Electro-Harmonix Micro Synth

Neil Fallon: “This is primarily here for me to use on Our Lady Of Electric Light. It has that analogue tone I love, set to a swell mono-synth.

"I’m a big fan of Pink Floyd’s early synth sounds, and this is the closest thing I’ve heard in making a guitar sound like that. There are others out there, but I often find them to be a bit too contemporary for me. You can switch this and make it percussive, with the gate open.

"You can make it really sizzly or really mellow, rolling off frequencies to the point where it doesn’t even sound like a guitar at all anymore, really.”

Boss TR-2 Tremolo

“I got this here in the UK when I left my Strymon Flint at home, it’s just a basic Tremolo. I think people sometimes over-think these things, maybe a Boss pedal might not sound as boutique as others, but it does the job just as good as any.”

Custom Audio Line Driver Boost

“We keep this on just about all the time. It comes off for the more dynamic songs, like Son Of Virginia or Regulator. It also gives the Fender some more cajones, it helps with growl. It doesn’t colour the sound much.

"Sometimes it’s hard to differentiate boost from a distortion. I tend to want the same tone just more in quantity, and that’s exactly what this does.

"It’s feeding more food into it all, instead of being a glorified distortion pedal.”

Keeley C4 Compressor

“It’s a killer compressor… I’ve used a number of them over the years, but this one seems to sound the best. We have a lot of dynamics in our set.

"I never used to appreciate compression because it was less obvious than something like a distortion pedal. As for modulation effects… that’s more Tim’s world. I won’t be doing a psychedelic solo anytime soon.

"That’s not in my future, I think.”