This post contains a full list of the gear used for that show.

Thank you for writing in! It has been added to the tunings page.

This post features a description of Jonny, Colin, and Phil’s roles, along with a lengthy discussion of different “drum machine” techniques which Jonny has employed over the years.

Hello! During the 90’s, Thom mainly used electric-acoustic guitars. His favorite at the time was probably his Yairi Dy-88. He switched to using standard acoustic guitars with pickups, when the Lakewood M14 became his favored gigging acoustic. By 2006, he had settled on the Fishman Rare Earth Blend pickup for all of his acoustic guitars. Jonny’s Martin D35 acoustic is fitted with this pickup as well.

A screenshot of Thom with the Yairi DY-88 at the 1998 Tibetan Freedom Concert (youtube). The DY-88 is an acoustic designed primarily for stage use, with no sound-hole whatsoever (in order to prevent feedback).

A screenshot of Thom playing his Martin 00-18 during Desert Island Disk at the 2017 I-Days Festival (radiohead.tv). Note the Fishman Rare Earth Pickup affixed at the sound-hole.

Hello! You’re correct, Jonny is responsible for those noises. He started adding them to the Just intro in 1995, and did so at most performances for the next decade-and-a-half. As is often the case with Jonny, the noise is created with a combination of technique and effects. With his right hand, Jonny scrapes the side of his pick against the grain of his guitar’s wound strings, sliding the pick down the strings for a descent in pitch. With his left, he holds and releases his guitar’s cutoff switch, allowing only short bursts of the noise to be audible (rather than the full descending scrape). As for effects, Jonny uses his Marshall Shredmaster (on its normal settings) and Digitech Whammy. The Whammy is set for a two-octave upward shift with the treadle at max, adding an almost mechanical-sounding warble and instability to the sound. It’s the same instability (and Whammy setting) heard elsewhere on Just, but applied to a percussive noise rather than notes. Ed and Jonny have both used the warble of the Whammy’s one-octave upward shift to great effect (Ed uses it to create the intro sound on Lucky, and Jonny uses it for the main riff on My Iron Lung), but it’s much rarer for the pedal’s particularly unstable two-octave shift to be used. In sum, Jonny takes what is a rather unpleasant scraping sound in isolation, and makes it quite musical using a cutoff switch, a distortion pedal’s harmonics and compression, and a pitch-shifter’s warble.

Close-up video of Jonny at the start of Just is rare, but there’s a very clear view of Jonny performing the technique in this video (0:05-0:07) of the band’s performance of Just at the 1996 Pinkpop Festival. Additionally, you can hear Jonny perform the technique in isolation at the start of this video, from the 2008 Southside Festival.

A screenshot from the Pinkpop performance (youtube). Jonny’s left hand can be seen scraping a pick against the lower wound strings, while his right middle finger rests on the guitar’s cutoff switch.

Please refer to the article on Ed’s Ethereal/Atmospheric/Ambient Sounds for an explanation.

Hello! Yes, Jonny removed the coil tap and added a momentary kill switch (an Apem 300 Series Momentary Push Button). Plank, Jonny’s tech, never stated whether the Lace Sensor Dually was wired in series or parallel. On a stock Telecaster Plus, the Dually pickup is wired in series for a humbucker configuration, and the coil tap allows the selection of either of the Dually’s coils individually – there is no option to wire the Dually in parallel on the stock guitar.* As such, it seems most likely that Jonny removed the coil tap because he only used the stock, in-series “humbucker” sound. Therefore, on his current guitar, his Lace Sensor Red Dually is most likely wired in series.

This makes sense, given that Jonny’s “bridge tone” is fairly warm, mids-heavy, and high output. A good example of this tone can be heard on live performances of Just, during which Jonny plays both totally clean and heavily distorted parts with the guitar set to the Red Dually bridge pickup. In contrast, the parallel wiring of a dual coil tends to be brighter, thinner, and lower output than the series wiring of the same dual coil – the parallel wiring sounds more like a single coil than a humbucker. Jonny hasn’t used many different guitars, but all of his favorites – his Tele Plus, his Starcaster, and his Les Paul – feature humbuckers. As such, series wiring seems the most appropriate and the most likely wiring for Jonny’s sound.

