“[Frampton]’s signal path begins with either one of two black Peter Frampton signature-model Gibson Les Pauls, a Les Paul 1960’s reissue with a TransPerformance system for different tunings, or a Suhr guitar. For acoustic work, he wields a Tacoma Jumbo JK50 or a Taylor spruce jumbo.”
“The electrics are sent to a Framptone amp switcher, which splits the signal off to four different paths. One route goes to a MESA/Boogie amp switcher that selects between a MESA/Boogie Mark IV rackmounted head powering a Hammond 147 Leslie (modified), or a MESA/Boogie Rectifier preamp. The preamp sends its signal to a pair of Digital Music dual stereo line mixers, which blend in the effects: a TC Electronic 2290 delay, TC Electronic 1210 chorus, Eventide Eclipse, dbx 1066 compressor, Ernie Ball volume pedal, Mu-Tron octaver, Foxx Tone distortion, Ampeg overdrive, and Korg DL8000 delay.The effected signal is sent to a stereo MESA/Boogie 2:100 power amp and then to a pair of Marshall 1960 BV4xJ2 cabinets with vintage 30W Celestion speakers. A second signal route goes from the switcher to a Marshall 5OW Plexi head, which drives the famous Framptone talkbox.
A third route goes to a vintage Marshall 100W “Jose” Plexi, which is sent uneffected to another Marshall 1960 BV 4×12 cabinet. And a fourth path takes the signal to an Ampeg ET-1 Echo-Twin. Path decisions are enacted by a Custom Audio Electronics RS-10 floor pedal used in conjunction with two of tech Mark Snyder’s Custom Interface units.”
Good grief . . . . I’m sure it sounds sweet, but how complicated. And the article I linked to was about the wacky mouth bag/talk box (“Do you feel like I do?”) gimmick: Frampton has a company that makes the things . . . . I thought that was enough tonal manipulation, but evidently I’m further behind the times than I realized.
Of course, fans of high quality guitar strangling would have heard it here first.