My name is Troy. I have served on a worship team in Flint, Michigan since 2010.
Prior to 2010 and before giving my life to Jesus Christ, I primarily played in blues and R&B bands around the greater Flint area. I am involved in a couple of other areas musically as well. I launched a website in June 2015 dedicated to the worship guitar community: www.guitarforHISGLORY.com.
On the site I offer pedal reviews, demos and playing tips. While it is still in its infancy, I am having a ton of fun creating videos and writing reviews and hope to expand the offerings in the future (time permitting, of course! I have a family to look after as well). In addition to the website,I track guitars for worship albums for our church and individual Christian artists.
As you can tell by my pedalboard, I am a pedal junky. Before giving a rundown of my board, let me answer a common question: Why so many pedals!? Answer: Our worship team covers around 100 songs, and our repertoire is ever-expanding. For that, I need a few different overdrive tones, and having multiple drives at various volume levels and EQ styles helps accomplish this without having to do too much tweaking in between songs. Additionally, we do not have a full-time keyboard player, so I cover a lot of the pad work and ambient sounds, which explains the Big Sky, Flint and Neunaber. During a prayer time, I may have two reverbs and a slow tremolo on at one time. The ability to call up a preset on the fly is invaluable to me. There’s a lot of tap dancing going on, but I’m not into the whole MIDI thing yet. I tweak my board too much…
Here’s a rundown of my current setup (in order of signal path):
1. Boss TU2 – No explanation needed.
2. Walrus Audio Deep Six – I was never a compressor guy until I started to research them a bit more. I’ve liked the enhancement light compression adds (added sustain, more even string definition) to my clean tone, and since it doesn’t mess with my overdriven tone much, I’ve decided to perpetually run a compressor. I swapped this and the Diamond Compressor backand forth (Suhr Koji and Xotic SP were in there as well), with the Deep Six ultimately taking the cake due to the blend control; it’s much easier to tweak when switching from humbuckers to single coils. I really liked the Xotic SP as well—what a great pedal for the money and size!
3. NANO POG – I use this pedal quite a bit to thicken up octave lines, spice up the ambient parts, etc. The new clickless switching is awesome.
4. Greer Amps Lightspeed – I use this as my subtle overdrive. I normally run it with a slight duck in volume.
5. RC Booster – I use this as a clean/volume boost and also to change the character of my overdrives.
6. JHS Double Barrel – I use the Morning Glory side with the low-cut on for an aggressive,glassy OD. I use the 808 side in stock mode for a ducked volume, saturated overdrive tone.
6. EQD Palisades – What a great overdrive! It’s massive, but so is the flexibility and tone. I keep the Voice knob at 4 and flip the Bandwidth knob back and forth between 3 (MOSFET clipping) and 4 (stock 808 clipping) depending on the guitar I’m using or song we’re playing. This is my “huge part of the song” OD. **This is the pedal in the chain that gets swapped out the most, as I like to experiment a lot. In the past few months it’s been King of Tone, Klon KTR and now the EQD Palisades.
7. Ernie Ball VP JR – No explanation needed.
8. Strymon El Capistan – In a live setting, I use this most often for setting a big quarter note delay on the fly. I put a big radio knob from RadioShack on the mix knob so I can adjust the mix with my foot. The “Wow & Flutter” control on this thing is killer. I actually used this delay on all of a CD I recently tracked for; it sounds amazing.
10. Strymon TimeLine – Everybody knows what this is for. I have presets for each song and load it up each weekend. I use one full bank for each song. For example, I may have two specific delay settings for a song; therefore, channels A and B would be filled with those. If I only have one specific delay for a song, I may throw in a washy delay or something else in the second spot. This helps me keep things organized during a set. I also utilize some generic 1/4, 1/8, dotted 1/8 and ambient reverse delay settings, which are often used in the latter scenario.|
11. Neunaber Stereo Wet – I typically use this as my “always on” reverb.
12. Strymon BigSky – Similar to the TimeLine, I set this using a bank approach, with bank A being the variable. For example, one bank may have my Chorale reverb in A, my Cloud (swell) setting in B, and Shimmer in C. I’ll keep the same approach for the next bank, only changing A to my Soft and Washy reverb tone; the next would change A to a Modulated Reverb tone. This ensures that I have a Shimmer and Swell setting on every bank in the same exact place. A bonus: I absolutely love the “Freeze” function on the BigSky; it is great when I have to lay pads and what not.
13. Strymon Mobius – I have a few banks set on this: one with a slow trem and a fast trem, one with a slow trem and a Boss VB2ish setting and one with a fast trem and a VB2 setting.
Strymon Flint – Another trem setting and the infinite decay 80s ‘verb. I put big knobs on this as well to control the trem speed and the ‘verb mix.
14. JHS Prestige– End of chain for a true clean boost.
Because I run direct through the PA, this all goes into a Kingsley Squire AC Tone, which acts as the preamp section of an amplifier. The signal then runs into the Torpedo CAB, which is a cabinet simulator. I typically use Matchless cabinet simulators, but will occasionally use an AC30 or Suhr Badger sim. I am soon experimenting with a Jackson NewCastle 30 amp and Suhr Reactive Load into the CAB. I am very excited for this combination!