*On the stock guitar, one can wire the bridge and neck pickups in parallel by setting the three-way selector switch to the center position, but this does not affect the wiring of the Dually pickup itself.

A photo of Jonny’s current No. 1 Tele. The controls on the control plate are, from left to right: a TBX Tone control, a momentary kill switch, a volume control (with the knob removed from the potentiometer), and a three-way pickup selector switch (with a bit of tape instead of the original plastic cap).

Hello! You are correct: on the studio version of 2+2=5, Thom uses two pedals in order to get two different tones: one for the “paying attention” section, and a second for the song’s final section. You can actually see Thom turn on his BOSS CS3, then deactivate his ProCo Turbo Rat in this video from the recording of 2+2=5 at Ocean Way Hollywood Studio B (now United Recording Studio B). After the band stops playing, Thom leans over and lowers the volume knob on the CS3. You can even hear the characteristic “clink” of the BOSS enclosure when Thom switches on the CS3. Given that the band recorded 2+2=5 in only two hours, it’s highly likely that those pedals made it onto the final version of the track, with the CS3 pushing Thom’s AC30 for a bright and punchy clean-ish sound and the Turbo Rat used for his heavier distortion tone.

In live performance, Thom has played it a little differently over the years. For example, at the 2003 Letterman performance, rather than bring his full pedalboard to perform a single song, Thom used a single Turbo Rat for the heavier distortion tone and simply used his amp for the clean-ish tone. You can see Thom deactivate the Turbo Rat as he sings “attention” for the last time in the Letterman video. He uses the pedal intermittently during the song’s final section as well, turning it on and off to highlight each repeat of “but I’m not” (or “cause I’m not” or “maybe not”).

On more recent performances of the song, Thom has used his Crowther Hotcake for his heavy distortion tone, and likely uses his Telenordia TK-23 Kompressor for his clean-ish tone.

A screenshot of Thom stomping on his ProCo Turbo Rat during the September 2002 recording of 2+2=5 at Ocean Way Studio B (youtube).

A screenshot of Thom stomping on his ProCo Turbo Rat during the 2003 Letterman performance of 2+2=5 (youtube).

Hello! The two are very different vintage Casino’s. The finish on Ed’s Casino is in very good condition, while Thom’s No2 Casino is extremely tanned and faded. Additionally, the No2 Casino features an extra knob added to the instrument. That’s an unusual mod for a vintage Casino, and doubly so for Thom, who generally mods his guitars by removing knobs and circuitry. It’s also unlikely that Thom would have removed the pickguard, since he hasn’t remove the pickguard from his No1 Casino. The No2 guitar is a beat-up vintage instrument, with some odd mods from a prior owner, that Thom bought once he began using Casino’s more frequently.

A photo of Ed’s Epiphone Casino, taken by Plank (stringsreunied).

A screenshot of Thom playing the Epiphone Casino No2 during a performance of Separator at the 2017 Best Kept Secret Festival (radiohead.tv). Note that the finish never gets as dark near the edges as on Ed’s guitar, and there’s barely even a hint of red.

Jonny likely wears his guitar higher during those songs in order to make certain guitar parts easier to play. His fast, percussive taps during Present Tense are definitely made less difficult by raising the guitar. Its usefulness on Ful Stop is less obvious, but raising the guitar likely helps Jonny play his intricate outro part a little bit easier.

A photo showing Jonny wearing his No. 2 Tele higher than usual during a performance of Ful Stop at the Main Square Festival, 2017.07.02 (tomohiro)

Hello! It’s probably just because he doesn’t care. Jonny purchased his main FV-300H, which he used from late-1995 until 2011, after his original BOSS FV-100 was stolen in October 1995. Given his general attitude, I wouldn’t be surprised if he got an FV-300H rather than an FV-300L by chance. Perhaps whichever guitar store he ran to after the gear theft had an FV-300H in stock, and it served Jonny’s purposes. You couldn’t just buy an exact replacement on eBay back then, especially if you’re in the middle of a tour.

