"A few years ago, I guess Sargent House was kinda starting to get into it [my record label] and a lof of different bands were starting to use them and they were just kind of around so I stuck a couple on my board and was really into ‘em so I reached out and started playing them more and more over the years, especially these past couple tours I’ve really been into EarthQuaker. They’re really like, tour-sturdy, you know what I mean? They’re good for traveling and they just sound really unique to me. So, yeah.
I use the Dispatch Master a lot for when I’m recording demos and stuff like that. It’s just a really nice reverb / delay combo. Live, I use the Afterneath on my vocals, as well, to get that like, really long sort of freeze reverb when I want to do that for a heavier, more dramatic part. And then on the guitar, I’m always using the Speaker Cranker, because it’s like a really good tone base. Then adding the Talons, the Disaster Transport for reverb and delay, the Organizer kinda acts as like an octaver, y’ know, kinda use it for like a different shape. So I’ve got a lot of them on there right now.
I think pedals in general helped me find my sound.
I mean, back when I was recording my first album I was really just experimenting with my voice as an instrument. My dad had given me a couple reverb and delay pedals and I just started singing through them to see how it would sound, and I really enjoyed that feeling of using my voice as part of the instruments in the song. When I first got EQD I was just using ‘em on guitar but then started using them on my voice as well.
When we’re working on a set for any given tour, that pretty much determines which pedals I’ll bring on that tour. Like, for this last tour, it was pretty heavy. The drummer we’re playing with, my friend Jess, is really heavy, so I wanted to get heavier as well - with the Talons, and the Organizer, and the Afterneath. So yeah, whatever sound we’re going for on tour, I’ll pick and choose the pedals according to the setlist.
It kinda depends. My manager has a couple places in Echo Park and up here in the mountains, and it’s definitely inspiring to get away from the city and be up here in this really beautiful place. She used to have a place out in the high desert a couple hours from here and that’s where I wrote a lot of my last album, Abyss, because there’s just a big empty barn there and I set up a circle of EQD pedals and set up my gear in the middle of the circle and I felt really free because there’s no one really out there, just wild dogs and dust. So yeah, it was really cool to do that and I definitely find inspiration in that kind of isolation… it’s nice to get away and focus on filling up the empty space with sound
It’s called “Survive.” I wrote it a couple years ago actually for a soundtrack, and it didn’t get used. I was actually kinda glad because I wanted to put it on my record. I think I used the Organizer writing that one. Definitely the Speaker Cranker, because that’s my favorite. It’s like a really solid tone-base. I’ll just go through clean on my amp and turn the Speaker Cranker on and it’s a perfect place to start for me, tonally."
– Chelsea Wolfe