Andy Timmons's equipment: Amps, guitars, effects

Andy Timmons was born in Evansville, Indiana, USA in 1963. He was crazy about The Beatles from an early age, and was especially captivated by the guitar playing of George Harrison and Eric Clapton. He joined his first band at the age of 13, and built his musical foundations by performing at small local live music venues. It is said that even at that time, his playing already had the emotional melody that would later lead to the "crying guitar" he would play.

After graduating from high school, Andy enrolled in the famous music school "Musicians Institute (GIT)". After graduating with excellent results in a short time, he began working as a GIT instructor. From this time, his precise yet emotional playing style began to attract attention among professional guitarists in LA. During his time at GIT, he improved his skills and experience through studio work and tour support, and built trust in the professional field.

In 1989, Timmons officially joined the glam metal band "Danger Danger". With this band, he toured the US and had a hit on MTV, gaining worldwide fame. The accuracy of his guitar solos and the beauty of his melodies were particularly praised, making him a standout among young fast-playing guitarists of the time. He also performed as an opening act for big names such as KISS and Alice Cooper, which honed both his performance skills and stage presence. The sound he created during this period is still loved by many fans as the "early Timmons sound".

After leaving Danger Danger, he began working in earnest as a solo artist. Starting with "Ear X-tacy" in 1994, he released instrumental works that combined lyrical melodies with outstanding technique. In particular, "Resolution" in 2006 and "Electric Truth" in 2022 were highly praised as works that show musical maturity, and he has gained support from guitar fans around the world as a "true melodist." In addition, his reputation has spread even further due to his collaborations with Simon Phillips and Olivia Newton-John, and his activities that transcend genres, including fusion and pop.

In addition to his work as a player, Timmons is also very active as an educator. He teaches at GIT, holds clinics around the world, and in recent years has been devoting himself to educating the next generation by streaming master classes on YouTube. In addition to technical explanations, he generously shares his philosophy as a player, such as "the importance of conveying music musically" and "valuing melody," making him a "model to learn from" for many guitarists. Currently based in McKinney, Texas, he is actively engaged in solo activities and educational activities while also working as a music producer and songwriter.

When talking about Andy Timmons' signature guitar, the first thing that comes to mind isIbanez AT100This model, which was released in 1999, was the first of his signature models, combining the classic look of a Stratocaster with modern specifications for the field. It has been the core of his tone for many years.

The body is made of alder, and the neck is made of one-piece maple. The fingerboard is also made of maple, with 1 frets. While it has a traditional look, it is full of details that enhance playability. The bridge has a highly stableWilkinson/Gotoh 2-point tremoloIt has good pitch response and is perfectly suited to Timmons' diverse playing styles, from delicate vibrato to deep arm strokes.

The pickups were designed in conjunction with DiMarzio.Unique HSS ConfigurationThe neck and middle areCruiser (single size humbucker), the bridge is specially adjustedDiMarzio AT-1 HumbuckerThis provides a wide range of sounds, both clean and distorted, and Timmons himself praises the AT-1 in particular, saying, "It's warm and clear, and has an excellent balance with the other pickups."

The exterior is vintage style with a sunburst finish and a white pickguard, and since it was produced in limited quantities when it was first released, it is sometimes called a "legendary instrument" among fans. In response to the demand for a reissue,AT100CLIt was re-released as a 2016 model in 2017. Today, high-quality Japanese-made models are still available and can be purchased.

In addition, as a variation model of the AT100, we have an antique violin finish.AT200AVOr a more modern look.AT300These were also released at one time. All of them are popular among fans as they embody Timmons' tone.

Andy Timmons' tone is sweet, smooth, and sings forever. The AT100 is the core of his sound. It's a great reference for any guitarist who wants to use a single guitar for a wide range of purposes, whether professional or amateur.

The Ibanez ATZ2019 was born in 20 to commemorate the 100th anniversary of Andy Timmons' signature contract with Ibanez. Based on the popular AZ series in recent years, this model is tuned based on many years of experience and can be called a "modern version of the AT100."

Andy himself said, "This is a guitar that I've been developing in my own way for over 30 years based on the classic design that Fender established," and the ATZ100 is a true evolution of that. It's a highly refined guitar that reflects his ideals as a player down to the last detail.

Evolution of specs and playability
Like the AT100, the body is made of alder, which maintains a thick, solid midrange. Meanwhile, the neck and fingerboard are made of S-TECH roasted maple. This significantly improves strength and stability, making it an easy-to-use guitar that is resistant to humidity changes. In addition, it is equipped with stainless steel jumbo frets, which improves smooth playing feel and durability.