A photo of Jonny’s pedalboard in the early 90′s, showing his original BOSS FV-100 Volume Pedal. The white pedal next to the FV-100 is the Marshall Shredmaster clone which Plank built for him, and which he used from 1993 until it broke in 1994 or 1995.

From a technical point-of-view, low-impedance volume pedals are better suited to where Jonny places them in his signal path, but placing a high-impedance volume in the same spot doesn’t make very much of a difference. Low-impedance volume pedals exhibit the optimal sweep and tone when placed after a buffer. The sweep of a high-impedance volume pedal is altered by placing it after a buffer, but it has no effect on the guitar’s tone and still works perfectly fine. By contrast, placing a low-impedance directly after a guitar’s output will cause some significant loss in treble frequencies and signal strength.

Given that Jonny used a high-impedance volume pedal after buffered effects for decades, he may have become accustomed to its more abrupt sweep. He may even have he tried both an FV-300H and an FV-300L back in 1995 and at the time preferred the sweep of the high-impedance model when placed after his Shredmaster. However, Jonny has mixed low and high impedance volume pedals since 2009, so in all likelihood he just doesn’t care about the difference in sweep between the two impedances. If he has any feelings about the differences between volume pedals, it may have to do more with the physical feel of the pedals than with their internal electronics.

A photo of Jonny’s pedalboard at the band’s Austin City Limits taping in 2012. That was the only year that Jonny’s guitar pedalboard featured two volume pedals: the second was added to the end of his clean signal path exclusively in order to perform the song Feral (changes to Jonny’s guitar part have since made the pedal unnecessary). The board features two high-impedance volume pedal: a standard Ernie Ball VP JR. (250K) and BOSS FV-300H. Earlier in 2012, Jonny used the low-impedance FV-500L in place of the FV-300H, but for this performance the FV-500L was paired with one of his keyboards. Jonny had also used the FV-500L in place of the Ernie Ball in 2009.

Since 2011, Jonny has used a Digitech Whammy WH4 for all pitch-shifting duties (prior to that, he used a Whammy WH1). For Bloom at Macerata, he used its 1-Octave Down pitch-shift mode. 

You can see Jonny’s Digitech Whammy WH4 in this screenshot from the band’s performance of Separator at the Best Kept Secret Festival, 2017.06.18 (radiohead.tv).

Today Ed’s new signature guitar, the EOB Sustainer Stratocaster, was officially released by Fender. In tandem with the announcement, Esquire released an interview with Ed which covers some of Ed’s favorite aspects of the new guitar, his history with the Fernandes Sustainer, and the copious use of EOB Sustainer on Ed’s latest project: his solo album. Ed also gave an interview with musicradar.com in support of the new guitar, discussing both the EOB Strat and his approach to music and gear (it also features Ed’s thoughts on Thom and Jonny’s approaches).

During the three weeks of recording so far, Both Ed and Dave Okumu, Ed’s lead guitarist for the solo album, played the EOB Strat heavily. We haven’t heard news on pedals yet, but Ed is almost certainly using his latest TheGigRig Studio Pedalboard board with a copious number of “GUEST” pedals.

We first discussed the new Strat back in May of 2016, when Ed debuted the guitar at the first shows in support of A Moon Shaped Pool. The collaboration with Fender likely started much earlier: in late-2014, Ed visited the brand’s factory and expressed his love for the Stratocaster in a Fender interview. Ed briefly discussed the EOB Strat at his very interesting Masterclass at BIMM London in December 2016, confirming suspicions that the guitar would be a signature model. The guitar’s release was announced by Fender at this year’s summer NAMM.

In the official release video for the guitar, Ed can be seen running the guitar through a Fender Vibro-King Custom and a Silverface Deluxe Reverb (possibly one of the reissue ‘68 Custom Deluxe Reverbs). Ed is a particularly big fan of the Fender Vibro-King and toured with the amp in 2011, 2012, and 2016.

One user on youtube, who got ahold of the guitar early, posted a comprehensive demo of the EOB Strat, with direct recordings of all pickup positions and sustainer settings.

Photos by @claylancasterphoto and @iskradavid respectively. Both are from the Oakland show.

Thom and Nigel’s 2017 TMB DJ Setup

This past week, Thom and Nigel played a set of “DJ” performances in support of the Tomorrow’s Modern Boxes re-issue. Their setup was mostly identical to that which they used for TMB DJ shows in 2015 and 2016, and most differences came down to choice of instrument (such as which poly-synth) rather than a change in work-flow.

Here’s a basic run-down of their setup:

Thom, Nigel, and Tarik Barri are all behind custom-fitted Traffic White Hoerboard Stereo.T tables. Nigel’s table is DJ-centered, consisting almost entirely of Native Instruments Traktor controllers for his Apple Macbook Pro, while Thom’s setup is more performance-centered, featuring guitars, a synth, and effects units. However, as at past DJ shows, Thom used a Pioneer 2-Channel Mixer to control the balance of his setup, while Nigel sometimes borrowed Thom’s Fender Jazzmaster or Mustang Bass for a number. Additionally, Thom spent more time manipulating his Elektron Analog Rytm than playing any of his “instruments”. As such, each performance was a challenge to the distinction between “DJ set” and “live performance”.

Here are some key differences from their past setups:

• Thom is using a Dave Smith Instruments Prophet-6 in place of his Elektron Analog Keys. Thom’s use of the Prophet-6 at these solo shows confirms that he used the keyboard for his collaboration with Mark Pritchard on the track Beautiful People. Pritchard commented on the gearslutz forum that he thought Thom used a Prophet 6, but since Thom continued to use a Prophet 08 with Radiohead it seemed possible that Pritchard misremembered which Prophet (an easy mistake). However, it’s now clear that we had no reason to doubt Pritchard’s memory.
  
• Thom is singing into a Shure SM58 rather than an SM57.
  
• Thom has added an Electro-Harmonix Cathedral to his setup for vocal reverb.
  
• Thom has added large new unit to his setup. It’s grey with wooden side panels. It also seems to have push-buttons and sliders, but no knobs, and may be connected to the Prophet-6.
  
• Thom now plays his Fender Mustang bass guitar on Black Swan and Pink Section.

And here’s a full gear list:

Thom’s Hoerboard Stereo.T :

• Elektron Analog Rytm (MKI)– almost certainly MIDI-synchronized with Nigel’s laptop. When Thom is adjusting stuff at his Hoerboard table, it’s usually to change patterns or settings on the Analog Rytm. Nigel seems to be supplying beats on some tracks, but most seem to have been supplied by the Analog Rytm (at least on TMB tracks).
  
• Dave Smith Instruments Prophet-6 – possibly MIDI-synchronized with Nigel’s laptop. On songs like Brain In A Bottle or Default, it’s unclear if synth sounds are entirely samples on Nigel’s laptop, or if they’re sequenced by Nigel’s laptop and generated by Thom’s synth.
  Played by Thom on Cymbal Rush, Interference, I am a Very Rude Person (outro keyboard solo),
• Pioneer DJM-250MK1 2-Channel Mixer– has white bottle caps on some knobs to prevent accidental adjustment (including master volume and input trim for both channels).
• Electro-Harmonix 45000 4-Track Looper – used for vocal looping on Atoms for Peace, Brain in a Bottle, Nose Grows Some (outro), Not The News, Two Feet Off The Ground, I am a Very Rude Person, and probably more. Particularly notable for its use on I am a Very Rude Person, since Thom’s vocal loops are all that fill the harmonic space above Nigel’s bass-line.
• Electro-Harmonix Cathedral– used for vocal reverb.
• Unknown Grey Unit w/ Wood Side Panels
• Yamaha Sustain Pedal – the type that comes with Yamaha keyboards, not the commercially available FC-5.
  

Nigel’s Hoerboard Stereo.T :

• Apple Macbook Pro– w/ B SIDE LABEL “とびてぇなー” sticker, resting on a Hoerboard Laptop Clip
• Native Instruments (NI) Traktor Kontrol S4
  
• NITraktor Kontrol F1 – he has two, one to either side of the S4.
• NITraktor Kontrol F1 – he has two, one to either side of the S4.
  
