Citation:
SCHEMATIC DIAGRAM OF LIFESON'S ONSTAGE GEAR: Alex runs his guitar via a Nady
VHF 700 wireless transmitter to an effects switching pedal that either
activates or bypasses his effects rack (shown here with asterisks next to
the appropriate components). The rack houses three Roland SDE-3000 digital
delays, a Roland SRV-2000 digital reverb, a Roland SDD-3000 digital delay,
an Ibanez HD-1000 Harmonics/Delay, two Loft 450 digital delays, a DeltaLab
ADM-2048 digital delay set up as a flanger, a Boss Super Distortion, a Boss
Octaver, an MXR Micro Amp, and a Roland Dimension D stereo imager.
From the rack, Alex' signal routes to a single Dean Markley CD-212
amp or to a CD-212 linked to a Marshall 4140 amp. (Specific microphones
are used with each amp/speaker combination: Sennheiser MD421s for all but
the Marshall 4140, which has a Beyer M201. The Yamaha extension cabinet
has no mike.) When bypassing the rack, Alex activates a 100-watt Marshall
4140 with two 12s and a Yamaha 2x12 cabinet--as well as a Scholz Rockman
and a direct box that goes out to the house. His Moog Taurus pedals run
straight to the house PA system, and his Ovation Adamas' signal runs through
a direct box to the house. Alex' Korg MPK-130 MIDI bass pedals control
an Emulator II synthesizer, which is sent to the house. A Yamaha QX-1
sequencer controls another Emulator II (which is also connected to the house)
and is activated by a trigger footswitch.
Citation:
Alex Lifeson is carrying only five guitars with him on Rush's
_Hold Your Fire_ tour. His four solid bodies are custom made by
a Canadian company called Signature, and each is equipped with
three active single coil pickups and a locking tremolo system.
One of the Signatures is tuned up to F# for the set's opening
song, "Big Money," and an Ovation 1985 Limited edition six string
acoustic is mounted on an Omega stand for the intro to "Closer To
The Heart."
In their quest for the optimum guitar sound, Alex and guitar
technician Jimmy "J.J." Johnson have been experimenting with a
variety of effects. Alex's current guitar setup finds his signal
transmitted from a Nady 700 wireless system to a Gallien-Krueger
2000 preamp. The preamp's send signal is split five ways by a
Rane mixer and fed into two T.C. Electronics 2290 digital delays,
a Roland DEV 5 and Dimension D and a Yamaha SPX90 effects
processor, which are controlled by an SES switcher. The preamp's
line out, along with the effect's stereo outs, feeds another Rane
mixer, where the wet and dry signals are channeled into stereo.
That output is choursed and flanged by two T.C. Electronic 1210s,
and D.I.ed to both the house and a Bryston power amp. "It's
probably unique that a guitarist would use one of these amps,"
J.J. observes, "as it's used in a lot of studios as a recording
amp." That amp's parallel input drives four GK 2x12 cabinets,
two of which are miked by a Sennhheiser MD 421.
Lifeson operates his two racks with a custom pedalboard which
includes an on-board switching system for the GK preamp's chorus,
compression and gain functions. His floor system revolves around
a set of Moog Taurus pedals and a pair of Korg MPK 130 pedal
units which are MIDIed into an offstage bank of Akai 900 samplers
and Yamaha DX7's. These samplers are also accessed by a Yamaha
KX76 MIDI controller keyboard, which, along with a second set of
Taurus pedals, is removed from the stage after the song "Time
Stand Still." A GK 250ML is placed far stage right and serves as
the technician's monitor.
The Signature guitars are strung with Dean Markleys, gauged
.009, .010, .016, .028, .038, .048. The Ovation uses Markley
medium light bronze. Like Geddy, Alex is a fan of Finger Ease
string lubricant. "Cases of it," laughs J.J. "It's all he lets
me use."
