Rhett Shull

Rhett is seen buying a used orange sparkle Danelectro '59M NOS in this video ("5 reasons to buy a cheap guitar") at around 11:29. The year of manufacture isn't mentioned in the video.

The Color and year of manufacture in the title were added because Equipboard didn't feature the orange sparkle one.

In this video ("what is the VOX sound") a Delay Llama Xtreme by jam pedals can be seen in the background in 2:17.

In this video, Rhett Shull demonstrates and reviews the MKII version of the Line 6 DL4.

He uses this module with the Strymon Magneto module .

In this video by Rhett Shull comparing boosts and overdrives, he uses the Source Audio Zio and cites it as one of his favorite pedals. The Source Audio Zio can be seen at 6:22

In this Youtube Video by Rhett Shull, he uses the Mythos Wildwood Mjolnir to push his Signature Port City Grandville Amp into crunchy overdriven tones. The Mythos Wildwood Mjolnir is mentioned in captions and also can be seen at 8:13

In this video by Rhett Shull, he reviews and details why the Chase Bliss Mood MKII might be his favorite pedal. It is seen throughout the whole video.

In this video by Rhett Shull, you can see the Artificial Blonde with some black tape on his studio board at 8:13.

In this Youtube Short, Rhett Shull demonstrates a unique fuzz technique with the Mythos Hephaestus.

Rhett Shull uses the GFI Synesthesia on his latest pedalboard in this youtube video. It can be seen in the thumbnail.

This is a key component of Rhett Shull's latest board featured in this video. It can be seen in the thumbnail.

The Line 6 HX Effects is arguably the centerpiece of Rhett's studio board. It is used for modulation, delay, reverb, and outboard effects thanks to the effects loops. It can be seen in the thumbnail of the video.

In this video featuring Rhett, he can be seen using the Boss RE-202 for delay and spring reverb. It can be seen at 46:25.

In this video by Rhett Shull, he talks about the Vertex Nyle as being one of the best pieces of gear he purchased in 2019. It can be seen at 2:26.

In this video by Rhett Shull, the Hudson Broadcast AP is described to be utilized as a preamp/boost in front of his /13 FTR 37. It can be seen at 12:23 on his old touring board.

In this video by Rhett Shull, the Mulecaster is being taken on the road with Rhett as a slide guitar. It can be seen at 15:05

In this Youtube Video by Rhett Shull, he demonstrates the versatility of the 5e3 Tweed Deluxe. He has since used this instead of his Mojotone 5e3 deluxe amp.

In this video by Rhett Shull, you can see an original Boss RE-201 in the background at 0:47

In this Facebook post by Rhett (screenshot), we can see him using a Mystic Surf Green Fender American Pro II Stratocaster that Fender sent him. He doesn't tend to use it much, sticking to his John Mayer signature Strat, but it appears a lot in his Youtube thumbnails.

In this video Rhett compares the Imperial MKII to a plugin.

In this video, Rhett Shull uses the AEA R92 along with a Shure SM57 to mic up his Gibson Falcon 5.

At 10:40 in this video, Rhett Shull discusses options for micing low wattage amplifiers. He says:

One of my favorite microphones of all time is the Cole’s 4038. This is a legendary microphone for not just guitar cabs but for vocals, drum overheads, room mics. You can use these for everything and they sound great. But, these are ribbon microphones and they have an SPL limit. They don't like really high volume or SPL loads, which means they are not good to stick in front of a loud amp that is moving a lot of air, but they can sound incredible in front of a small combo like this, especially when you back the mic off the cabinet a few feet to decrease the proximity effect.

In the video titled "I Bought The Most Underrated Fender Of All Time," Rhett Shull can be seen testing and purchasing a Fender Mustang Electric Guitar.

In this video, Rhett Shull reviews the Clean by Chase Bliss. He says:

Okay, so to start off with, Clean is without a doubt an amazing sounding compressor. It’s really versatile. It’s actually quite easy to use. I think it’s pretty beginner-friendly, and compression is one of those effects that for beginners can be quite confusing. I know it took me a few years to really understand what compression was, how to use it, not just as a guitar player, but how to use it on drums and vocals and and mixing. But I actually think Chase Bliss has done a good job making this beginner-friendly.