• Pioneer DJM-850 Mixer– the pair’s main mixer since the 2013 Atoms for Peace DJ performances.
  
• Boss Delay Machine DM100
  

Guitars+Amps:

• Jazzmaster No1 (white)
  Brain In A Bottle (Thom)
• Jazzmaster No2 (black)
  AMOK (Thom)
• Fender Mustang Bass
  Black Swan (Thom, new arrangement)
  Atoms for Peace (Nigel)
  AMOK (Nigel)
  Interference (Nigel)
  Pink Section (Thom, new arrangement)
  
• Vox AC30 – used in Oakland and Houston, probably rentals.
  
• Vox AC30HW – used in Hollywood, probably a rental.
• Radial J48 Active DI Box #1 – kept on top of the AC30, used to send a direct version of the guitar signal to the mixing desk.
  
• Ampeg Classic Series SVT-VR
  
• AmpegSVT-810E Bass Enclosure 8x10″ Cabinet – laying on its side to avoid blocking the screens.
  
• Radial J48 Active DI Box #2 – kept on top of the bass cabinet, used to send a direct version of the bass signal to the mixing desk.
  

Pedalboard:

• RJM Music Mastermind GT/10 MIDI Controller– probably used so that Nigel can use his laptop to remotely mute the guitar or bass and activate Thom’s Hotcake.
  
• BOSS TU2/3 – for guitar.
  
• Crowther Hotcake – for guitar.
• BOSS TU2/3– for bass.
• Voodoo Lab Pedal Power 2 Plus– powers the three pedals.
• ? TL Audio Indigo Series 2051 Mono Valve Voice Processor– this rack unit may be the “riser” on which the pedals are placed. The unit was a part of Thom’s setup for the first DJ performance shows in 2013, and it seems odd that Thom would have entirely removed the vocal processor from his setup.
  

Here’s a closeup of Thom’s pedalboard (@claylancasterphoto):

You can read more about Thom and Nigel’s past DJ performance setups here, here, here, here, and here.

The National Anthem - ondes Martenot Parts

A while back, a reader asked for a transcription of the introductory ondes Martenot line which Jonny plays on the studio recording of The National Anthem, in order to play it on their Ondomo. We obliged, and went further, transcribing all three of the song’s ondes Martenot parts up until the instruments are completely buried by a wall of brass. Many of these more atmospheric Martenot parts are only heard on the album recording, since at concerts Jonny improvises new parts based on the “A F# Bb G” verse motif (which Ed plays on guitar live). There’s something magical about these early parts, featuring the unique sound of the 80′s “additive” instrument. Jonny wrote them as he was first teaching himself to play the Martenot, having never even seen a picture of one before finding a posting for one in Paris in 1999, in the midst of recording Kid A.

A photo of Micka Luna Jonny Greenwood and Alan Russell (the band’s live keyboard/laptop tech) at Radiohead’s studio, posted by Luna on his Instagram account. The trio are preparing Jonny’s Ondomo for Radiohead’s 2018 South American Tour. Jonny started using Asaden’s Ondomo as his ondes Martenot on tour last year, and it’s great to see that he’s continuing to use the instruments. He used four Ondomo on the last tour, with two on stage at all times and two as backups, but he recently returned one of his original Ondomo to Japan. You can read more about the various ondes Martenot which Jonny has used over the years in this article.

The Thumbs Down and Scotch Mist webcasts give us a special look at Radiohead’s In Rainbows right on the heels of the album’s release. Recorded and broadcast from Radiohead’s “canned applause” studio during the last weeks of 2007, they show a band extremely excited about their latest work and happy to play it publicly for the first time after a solid year of recording and production. Many of the arrangements of the songs are still not fully worked out, as they would be by the recording of In Rainbows – From The Basement a few months later (for example, Jonny plays no guitar on the Scotch Mist version of Reckoner, and plays Rhodes piano during the outro of Weird Fishes). The Thumbs Down webcast also gave special insights into the bands and their influences, from covers of their favorite bands to a poem which Ed was forced to memorize aged 8.

