the bottom row of his gear setup.

matts instagram post 21st august 2016. left side next to the Moogerfooger.

Matthew Followill utilizes the JHS Alpine reverb pedal, as evidenced by photographs of his pedalboards designed by XAct Tone Solutions.

Here is are some photos of matts boards designed and produced by xact tone solutions as you can see he is using the Roland ev5 expression pedal.

Photos of Matthew Followill's pedalboards, designed by XAct Tone Solutions, show he uses the Mantic Effects Proverb for his reverb tones.

Used "occasionally" for the electric guitar on Only by the Night , as stated by producer Jacquire King in this December 2008 Sound on Sound interview.

"We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools."

Used for the "synth-like reverb" on the electric guitar of Only by the Night, as stated by producer Jacquire King in this December 2008 Sound on Sound interview.

"We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools."

Used for the electric guitar on "Sex on Fire", as stated by Only by the Night producer Jacquire King in this December 2008 Sound on Sound interview.

"We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools.

(...) Guitars: Massenburg DesignWorks EQ, Sound Toys Echoboy, Cooper Time Cube, Digidesign delay, Audio Ease Altiverb

"Using a guitar amp, I added a short slap delay on Matt's guitars. I also used an Echoboy for delay on certain sections, like in the choruses. There was a little bit of bus compression on the guitars and a little bit of EQ, all very minor stuff, because I had already recorded what I wanted. (...) The Altiverb on Matt's guitar is a very small room at Cello Studios, for a little bit more space."

Used for the electric guitar on Only by the Night, as stated by producer Jacquire King in this December 2008 Sound on Sound interview.

"We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools."

Used for the electric guitar on Only by the Night, as stated by producer Jacquire King in this December 2008 Sound on Sound interview.

"We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools."