Yannis Philippakis

In this Instagram photo posted by Foals, Yannis Philippakis is holding a vintage Gretsch Double Anniversary semi-hollow electric guitar. Photo is captioned, "La Fabrique // Photo credit: @nabildo"

Having no real constraints on their studio time, Brett Shaw and Yannis Philippakis chose to set up a circle of mics in the live room at 123 to try out different vocal sounds. "Yannis sort of insisted on finishing all of the music before we got into the vocals," says Shaw. "I set up usually six microphones in a circle and he could just sort of skip between any of them at any point. You can just record a bit and see what it sounds like."

The circle of microphones generally comprised a Shure SM7, Neumann U67, Flea 47, an Altec 633A 'salt shaker', an AEA R44CX ribbon and a Yamaha NS10 speaker cone used as a mic. "The 'salt shaker' is a real lo-fi, gravelly thing," says Shaw. "That worked on some of the songs where Yannis really pushes his voice hard and heavy and dirty. The SM7 is probably the mic he's used most on the other albums. He'll sort of fall back on that, 'cause he knows that it's worked for him throughout the years.

You can see a close up of Yannis' board here, and a shot of it in the video.

In the vocal chain, the preamps tended to be the Tree Audio Branch and the Chandler REDD 47, while various compressors were used

You can see a close up of Yannis' board with this pedal on the top left of the picture here, and a shot of it in the video.

You can see a close up of Yannis' board here, and a shot of it in the video.

In this photo on Yannis Philippakis' Instagram, a Boss DD-3 Digital Delay can be seen on his pedalboard.

In a performance for "Like A Version," Yannis Philippakis of Foals uses the Roland RE-201 Space Echo while covering Mark Ronson's "Daffodils."

Yannis Philippakis of Foals is seen using a Maestro Echoplex in a user-uploaded photo on Hiwatt's website.

Yannis can be seen plugged into this Space Echo while playing on Triple J in August of 2015. In one part of the interview they state that Foals couldn't find one in Australia so they had to fly it in from their home studio to use.

During Foals' live performance of "2 Trees" on KEXP, Yannis Philippakis plays a Fender CD-140SCE acoustic-electric guitar.

I had some MIDI instruments on Logic for the track 'Café D'Athens' — a marimba part and a vibraphone part — and I sent the MIDI into the Chroma Polaris. It's just an amazing synth. Very intuitive and it felt like an important synth for us to use on this record.

Having no real constraints on their studio time, Brett Shaw and Yannis Philippakis chose to set up a circle of mics in the live room at 123 to try out different vocal sounds. "Yannis sort of insisted on finishing all of the music before we got into the vocals," says Shaw. "I set up usually six microphones in a circle and he could just sort of skip between any of them at any point. You can just record a bit and see what it sounds like."

The circle of microphones generally comprised a Shure SM7, Neumann U67, Flea 47, an Altec 633A 'salt shaker', an AEA R44CX ribbon and a Yamaha NS10 speaker cone used as a mic. "On the slower songs and warmer vocals, the Flea 47 sounded great. He'd get up close to that and it'd give it a big, deep dimension."

Having no real constraints on their studio time, Brett Shaw and Yannis Philippakis chose to set up a circle of mics in the live room at 123 to try out different vocal sounds. "Yannis sort of insisted on finishing all of the music before we got into the vocals," says Shaw. "I set up usually six microphones in a circle and he could just sort of skip between any of them at any point. You can just record a bit and see what it sounds like."

The circle of microphones generally comprised a Shure SM7, Neumann U67, Flea 47, an Altec 633A 'salt shaker', an AEA R44CX ribbon and a Yamaha NS10 speaker cone used as a mic. "The ribbon AEA again sounded pretty nice on the softer stuff. And then we messed around a lot on the backing vocals singing through the NS10 cone."

Philippakis favours Hiwatt amps or his 1960s croc-skin Selmer, and almost exclusively plays Travis Bean guitars. "I've played them since I was 18," he says. "The other guitar I played quite a bit on the record was a '67 Gretsch Country Gentleman that I picked up in Cincinnati, and it smells like your grandma's house."

“For me, I really like the Audio Kitchen Big Trees pedal for overdrive,” adds Yannis. “I use that both live and in the studio, just to have that natural drive. And I also just like to crank preamps up into the mixing desk. I used the Chandler Germanium Pre Amp and we were just cranking that until it broke up.

Voodoo Lab Pedal Power 2 Plus at 0:40

Chief workhorses in the effects pedal department included Audio Kitchen's The Big Trees valve preamp; OTO's BIM 12-bit delay unit, BAM Space Generator and BOUM Warming Unit; along with a Klon KTR Centaur overdrive, MWFX's Judder analogue sampler/repeater; and Hologram's Dream Sequence pitch-shifter/sequencer. In addition there was also much use of a Maestro Echoplex and Roland Space Echo for delay, and the Eventide H3000 Harmonizer.

In this video Yannis use this guitar all the time. You can see that this TB1000A by square position markers

The AEA R84 can be seen in use during the recording sessions for "Holy Fire"

Having no real constraints on their studio time, Brett Shaw and Yannis Philippakis chose to set up a circle of mics in the live room at 123 to try out different vocal sounds. "Yannis sort of insisted on finishing all of the music before we got into the vocals," says Shaw. "I set up usually six microphones in a circle and he could just sort of skip between any of them at any point. You can just record a bit and see what it sounds like."

The circle of microphones generally comprised a Shure SM7, Neumann U67, Flea 47, an Altec 633A 'salt shaker', an AEA R44CX ribbon and a Yamaha NS10 speaker cone used as a mic. "The 'salt shaker' is a real lo-fi, gravelly thing," says Shaw. "That worked on some of the songs where Yannis really pushes his voice hard and heavy and dirty.

Having no real constraints on their studio time, Brett Shaw and Yannis Philippakis chose to set up a circle of mics in the live room at 123 to try out different vocal sounds. "Yannis sort of insisted on finishing all of the music before we got into the vocals," says Shaw. "I set up usually six microphones in a circle and he could just sort of skip between any of them at any point. You can just record a bit and see what it sounds like."

The circle of microphones generally comprised a Shure SM7, Neumann U67, Flea 47, an Altec 633A 'salt shaker', an AEA R44CX ribbon and a Yamaha NS10 speaker cone used as a mic. "The ribbon AEA again sounded pretty nice on the softer stuff."

In the vocal chain, the preamps tended to be the Tree Audio Branch and the Chandler REDD 47, while various compressors were used

Chief workhorses in the effects pedal department included Audio Kitchen's The Big Trees valve preamp; OTO's BIM 12-bit delay unit, BAM Space Generator and BOUM Warming Unit; along with a Klon KTR Centaur overdrive, MWFX's Judder analogue sampler/repeater; and Hologram's Dream Sequence pitch-shifter/sequencer. In addition there was also much use of a Maestro Echoplex and Roland Space Echo for delay, and the Eventide H3000 Harmonizer.

Foals did a rig run down for their tiktok showing Yannis and Jimmy's pedal boards. Yannis describes the AC Booster as "[the ac booster] is just like a booster pedal, it ups the crank"

In this Instagram video, visible on Yannis' board is a MXR Phase 90. Although he does not talk about it in the clip, the pedal size, single dial and block lettering suggests it is the phase 90 and not one of the other versions.