The following information refers to all songs in both webcasts:

• Thom sings through an Electro-Voice RE20, and has two of the microphone: one by his pedalboard, and by the piano.
  
• Unless stated otherwise, Colin plays a 1972 “Olympic White” Fender Precision Bass running into an Ashdown ABM 300 EVO II amp head, which is connected to a pair of bass cabinets: an Ashdown USA 410H cabinet and an Ashdown USA 115 cabinet.
  
• Phil plays a Premier drum kit in a “Vintage White Pearl” finish. It consists of a 20" bass drum, 10" tom, 13" tom, and a 16" floor tom. For snares he’s using his 14" vintage Noble & Cooley snare and his 12" maple snare. For cymbals, Phil prefers the Zildjian Custom K series, using a 13" Hi hat, 12" splash, 15" thin crash, 16" crash and an 18" breakbeat ride.
  

15 Step

• Jonny: Fender Telecaster Plus (Tele1) [neck pup], Akai Headrush as a looper [1:37-2:09], 90′s Vox AC30 6TB, Apple PowerBook G4 12” (running a drum-machine Max/MSP patch), Roland FC-200 MIDI controller (controlling the Powerbook)
• Ed: Fender Eric Clapton “Sustainer Strat” (ST1) [2:13-2:27], BOSS Dr Sample SP-303 [2:52-4:26], Electro-Harmonix Deluxe Memory Man delay, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab

Bodysnatchers

• Thom: ‘64 Cherry Red Gibson SG “No1″, MXR Distortion+, 1962 fawn JMI Vox AC30/6
• Jonny: Fender Telecaster Plus (Tele1) [bridge pup; neck pup during bridge], BOSS SD1, 90′s Vox AC30
  
• Ed: Gibson ES-335, Voodoo Lab Sparkle Drive overdrive, Dunlop Cry Baby wah, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab

Nude

• The audio of this musicvideo is identical to the studio recording.
  

Weird Fishes / Arpeggi

• Thom: 1964 “Olympic White” Fender Jazzmaster “No2″, 1962 fawn JMI Vox AC30/6
• Jonny: Fender Telecaster Plus (Tele1) [0:37-3:34], 90′s Vox AC30, Rhodes Suitcase Piano Mark I 73 [3:35-5:52]
• Ed: Gibson ES-335 [0:37-3:45], Fender Eric Clapton “Sustainer Strat” (ST1) [4:15-5:52], BOSS DD5 delay [activated 2:44 , deactivated 3:42], BOSS LS2 line selector [pressed 3:41], BOSS FV300 volume pedal, Akai Headrush E2 delay/looper ? [activated 4:06], Voodoo Lab Sparkle Drive overdrive [activated 4:07], Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab
  

All I Need

• Thom: Kemble KC121 upright piano 
  
• Jonny: Rhodes Suitcase Piano Mark I 73, Premier Glockenspiel
  
• Ed: Fernandes Native Pro, overdrive (Voodoo Lab Sparkle Drive and/or Crowther Hotcake), Akai Headrush E2 as a looper, Electro-Harmonix Deluxe Memory Man delay, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab
  

Faust Arp

• Jonny: Martin D35
  

Reckoner

• Thom: ‘64 Cherry Red Gibson SG “No1, BOSS CS-3 compressor (or MXR DynaComp), 1962 fawn JMI Vox AC30/6
• Jonny: Rhodes Suitcase Piano Mark I 73 [1:38-5:14], Lemon Shaker + Shure Beta 87 mic [0:29-2:36, 3:31-5:14]
• Ed: Tambourine, Fender Eric Clapton “Sustainer Strat” (ST1) [2:45-3:15], BOSS FV300 volume pedal, Line 6 DL4 as a looper, Digitech Whammy WH4 pitch shifter [4:31-5:11], Electro-Harmonix Deluxe Memory Man delay, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab
• Colin: Lemon shaker (in addition to bass)