The bridge continues to use a Wilkinson 2-point support tremolo, and in combination with GOTOH locking pegs, it provides reliable tuning retention. This design allows players to concentrate without stress, whether they are performing live or recording.

Bold changes in pickup configuration
The biggest change is that the pickup configuration has been changed from HSS to SSS.DiMarzio Cruiser (single size humbucker)is equipped with

Although it looks like a single coil, it is all hum-canceling, resistant to noise, and has a warm, lustrous tone. Although it does not have the thickness of a full-size humbucker like the AT-1, it is brighter, more delicate, and excels in crystal-clear clean sounds. Even when distorted, it has good grain, and the expressiveness of the single coil touch and dynamics is a great weapon.

Timmons himself says that "this guitar is especially comfortable for me," and you can now hear him playing most of his songs at live shows on the ATZ100. Taking over from the AT100, this guitar has become Timmons' current main guitar.

A perfect fit for the modern guitarist
The ATZ100 is a model that fits modern players who are familiar with the traditional Stratocaster style but want tighter picking response, stability, and flexible sound response. It will be a very reliable choice for intermediate to advanced players looking for a guitar that can be used widely across genres.

The Ibanez ATZ2024 was released in 25 to commemorate the 300th anniversary of Andy Timmons' partnership with Ibanez. It is his latest signature model and is the culmination of the AT series to date.

This model is based on the previous ATZ100, but has been updated in all aspects, including sound, playability, and appearance, making it the "ultimate player-friendly model."

Specifications that combine luxury and warmth
The first thing to note is that African mahogany is used for the body material. Compared to alder, it has a thicker and rounder mid-low range, which adds sweetness and stickiness to the lead tone during solos. It features a tone with a warmer character that sets it apart from the previous AT series.

The fingerboard is rosewood, adding depth to the black-based body for a classic look. In addition, the side position marks are made of luminous material, Luminray, to ensure visibility even on a dark stage. The fingerboard inlay features a unique, iconic design that makes it both practical and attractive for live performances.

The essence of sound: blending tradition and innovation
The pickup configuration is a return to the HSS layout, unlike the ATZ100, with a DiMarzio Cruiser in the neck middle and a full-size DiMarzio AT-1 humbucker in the bridge.

This guitar has the same structure as the old AT100, but with a mahogany body and rosewood fingerboard, it achieves a richer, fuller lead tone. Fans have called it a "long-awaited guitar for those who loved the sound of the early AT," and Andy himself said, "It brings back the soul of the old AT300 (2004 model) to the modern era."

It should be noted thatNarrowest neck grip in Ibanez history (nut width 40mm)This makes it easy to play for long periods of time without getting tired, and allows for smooth expression of delicate nuances. Not only fast phrases, but also Andy's specialty "crying phrases" and smooth legato can be controlled exactly as you want.

A presence that dwells in the look and feel
The exterior combines a chic black body with gold parts for a bold look. When you hold the actual instrument in your hands, the texture of the neck, the vibration of the body, and the exquisite weight balance give you a premium feeling, just like a custom-made guitar.

There is no doubt that the ATZ300 will be one of Andy Timmons' main guitars on stage, alongside the ATZ100. It is no exaggeration to say that a new, complete form has been added to the "AT Series" that has supported his sound.

The Mesa/Boogie Lone Star is the key piece of equipment that supports Andy Timmons' clean, mellow tone and his "crying leads." Since the mid-2000s, this tube amp has always been at the heart of his sound, and it is still used in almost all situations, from recording to live performances.

The Lone Star is a two-channel all-tube amp with a thick, warm clean tone reminiscent of classic Fender sounds and a fat, smooth lead channel. For Andy, this amp is the ideal platform for "building sounds around clean tones."

Clean tone focused setting
Andy's usage is very hands-on, with the clean channel EQ generally set flat (around 12 o'clock) and the low frequencies somewhat subdued, which allows the Lone Star's characteristic rich low end to be kept from bloating too much, resulting in a clear, crisp clean sound.

In addition, he uses a Carl Martin compressor lightly for clean tones to add a sense of projection and a cohesive sound image. The way he uses the compressor is as natural as if it were a part of the amp is another great feature of his setup.

Lead Channel and Pedals
For lead tones, he uses channel 2 of the Lone Star and fine-tunes the sound by using an overdrive pedal in combination. By inserting the pedal in front to add gain, he adds smooth sustain and rich harmonics. Typical combinations include the Xotic BB Preamp and JHS AT+.

The Lone Star has high output, but even if you turn up the gain too much, it doesn't produce harsh overtones, and it works great with distortion pedals. Its greatest strength is that it can be used in situations where distortion is used a lot, while still maintaining the core of the original sound.

