Eventides, Axe-FX, and Sex Wax... Oh My! Fripp Rig Rundown [PG, Bohlinger]

[jb_abides]

Eventides, Axe-FX, and Sex Wax... Oh My!
-- Robert Fripp’s Fripper Ripper Rig Rundown [From PG, Bohlinger]

Highlight Reel --

Main Rundown --

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John Bohlinger went to Nashville’s Ryman Auditorium to get the details from Biff Blumfumgagnge, Fripp’s main road tech since 2005. Blumfumgagnge details EVERYTHING happening on (and inside) Fripp's main ride. The discussion covers the highly specialized equipment and unique setup used for Fripp's live performances.

The original prog-rock guitar hero goes head-first into the 21st century with a tubeless setup that is heavy on digital effects, MIDI switching, and ultimate control.

Although Fripp and King Crimson will forever be known for pioneering the prog-rock movement with 1969’s In the Court of the Crimson King, his innovation on guitar technology and craft is staggering. His collaborations with Brian Eno, David Bowie, and Andy Summers are highlights of a solo career nearing 50 years. John Bohlinger went to Nashville’s Ryman Auditorium to get the details from Biff Blumfumgagnge, Fripp’s main road tech since 2005. Blumfumgagnge demoed Fripp’s gear and explained the engineering behind the alchemy.

Article & Photos: http://bit.ly/RobertFrippRR

YouTube Summary

Key components of Robert Fripp's rig include:

• Guitar Setup & Tuning: Fripp utilizes custom Fernandez Les Paul-style guitars featuring the Fernandez sustainer system and Seymour Duncan bridge pickups (4:22-4:40). He exclusively plays in New Standard Tuning (C-G-D-A-E-G), which requires custom string gauges (0:57-3:34).
• Digital Processing: The rig is entirely tubeless, relying on Fractal Audio Axe-Fx processors for main guitar tones, with a redundant unit for show reliability (5:48-6:08). MIDI foot controllers manage volume, wah, and pitch-shifting effects (9:55-10:44).
• Looping & Soundscapes: Fripp uses Eventide 8000s and 3500s for sophisticated looping, creating complex "soundscapes" that are projected through a quadraphonic speaker system (6:50-8:15).
• Modern Innovation: Moving away from vintage tape machines, Fripp now uses an iPad with the M3000 Mellotron app to achieve classic keyboard and orchestral textures (8:15-9:44).
• Performance Techniques: Despite the high-tech setup, the rig is designed to be highly responsive. Blumfumgagnge highlights Fripp's precise picking technique and the use of specialized, rare Japanese picks combined with Dr. Zogg's Sex Wax for grip (12:22-13:30).

Throughout the tour, the emphasize remains on how these tools "serve the song," allowing Fripp to seamlessly switch between experimental textures and classic rock-and-roll tones (15:40-16:48).

• New Standard Tuning (NST): Robert Fripp utilizes an unconventional tuning starting on a low C, running in fifths, with a high G on top (0:35-1:02). Biff explains that Fripp had to relearn his entire catalog to accommodate this tuning (1:43-2:06).
• Custom Instruments: The primary stage guitars are custom Fernandez gold tops. These are equipped with a Fernandez Sustainer and a Seymour Duncan bridge pickup (2:59-3:52).
• Synth Integration: The guitars feature a 13-pin connection that feeds into a Roland GR1 synth system, allowing Fripp to layer synth textures like fretless bass or violin over his guitar signal (4:45-4:54).
• Signal Path & Effects: The guitar signal passes through a Whammy pedal into redundant Axe-Fx processors (5:01-5:06). For looping, Fripp uses Eventide 8000s to create complex, evolving quadraphonic soundscapes, a significant evolution from his original tape-based 'Frippertronics' method (6:07-6:42).
• Silent Stage: Fripp performs on a "silent stage," monitoring through headphones while using Bag End speakers and a QSC amplifier solely to provide a bit of natural air/feel to the stage sound (6:50-7:06).

Timestamped Details

Highlight:

Robert Fripp’s main touring guitar—the Fernandes Goldtop Les Paul–style instrument—is a deeply customized, highly technical machine built to support his unique tuning, looping, and sound‑design approach. In this Premier Guitar segment, Fripp’s longtime tech Biff Blumfumgagnge walks through the guitar’s unusual New Standard Tuning, its hybrid synth + guitar electronics, the Fernandes Sustainer system, and the sprawling quadraphonic looping rig that Fripp uses to create his signature soundscapes. The video also covers Fripp’s signal chain, redundancy setup, monitoring approach, and how his modern rig evolved from the original Frippertronics tape‑loop system.