House of Cards

• Thom: ‘64 Cherry Red Gibson SG “No1″, Shubb Capo (3rd-fret), BOSS CS-3 compressor (or MXR DynaComp), 1962 fawn JMI Vox AC30/6
• Jonny: Fender Telecaster Plus (Tele1) [neck pup], coin (as a plectrum), BOSS SD1, BOSS RE-20 Space Echo, BOSS RV3, 90′s Vox AC30
• Ed: Gibson ES-335, Shubb Capo (3rd-fret), BOSS DD5, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab

Jigsaw Falling Into Place

• Thom: ‘64 Cherry Red Gibson SG “No1″, 1962 fawn JMI Vox AC30/6
  
• Jonny: Analogue Systems (ASys) French Connection cv-controller, ASys The Apprentice Cabinet, ASys RS95E oscillator, ASys RS-180 vca
  
• Ed: Fender Eric Clapton “Sustainer Strat” (ST1), overdrive (Voodoo Lab Sparkle Drive and/or Crowther Hotcake), Electro-Harmonix Deluxe Memory Man delay, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab
  
• Colin and Phil do not play on this performance of the song.
  

Videotape

• Thom: Kemble KC121 upright piano 
  
• Jonny: Roland TR-909
  
• Ed: Gibson ES-335, Dunlop Cry Baby wah, Electro-Harmonix Deluxe Memory Man delay, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab
  
• Colin: Clavia Nord Lead 3

Bodysnatchers

• The gear used on this version of the track is identical to that used on the Scotch Mist version.
  

Reckoner

• The gear used on this version of the track is identical to that used on the Scotch Mist version, save that Jonny plays his Fender Telecaster Plus (Tele1) at 2:30-3:15.
  

Jigsaw Falling Into Place

• The audio of this musicvideo is identical to the studio recording.
  

I Might Be Wrong

• Thom: Tambourine
  
• Jonny: Fender Telecaster Plus (Tele1), BOSS SD1, 90′s Vox AC30
  
• Ed: Fender Eric Clapton “Sustainer Strat” (ST1), Crowther Hotcake overdrive, Line 6 DL4 as a looper, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab

Ceremony (Joy Division/New Order Cover)

• Thom: ‘64 Cherry Red Gibson SG “No1″, MXR Distortion+, 1962 fawn JMI Vox AC30/6
  
• Jonny: Fender Telecaster Plus (Tele1), BOSS SD1, 90′s Vox AC30
  
• Ed: Colin’s 1972 “Olympic White” Fender Precision Bass
• Colin: Black Fender Jaguar Bass

Headmaster Ritual (The Smiths Cover)

• Thom: Gibson Hummingbird
  
• Jonny: Gibson Les Paul Standard
  
• Ed: Epiphone Casino, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab.
  
• Colin: Black Fender Jaguar Bass

Unravel (Björk Cover)

• Thom: Kemble KC121 upright piano
  
• Jonny: Fender Telecaster Plus (Tele1), 90′s Vox AC30
  
• Ed: Gibson ES-335, Fender Super-Sonic 112 combo fed into a Super-Sonic 212 cab.
• Colin: Sunburst Fender Jazz bass w/ white pickguard
• Phil does not play on this song.
  

Photos (from both webcasts):

Thom singing into his Electro-Voice RE20 (deadairspace).

Ed adjusting his Sample SP-303 and Electro-Harmonix Deluxe Memory Man on 15 Step (deadairspace).

Colin setting down one of the band’s two lemon shakers during the Thumbs Down version of Reckoner. He’s holding his 1972 “Olympic White” Fender Precision Bass, and his Ashdown amp and cabs can be seen to the left of the photo.

Jonny playing his Analogue Systems French Connection on Jigsaw Falling Into Place (deadairspace).

Phil playing his “Vintage White Pearl” Premier drum kit. Note the K’s on the Zildjian Custom K series cymbals.

Jonny playing the band’s Roland TR909 on Videotape (deadairspace).

Keep your eyes peeled 👀

Yesterday’s box, tomorrow’s box.

Our new pedal, the tKoG Mini Glitch!

Video and details to follow tomorrow.