Stereo operation creates a three-dimensional effect
Andy uses two Lone Stars in a stereo setup for live performances and in the studio, one with strong delay and reverb, the other with a dry sound, which allows him to reproduce a three-dimensional sound on stage, like double tracking.

His Beatles covers album "Sgt. Pepper" makes full use of this stereo Lone Star sound, enveloping the entire album with a rich, deep guitar sound.

Blend with Mesa/Boogie Stiletto
Another thing worth mentioning is that Andy sometimes combines it with the Mesa/Boogie Stiletto (a British-style amp with EL34 tubes). The warm clean sound of the Lone Star mixed with the sharp attack and snap of the Stiletto creates a lustrous, cutting sound.

For live performances, I use the Lone Star in a clean setting with distortion from the pedal, and the Stiletto at a slightly higher gain setting, all played simultaneously to create an extremely rich, expressive tone that responds directly to the player's touch and volume changes.

The AT+ was developed to help Andy Timmons get his own lead and rhythm tones.
Andy Timmons signature overdrive pedal.

Andy bought the Angry Charlie in 2013 and started using it as his main tone.
I immediately contacted Josh Scott at JHS Pedals and asked him to modify it to suit my needs.

After much trial and error to suit Andy's taste, @ was born and released in 2016.
This pedal offers a wealth of tonal options for a variety of players,
You can get the extreme overdrive and distortion that Andy produces.

The AT+ maintains the AT's control and sound nuances without compromising them.
This is a 2-in-1 pedal with an independent booster coupled to the front stage.
It can also be used as a gain booster in combination with the drive section.
Produces a more intense distortion sound.

Another signature pedal released in 2022. This was developed based on the **Keeley modified BOSS BD-2 (Blues Driver)** that Andy used for many years, and it has an exquisite balance of **amp-like, natural distortion and a biting high-frequency "bite feeling."**

This pedal works especially well with clean amps.Ideal for adding a low gain boost or for using it on its own as an overdriveThis pedal now resides on his pedal board, replacing his old BD-2 modified.

The Keeley HALO is a delay pedal that can reproduce the mysterious delay effect called "Halo", which was created by Andy Timmons using two modulation delays that had been kept secret for a long time, in a compact size.
The complex sound created by combining the two delay effects creates a reverb-like soundscape.

In addition to the "Halo" effect, it also features a rhythm mode that provides a multi-head delay effect like a tape echo, and a dual delay effect like an 80's rack delay.
In addition, a variety of controls such as saturation and filters allow you to achieve a wide range of delay sounds, from clean to distorted lo-fi sounds.

This is a special version produced in a limited edition of 3,000 units worldwide.Thick low to mid range, thick and mild lead tone even with single coilIt is tuned to produce the following sound:

The EQ is a two-band ±15dB specification, allowing for delicate sound creation. When you want to lightly push out a clean tone, or when you want to gain sustain before another overdrive,Versatile and flexible pedalIt has been used for a long time as a.

It goes without saying that this is a great overdrive pedal, and Andy has been using it for many years.TS pedalsI use either the original TS808 or the mini-sized version depending on the setup and board configuration, but I mostly use it to push a clean amp with low gain and add a sweet compression to the midrange.

For example, when he wants to add some stickiness to a crunch rhythm or bring the sound forward in a solo, he turns on the TS and takes advantage of the clear "mid boost" effect. He also uses the drive sound of the TS alone in bluesy songs, so it's no exaggeration to say that he always has a TS-type pedal built into his board.

One of Andy's essential pedals for enhancing clean tones is the RC Booster. This clean booster can boost the volume by up to +20dB without destroying the nuances of the original sound, and it also has a ±15dB 2-band EQ, allowing for fine adjustment of the sound quality.

Andy often uses the RC Booster on the clean sound of his Lone Star, adding overtones that react to the strength of his picking to give the clean tone a richer tone.

It can also be used for a variety of purposes, such as placing it between a distortion pedal and using it as a buffer (to prevent signal degradation).

He"The RC Booster is a magical pedal that gives my tone a transparent shine."He has rated it as extremely useful when he wants to improve the sound projection of a clean solo or add sparkle to an arpeggio.

This is a two-channel compressor supervised by Andy and released by Danish effects brand Carl Martin. Originally Andy used a vintage LA-2A compressor in his studio, and the AT-COMP was developed to reproduce its smooth effect in a pedal.

As mentioned earlier, he was on Lone Star's clean channel.Apply a light compression like an "input booster"On one channel you can use it in a variety of ways, while on the other channel you can apply heavy compression to smooth out cutting and clean arpeggios, making the most of the two-tiered setup.

The AT-COMP is still included in Andy's latest board, and it plays an important role behind the scenes in producing Andy's clean tone.

