Adrian Belew — £1,000 · Pro-Level Rig

• The middle position (positions 2 and 4 on a 5-way switch) gives the classic quack — use it for rhythm and funk-influenced playing
• A Marshall at 6-7 on the gain/volume with a good tube screamer in front gives a tighter, more modern version of the classic sound
• Stack two overdrives (a transparent boost into a more coloured OD) for a more complex, layered drive tone than a single high-gain pedal
• Mix level matters more than repeat count — 2-3 repeats at correct mix level is more musical than 8 repeats at low mix
• Modulation effects work best on clean or lightly driven tones — adding chorus to a high-gain signal tends to blur note definition

• ✗Using a humbucker guitar as a substitute — the quack, string noise, and bright attack of single coils are irreplaceable. No amount of EQ on a humbucker produces the same result.
• ✗Using a high-gain distortion pedal instead of amp gain — British crunch amps have a specific harmonic character when driven from their own gain stage. A pedal changes this character.
• ✗Clean amp at too low a volume — even a clean amp provides warmth and tonal character that the pedal sits in. An amp at minimum volume has no character for the pedal to interact with.
• ✗Too many repeats at high mix — more than 3 repeats makes the delay effect accumulate and overwhelm the dry guitar signal. Keep it to 2-3 repeats at a subtle mix level.
• ✗Using too much reverb on clean passages — prog clean tone should be open and detailed. Long reverb tails wash out the note clarity that makes complex chord voicings readable.
• ✗Ignoring the room or PA system — prog guitar changes tone dramatically in different acoustic environments. Dialling in EQ in isolation gives a different result than through a full PA.

Parker Fly through a wall of effects — Belew's approach to electric guitar is entirely self-invented, from elephant sounds to elephant-like sustain, defining avant-garde texture in both King Crimson and Talking Heads.