Patrick Harvey is the guitarist of the Colorado-based band Cycles. Pat is known for his shredding capabilities, as well as his use of the Line 6 DL4 Delay/Looper’s looping section. He is one of the most promising guitarists on the scene today. Check out Pat’s playing on this live version of Tucker’s Pet Weed (my personal favorite Cycles song) featuring Tyler Adams and Caton Sollenberger of The Jauntee from March of last year.
1997 Paul Reed Smith McCarty
Fender Hotrod Deluxe III
Signal Chain: Ernie Ball Volume > Dunlop Crybaby GCB-95 Wah > Tone Bakery Clean Boost > OCD v1.7 (HP, less drive) > OCD v1.4 (HP, more drive) > Boss MS-3 Switcher (Loop 1: EHX POG 2, Loop 2: Strymon Big Sky Reverb) > Line 6 DL4 Delay/Looper (Looper only)
Digitech Jamman Delay/Looper (only used for pre-recorded loops, goes DI into house system)
Behind the Gear: What is the one pedal on your board you couldn’t live without?
Patrick Harvey: The Fulltone OCD overdrive pedal, because the OD channels on my combo amps aren’t cutting it. I need the Marshall in a box to complete my tone.
BTG: When was the first time you were exposed to the world of effects pedals?
PH: I was at Mars Music (now Sam Ash) in Cincinnati around 1999, and I had just watched the Jimi Hendrix Woodstock performance where he blows the minds of 500,000 people with a “Wah-wah” pedal. Soon after I went to Mars with my mother and she bought me an original Crybaby wah pedal at 8 years old. The next one was a Boss Metal Zone pedal shortly after lol.
BTG: Did you take any inspiration from some of your favorite artists when you were building your current board?
PH: I built my board based on trial and error. I’ve tried all sorts of stuff; tried to do the Trey 2 screamers + compressor thing, tried the Jimmy Herring scooped EQ with the tube preamp. [I] grew up with the Steve Vai and Joe Satriani old school Carvin Legacy/Marshall dirty channel amp tones that I try to mimic with stompbox OD’s. I’ve tried the Jimi-style fuzz face + univibe, love EVH’s phaser + dirty channel; those are all classic tones, but I tried to create a tone of my own. It’s really a combination of all my favorite players over time. I really like what Trey is doing these days with his effects. I love his octave down + wah + OD + delay sound—that tone makes me go absolutely fucking crazy—so I’ve developed that a little and added some new tricks to it using the POG 2 that I think is pretty cool.
BTG: Who are some of your inspirations as a guitar player?
PH: To name a few: Jimi Hendrix, John McLaughlin, Trey Anastasio, Jerry Garcia, Isaiah Sharkey, Pat Metheny, Jimmy Herring, George Benson, Eric Krasno, Prince, Steve Vai, and Grant Green
BTG: What goes through your mind when you’re deciding which effects to turn on while you’re playing?
PH: Don’t do too much, relax. I set up a backdrop with the big sky and the looper [and] build from there. I’m basing everything off of balance: Is it too much? Is it getting TOO crazy? Do you like it? Smoothly switch to something that compliments what’s going on without effects cutting out or in too quickly. Overlap different tones with the looper to make a smooth transition between effects. I’m thinking things like that.
BTG: Who are some of your favorite contemporaries on the scene currently?
PH: Caton Sollenberger- A great player! Love jamming with Caton, he just gets better and better every time! Also [he] knows about, owns, and tours with soooo many pedals. Always learning about a new device from him or hearing new sounds. He’s who I ask when I need to know what does this thing do? Or, what should I get? Check out his band The Jauntee next time they’re in your town!
Justin Reckamp- I’ve been jamming with Justin for years and he’s gotten better and better as they go by. Compositon/Lead Playing/Technique: a great player who you can learn sooo much from. His delivery is spot on. Watch this guy’s technique and tell me you don’t need to work on yours. Also give his band Mungion a listen!
Justin Canavan- A very good friend. I’ve been jamming with Justin for years also. Every time I have a guitar in my hand and I’m in the same room as him I learn at least 3 new things in like 5 minutes and go home and practice the shit out of them. He’s a great teacher and an amazing player. He’s the cleanest, tastiest motherfucker I have had the pleasure of jamming with and learning from. If you haven’t checked out his band Low Spark from Chicago or listened to their album on Spotify, do it now!
Isaiah Sharkey- This guy is now off doing big things (John Mayer, D’angelo), but he was once a Chicago church guy who can play play play play play his ass off!! Just YouTube him, you will learn so many tasties from this dude.
You’re known for your use of the Line 6 DL4’s looper. Who inspired your looping techniques? (from Richard Bahner)
PH: The inspiration came from trying to fill space. Cycles is a 3 piece band: bass, drums, and guitar. I use the Line 6 DL4 during group improvisation to loop backdrops/drones in whatever key we’re in so that when it comes time to take a lead, I have some space already filled up behind me so I don’t have to compensate for it by playing extra notes. That way I can take my time, stay patient, and help develop the jam. I have also started using it in other lead guitar situations. I’ll start by looping a chord progression, then the second layer is a melody, and the third layer is a harmony of the melody with some delay. If the band stays in time with it (I use the play once button to keep time), you have basically written a song in front of the audience and are now playing it for them for the first time! We do this a few times a night during our shows because it’s kind of our thing. There are sooooooooooo many possible combinations you can try live with a looper!!
Why did you switch from your Epiphone to the PRS? (from Richard Bahner)
PH: The Epiphone I played for the first 3 years of Cycles I have had for a while, it was passed down through friends of mine back home in Kentucky, and finally made its way to me! I recorded the first two Cycles EPs and Vacation with that ES-339. When it came time for me to get a new one, I wanted to stay semi-hollow or hollow, but after playing a few PRS’s at Sweetwater I loved the way the CE-24 sounded. So responsive, sharp, and the pop from the maple neck sounded great. Like a mix between a strat and a Les Paul in the best way. The 85/15 pickups riiiiiiiiipppppppp. So I picked one up in November! A cool black/grey satin top, super nice, [but] that one got stolen in January after a show :(. Still super upset about that, but anyway, a very close friend of mine from Chicago—who is like a brother to me—had been holding on to one of my favorite guitars for 5 years: a sunburst 1997 PRS McCarty. I had given it to him as collateral years ago! He heard about my guitar being stolen and he gave it back to me :). I love you Seth! I’ve been playing it again for 2 months now and LOVE it so much, super versatile, original McCarty pickups. There are plenty of nice custom guitars out there, but you’d be hard pressed to find a guitar that plays as nice as an American PRS for the money. My 2 cents.
What made you decide to use two Fulltone OCD’s rather than the classic two Tube Screamer set up? (Jacob Silverstein)
PH: The Fulltone OCD’s are the best OD’s I’ve tried. There are 8 versions spanning from 2005 until now. I use version 1.4 (scooped sound, lower mids + higher hi’s) for gainy rythmn guitar, with the volume at 10 o’clock and drive at 2 o’clock. I use version 1.7 (hi mids) for lead tone, with the volume at 12 o’clock and drive at 2 o’clock. I use them both with the high pass filter on and they cut better than any overdrive I have ever played. They are so responsive to harmonics and they just rip. I also love the way they sound on every amp, but ESPECIALLY Fender amps. The Deluxe/Deville and most of their amps have a clean channel that is the CLEANEST tube sound and works very well with all my OD’s and pedals.