00:00:02 String choices & consistency

• Fripp has long used D’Addario strings for reliability.
• Heavy gauges on the low strings (e.g., .054 for low C) and light gauges on top (e.g., .009 for high G).

00:00:41 New Standard Tuning (NST)

• Tuning is C–G–D–A–E–G, with the top “surprise G” being the odd interval.
• Fripp had to relearn classic Crimson parts (e.g., Schizoid Man) in this tuning.
• Global “guitar circles” use NST to perform complex ensemble pieces.

00:03:03 Fernandes Goldtop construction

• Built by Fernandes specifically for Fripp.
• Features:
  • Kill switch that powers the electronics
  • Fernandes Sustainer
  • Seymour Duncan bridge pickup
  • 13‑pin output for synth integration
• Fripp also has a black version used as a “hotel guitar.”

00:04:01 Synth + guitar blending

• The guitar can output:
  • Fretless bass
  • Solo violin
  • Multiple synth layers
  • Synth + guitar simultaneously
• Demonstrated with live playing in the video.

00:04:52 Signal chain overview

• 13‑pin synth output → Roland GR‑1
• Guitar output → Whammy pedal → Fractal Axe‑Fx
• A second Axe‑Fx is kept as a full redundancy mirror.

00:05:45 From Frippertronics to modern looping

• Early looping used Revox tape machines (heavy, failure‑prone).
• Modern rig uses Eventide H8000 units for quadraphonic looping.
• Fripp builds front and rear loops that evolve over time.

00:06:53 Silent stage + monitoring

• Fripp monitors primarily through headphones.
• Additional Bag End speakers provide a bit of air onstage.
• Entire rig is designed for clarity and consistency.

00:07:21 Final signal sweetening

• Everything passes through Eventide 3500s (“fairy dusters”).
• An Eclipse unit adds optional extra flavor.

 

[jb_abides]

Continued --

Full Rundown:

Guitar​

• Custom Fernandes Les Paul–style guitarswith:
  • Fernandes Sustainer for infinite sustain
  • Seymour Duncan bridge pickups
  • 13‑pin output for synth integration
• New Standard Tuning (NST): C–G–D–A–E–G
  • Heavy low string (.054) and light high string (9–10 gauge)
  • Requires re-learning classic Crimson parts (e.g., Schizoid Man)
• Rare Japanese picks + Dr. Zogg’s Sex Wax for grip
• Kahler tremolo, locking tuners, and locking nut for stability

Signal Flow & Processing​

• 13‑pin synth output → Roland GR‑1
• ¼” guitar output → Digitech Whammy → Fractal Axe‑Fx
• Dual Axe‑Fx units (primary + mirrored backup)
• MIDI controllers for volume, wah, pitch, delay, and reverb
• Eventide H8000 / H3500 units for looping and ambient processing
• Quadraphonic speaker system: front + rear stereo pairs

Soundscapes & Modern Tools​

• Fripp builds pre‑show “soundscapes” using:
  • Eventide loopers
  • iPad Mellotron app (M3000) for flute, strings, and orchestral textures
• Replaces the old Frippertronics tape‑machine method with lighter, more reliable digital tools

Monitoring​

• Silent stage: Fripp monitors primarily through headphones
• Supplemental Bag End speakers + QSC power amp provide a bit of “air”

Performance Philosophy​

Despite the complexity, the rig is built around serving the music, not showing off tech. Fripp switches between:

• Highly processed textures
• Clean interlocking lines (Discipline)
• Straight rock tones
• Even Scotty Moore–style rockabilly phrasing

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00:00:57 – New Standard Tuning

• Biff explains NST (C–G–D–A–E–G) and the heavy/light string gauges required.
• Notes Fripp had to relearn early Crimson material in this tuning.

00:04:22 – Sustainer & Synth Integration

• Demonstrates the Fernandes Sustainer and dual Seymour Duncan pickups.
• Shows how the guitar outputs both synth and standard guitar signals.

00:05:48 – Axe‑Fx Processing & Redundancy

• Main tones come from Fractal Axe‑Fx; second unit is a mirrored failover.
• Fripp programs his own patches.

00:06:50 – Eventide Looping & Quadraphonic Setup

• Fripp builds independent front and rear loops that evolve over time.
• Modern replacement for tape‑based Frippertronics.

00:08:15 – iPad Mellotron (M3000)

• Demonstrates flute, strings, and oboe patches.
• All samples derived from original Mellotron tapes.

00:12:22 – Rare Picks & Grip Wax

• Custom Japanese picks; finite supply.
• Sex Wax used for grip, inspired by Gavin Harrison.

00:15:40 – Serving the Song

• Discussion of Fripp’s tone choices, from math‑rock interlocks to classic rockabilly lines.
• Emphasis on musicality over gear flash.