Description: A fuzz pedal with an octave-up function that can be used for a wide range of sounds from psychedelic to heavy.

GNI's Octa Fuzz is exactly what it sounds like.Adds an octave higher harmonic to the fuzz soundUnlike the classic Octavia series, this pedal is easier to use and is designed to blend in easily with modern pedalboards.

Timmons is a clean tone player, butUse rough effects to spice things upHe also has a great sense for it. He mainly uses it for heavy solo parts and one-shot solos that he wants to create an impact. The "screaming" sound that can't be obtained with normal distortion adds a new color to his playing style.

The Micro POG is the little brother of the polyphonic octave generator "POG". It can be used for single notes as well as chords, and generates octaves above and below with fast and accurate tracking. It can be used in a variety of ways, such as making a 6-string guitar sound like a 12-string guitar, getting an organ sound, or adding a sub-octave to a bass to add a unique thickness.

A multi-function chorus pedal that allows you to switch between three types of vintage chorus.

Spiral Array is a modulation pedal that can reproduce three legendary chorus sounds that appeared in the 1970s and 1980s (CE-3, Dimension D, Chorus Ensemble, etc.) in one unit. This model developed by Laney has a smooth, three-dimensional modulation, and is especially suitable for situations where you want to add depth to a clean tone.

Andy Timmons uses this pedal on the arpeggio parts of songs like "Electric Gypsy" and to fill in the space in the backing. The chorus components don't come out too far, and the natural, swaying sound matches perfectly with his aesthetic of "not being overly excessive."

In addition to delay, the board also includes a Keeley HYDRA (stereo reverb and tremolo) for spatial effects.

The HYDRA is a pedal that combines three types of reverb - spring, plate, and room - with three types of tremolo - harmonic, vibrato, and sine wave. Andy uses it in a variety of subtle ways, such as adding a subtle spring reverb to clean backing tracks, and using vibrato tremolo to create a swaying effect in ballad intros.

It also uses the Laney brand Spiral Array chorus, which is rare for a chorus effect.

This is a pedal that can switch between three famous chorus sounds from the 70s and 80s, and Andy turns it on in some songs (e.g. the arpeggio part of "Electric Gypsy") to add width and thickness to his clean tones. He also uses a vintage Uni-Vibe-type JAM Pedals RetroVibe to spice up solos and intros with a shimmering modulation effect reminiscent of Jimi Hendrix and 3s fusion sounds.

The board also includes a GNI Octa Fuzz, which adds a fuzz + octave effect to the distorted sound, and an Electro-Harmonix Micro POG, which layers sounds one octave above/below, allowing you to make fuzz solos more intense or create a 1-string guitar-like sound depending on the song.

A Uni-Vibe-style modulation pedal reminiscent of Jimi Hendrix.

RetroVibe is a pedal that features an organic vibration.Uni-Vibe effectsIt recreates the vintage psychedelic modulation of the 1960s and 70s with modern circuits and tone design.

Andy used this pedalIntro before solo or backing accentIt is used to add a "floating" and "stickiness" to clean tones and light distortion. It is especially effective when combined with smooth picking.Swaying Tone ChangesThis leads to a unique sound production.

A modernly designed high resolution wah pedal with custom inductor and Q control.

The XW-2 is a new product developed by Xotic.Professional wah with variable Q filter and variable bufferBased on the classic Cry Baby wah sound, the tone and responsiveness can be fine-tuned to suit any modern guitar rig.

Timmons uses this wah to create a "wah-like singing style" for his leads.Natural tone changes without excessive wah-wah and smooth frequency transitionsI use the wah as a musical expression, taking advantage of the effect. It is highly compatible with picking nuances and follows well even in technical phrases.

For volume control I use the small and precise Jim Dunlop DVP4 Volume Pedal (Mini).
This compact pedal seems to be useful for turning down the volume at the start of a solo to create a smooth fade-in, or for using volume techniques in clean arpeggios.

The industry's leading programmable loop switcher. A core piece of equipment for professional boards.

The GigRig G2 is a compact, all-in-one controller for controlling a complex effect board.High-performance routing and switching systemIt can store up to 120 presets, and supports loop on/off and buffer on/off switching, MIDI control, and more.Professional Multi-Switcher.

Andy used this G2,Instantly switch between entire effects chains while performing liveThis allows you to stay focused on your performance. In particular, you can easily turn delay, reverb, booster, and other effects on and off with a single touch of your foot, making even complex settings simple to use.

In addition, G2Buffering design to minimize sound quality degradationHe is also highly regarded and sits at the heart of the board as the trusted "brain" for sensitive players like Andy.