With that said, however, if you’re someone that’s just looking for a compressor to put on their pedal board to use with their guitar or their base in front of their amplifier to do some basic compression sounds like evening out your dynamics, maybe going for that sort of squashed compressor sound or to give you more sustain with your overdrives, this will do that, but you would really be underutilizing this pedal. I think for that use case, there’s plenty of other options out there that are better and cheaper than this, like the 1176 from UA, the Pulp N Peel from JHS. There’s a lot of good compressor pedals that will do that job as well as this, and you’re not paying for features that you’re probably not going to use, like the physics and the different EQ modes. But if you’re someone that likes to use pedals for sound design or to mix with, the Clean is an amazing option because it’s true stereo in and out. You can actually use it like an outboard rack compressor like my Distressors up there, for example. You can put drums through this, put vocals through this, put your entire mix through this, and use it to do basic compression, gluing things together, to hard slammed limiting, to adding Distortion to EQ, like it’s a really powerful tool for mixing and for sound design, which I love.

So to wrap up, who is this pedal for? I think Clean is for someone who understands compression, they understand the role of compression in their sound, whether they’re a guitar player, bass player, producer, whatever. Someone who’s going to utilize all of the different features from the variable EQ modes to the physics low-fi thing to the dusty mode. I think Clean is an amazing sound design tool. If you paired this up with some reverbs, putting it after a reverb or delay or modulation effect, you can start to do some really interesting things with the control that this compressor and distortion circuit give you. Sounds amazing on guitars, both in front of and after amplifiers. It sounds amazing on bass. And even though I haven’t tried it yet, I imagine it works incredibly well for drum processing. And it also rewards someone who’s willing to experiment and sort of try new things. We didn’t even talk about the different IO options you have MIDI in and out as well as an expression and control voltage so you can use this in conjunction with your modular setup. And maybe most impressively, the side chain input, which lets you feed in a separate audio signal to trigger the compressor, like a kick drum for example. That’s really cool to see on a pedal like this.

Part of his live pedalboard according to Premier Guitar interview with him.

At 10:31 in this video, Rhett discusses his Triplecaster from Fender. He says:

So this is a new guitar for me the Jack White Fender Third Man collaboration Triplecaster thing. Not a Telecaster, because look at it. There's nothing Telecaster about this other than the shape. It's rad.

At first I ,mean it looked cool, but I thought it was going to be a little gimmicky, like okay cool it's got the kill switch and the drop tuner and everything. This is actually, I think, one of the most versatile guitars I now own. Like each one of these pickups is a completely different sound and there's no blending between the pickups. You just kind of pick whatever sound you want and it changes it into almost three different guitars essentially. Kill switch is cool, the blower switch, I guess is what people prefer this as, is really rad and then the drop tuner. That's why I have it here tonight, we're doing a couple songs in drop D and it's easy to just go for.

I really like the Filtertron in the bridge and the P90 in the middle. I haven't found a lot of use for the neck wide-range humbucker yet but I've only had it for a couple weeks, so it's still pretty new. And I do actually play it most of the time with the switch in the down position which is essentially like eliminating the electronics sending the pickup straight out so it's rad.

In the Premier Guitar article "Rhett Shull Rig Rundown," Rhett Shull confirms his use of the Gibson Custom 1963 Firebird V w/ Maestro Vibrola Electric Guitar, mentioning that he acquired it from Gibson and decided to keep it after initially having it on loan. His guitar is a NAMM 2020 model with a Heather Poly finish, and it has been featured in his live rig, studio sessions, and various demos and documentaries on the Firebird.

In the "Rhett Shull Rig Rundown" article by Chris Kies on Premier Guitar, Rhett Shull showcases his amplifier setup, which includes the Two-Rock Classic Reverb Signature. This amplifier has been a part of his setup for some time, prominently featured in his videos and demos, and has been integrated into his live performances.

According to Premier Guitar's "Rhett Shull Rig Rundown" by Chris Kies, Rhett Shull has incorporated the Chase Bliss Audio Dark World reverb pedal into his live performance setup for his recent album tour.

In the "Rhett Shull Rig Rundown" by Premier Guitar, authored by Chris Kies, it is confirmed that guitarist Rhett Shull has incorporated the Hologram Electronics Chroma Console into his live rig for the promotion of his album.