Question about effects

Other guitarist will have their own approach to this. How your signal chain is setup will have a major influence on your over all sound. If you were to strategically place Equalizers through out the signal chain and post Chorus and Digital delay effects. Should put you close. I'll give you a list of how I achieve this which will allow you to work from there. There are mulit-effects pedals that will combine effects to achieve this also.

Here's my signal chain: As of lately, changes frequently.

Guitar->eq pedal-> Tube pre-amp->Eq-> all tube 100watt amp run at its saturation point into a dummy load (no speakers)-> Line outs (L & R)-> stereo Eq-> tube stereo effects processor->stereo Eq->L & R out into separate tube effects processors=(4 outs)->1st L&R->stereo Eq->stereo tube power amp->attenuator->speakers, 2nd L&R->stereo Eq->stereo tube power amp->attenuator->speakers. From each of the second set of effects processors I use the 1volt outs->into 2 mono Eq's->one has a Morley Volume, the other has a Morley Wah-> into 2 more tube guitar amps->attenuators->speakers.

The first effects processor has compressor, excitor,enhancer,etc. Second 2 processors post are modulation effects (choris,delay,etc). From this point it's miked into the P.A. Hope this helped or give you idea's.

Joe

Forgive me for the "cut & paste" but i was a huge Boston fan in their day as those were my highschool years.

http://guitar.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.boston.org%2Fequipment.html

Tom Scholz's Equipment List

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Disclaimer : the accuracy of this information is not guaranteed.

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3M M-79
Tom uses two of these 24-track recorders--one for the lead tracks, the other for the rhythm tracks; he dupes the masters so he can wear out the copy.

Scotch 226 tape
Analog master tape for recording the tracks. Tom stocked up on this before it was discontinued.

Scotch 996 tape
Analog mixdown master.

Studer
A couple of these recorders.

Scully 12-track
I believe he recorded the first album on this one.

Scully 280-B mixdown
This is equipped with a useful gadget--I'm guessing a real time frequency analyzer or an oscilliscope that takes Fast Fourier Transforms (FFT's)--so Tom can set the high frequency bias tone very precisely in order to take advantage of a notch in the signal-to-noise (S/N) characteristics of Scotch 226 tape; this allows him to acheive exceptionally low-noise and vast amounts of headroom for the master mixes.

SMPTE synchronizer
Tom tried this expensive piece of equipment to sync his big decks together, but found it had too much wow; later he resigned to syncing up by putting each deck on a side of his headphones and slowing the reels down with his hands so the sound centered in his head.

Bent Coat Hanger (really)
What Tom used during the making of Third Stage so that he could hit the play and record buttons at the same time with his toe while playing guitar or whatever else.

EMT Gold Plate Reverb
Lexicon PCM 41s and 300 Reverb
Some ancient digital delay
Eventide 910 Harmonizer
Wah Wah pedal (probably a Dunlop Cry Baby)
Apparently, Tom set the wah pedal in the middle position for a narrow band-pass filter to help acheive a desirable guitar tone on the first album. Later, he designed some filters to do it more elegantly--which, I believe, were incorporated into the Rockman designs.

Some flanger
Kepex noise gates
Vox Tone Bender w/ a blown 3906 PNP Bipolar Transistor (BJT)
Used for the "spaceship" launch on Third Stage.

dbx 263X de-essers and 160 compressor/limiters
Urei LA4 and 1176 limiters
Parametric equalizers by White, Ashley, Synergistic, and SA

NOTE: The SmartGate and other Rockman modules have pretty much replaced the aforementioned outboard gear.

Rockman Stereo Stage System (live)
Modular Amplifiers
Instrument EQ
Distortion Generator
Stereo Chorus
Stereo Echo
Smart Gate
Power Amp
MIDI Octopus Effect Switcher
SD 12 CEM-500 MIDI Programmable Stereo Head
MIDI Pedal
etc.
More info on live equipment HERE

Scholz Hyperspace Pedal

Rockman X-100
Bass Rockman
Rockman IIB

Ultimatum
Audiotronix board
This is the main board, with a Fadex automated mixing system added.

Soundcraft Series 200B mixer
This is for the drum triggers that went to the Oberheim DMX (which Tom called the "Dummy X"; he sold it).

Cizaks house monitors
unknown monitor amps
Electro-Voice PL20 and RE-20
Believe it or not, these are the house mikes Tom uses to record vocals.

AKG 414s w/ custom sustaining system
Mikes for the cymbals.

EV RE-20's and Shure SM57's for the Leslie cabinet

Gibson Les Pauls (3)
Standard with DiMarzio Super Humbuckers, one custom made for him by Gibson, and his precious 1968 Goldtop. I believe he also played a Jackson on Walk On.

Guild G212NT acoustic guitar
Yamaha APX9-12 acoustic guitar
Hammond M Series organ
Used on the first three albums. I'm not sure what Leslie model he used with this.

Hammond B-3 w/ Leslie 147 cabinet
Used on Walk On.

Yamaha CP-70 electric piano
Wurlitzer piano
Died right after he recorded "My Destination."

Yamaha CP-80 electric piano
Tom used this electric grand on the recent live version of "A Man I'll Never Be." Rather than using stock legs, Tom had a custom stand built to fit his 6'5" frame.

Roland D-50 synth
Used on "Livin for You" and other tracks on Walk On.

MXR stomp boxes and eq's
Ovation electric 12-string
An old Echoplex
Simpson multimeter
The classic analog kind.

An old Tektronix oscilloscope... YES!
Not sure if it is, but it looks it.

Gibson bass w/ Fender Jazz Pickup
Steinway grand piano
Used on "Can'tcha Say." (Actually, this is in Blue Jay Recording Studios, Carlisle, MA)

Conn theatre organ
Used on "The Launch."

Ludwig double bass kit (w/ triggers) and Sabian cymbals

Other various nondescript boxes, oscillators, etc.

Whew, that's some complex stuff right there, I guess it would have to be to get that spaceship sound he gets. Thanks guys.