I have been playing live for decades.
With over four decades on stage and more than 4,000 performances worldwide, Kelly Richey has built a career defined by passion, perseverance, and uncompromising artistry. As a guitarist, educator, and recording artist, she continues to inspire audiences through the transformative power of music.
Over that time, I’ve designed a lot of different setups on my quest to develop my signature sound. With each incarnation, I was faced with the challenge of building a road-worthy pedalboard that was as light as possible and easy to maintain. Throughout my journey, there were three key elements that never changed:
1. Gain Structure: Your gain structure is where you determine your overdrive, and
it might include boost and compressor.
2. Modulation: Modulation would consist of effects such as a Wah pedal, chorus,
or flanger, and might include harmonizer or pitch shift.
3. Delay & Reverb: Analog delays are warmer; digital delays are cleaner and offer
a deeper set of parameters. And for the final touch, reverb — whether a subtle setting or a deep-space setting, especially used in ambient recordings
The electric guitar depends heavily on each of these elements, whereas the acoustic guitar often maintains a more straightforward approach: your pickup with preamp, EQ, and maybe a bit of compression, with a touch of reverb at the end.
NOTE: All my pedalboards include a looper at the end of the signal chain.
Summary: As someone who’s built my career as an electric guitarist, I’ve incorporated each of these elements from my main pedalboard, over the years, to support my signature sound when performing live on acoustic guitar.
Building a Battery-Powered Acoustic Guitar Rig for Live Performance
Fast forward to today, and as technology has evolved, so have the possibilities.
In 2025, I was asked to play a string of solo acoustic shows at the Cincinnati Open. Each year they have some of Cincinnati’s best musicians providing music throughout the grounds, as thousands of people pass by each day to watch some of the best tennis pros in the business. In the weeks leading up to these gigs, I had the idea of putting together a complete battery-powered setup that was high-quality, reliable, and compact for easy transport and setup.
I quickly discovered that this would not be an easy task — I was faced with three main challenges that I had to resolve for this to be a success:
1. Find the best gear on the market today that would let me recreate my signature sound.
2. The sum of the gear I selected had to be compact enough to fit everything — effects, batteries, and mic stand — into a lightweight aluminum 12″ x 27″ case with a removable lid.
3. I had to find battery power banks that were fas charging, had a battery life of at least four to five hours, and could handle the voltage and amperage
requirements while providing clean, uninterrupted power.
In this article, I’ll share what I’ve learned, and provide photos, descriptions, and links for you to explore
Why I Went Fully Battery Powered
The short version: I wanted to be able to play anywhere without logistics getting in the way.
The longer version is that going fully battery-powered changes the entire experience of setting up for a live performance. When I arrive at a venue now, I’m not scouting for outlets or worrying about extension cord length. I set up the rig the same way every time, in the same configuration, and I know exactly what it’s going to sound like before I play a note.
There’s also a reliability argument. When your power source is a well-maintained battery bank rather than whatever the venue has wired into the wall, you’re not subject to ground loops, dirty power, or outlet failures. Those things happen more often than people realize, and they happen at the worst possible times.
My rig runs four to six hours on a single charge. Most of my performances are nowhere near that long, so I’m not managing battery anxiety during a set. I charged everything before I left, and that’s the end of it.
If you play small venues, outdoor events, or do any busking, I think this approach is worth serious consideration. Battery-powered gear has gotten genuinely capable in the last few years — you’re not making a sound-quality compromise to go this route.
NOTE: I carry a small storage bin in my van with accessories — an extra set of strings, a guitar cable, a mic cable, and a second set of batteries for backup — that I swap out once I return home. This makes recharging efficient, and I always have fresh batteries for any guitar gig, whether I’m teaching, practicing, recording, or performing live. This system keeps me organized and gives me peace of mind in case anything goes wrong
— I’m prepared!
The Signal Chain
Before I go through each piece of gear, it helps to understand how the signal moves through the rig. Here is the full path from guitar to speakers.
- Acoustic Guitar w/ pickup Source signal enters the chain
- MOOER GE200 Pro Li Overdrive, Delays, Reverb
- BOSS FV-30H Volume Pedal Insert to GE200 effects loop, after overdrive/before delays and reverb.
- Pigtronix Infinity 3 Looper Stereo input/output for live looping and layering
- BOSS FS-7 Dual Footswitch Looper Undo/Redo and Reverse control Hands-free looper control
- Zoom LiveTrak L6max Mixing, EQ, AI noise reduction, multitrack recording
- CoolMusic BP40D Monitors x2 Main left/right output of Zoom LiveTrak L6max to pair of stage monitoring
- Stereo 4-Way XLR Splitter Splits signal to FOH speakers
- Behringer Eurolive B108D x2 Powered main FOH speakers for the audience
Mixer and Effects
MOOER GE200 Pro Li
The USB-C port on the MOOER GE200 Pro Li is for data. It functions as:
- USB audio interface
- Computer editor connection
- MIDI over USB
- Firmware updates
Running an acoustic guitar direct into a mixer without any tone shaping can produce a tone that sounds flat and direct, in a way that doesn’t translate well in a live room — that’s where this unit shines. It has everything I need to craft the ideal sound that supports my playing style.
I think of this unit like an effects pedalboard with multiple banks that let me store presets for every style and environment I play. I’ve spent hours building each preset so at the touch of a button, I have access to settings that support blues, blues-rock, folk-rock, or ambient soundscapes — this unit covers it all very well!
NOTE: The GE200 has an impressive array of amp simulations. Loading a good impulse response into the GE200 adds warmth and body to the signal before it reaches the mixer. This is a critical feature for electric guitar players using the unit as a standalone, without an amplifier. I typically don’t use any amp simulation and cabinet IR loading with my acoustic guitar, but it’s a nice feature to have if I need it. At the end of the day, everything you add to the effects chain can potentially add noise. Simulation is one of the noisiest additions in the chain, and even though the GE200 has noise suppression, that has its limitations. Too much noise suppression and it sucks the tone right out of your guitar. Dialing in the perfect guitar sound requires nuanced compromise.
BOSS FV-30H Volume Pedal
A volume pedal is one of those pieces of gear that’s easy to overlook until you perform without one and realize what you were missing. When you place a volume pedal after the overdrive and before your delays and reverb, this single piece of gear lets you create guitar swells that mimic the sound of a violin or cello being played. The BOSS FV-30H Volume Pedal gives me smooth, continuous volume control at the start of the signal chain. It doesn’t color the tone, it’s built the way BOSS builds things, and it has a tuner output so I can check tuning silently between songs without muting the main signal.
Compact, reliable, and does exactly what it’s supposed to do. That’s all I need from it.
Pigtronix Infinity 3 Looper
The Pigtronix Infinity 3 Looper is a dual looper with stereo inputs and outputs, three hours of loop time, 50 recallable loops, and 24-bit audio recording quality. I use it to build up layers during solo acoustic performances.
The practical value of a looper in a solo acoustic context is that it lets one person fill the sonic space that would normally require a full band. I can lay down a rhythm part, loop it, add a melodic layer on top, and keep building from there. It’s not a trick. It’s a genuine performance tool, and the Infinity 3 is one of the better implementations of it I’ve used.
The 50 recallable loops can be useful for a set list, but for live looping, I prefer to create my loops live, as part of my performance.
One of the main reasons I worked hard to figure out how to add this particular looper to my pedalboard was that it had MIDI input, which lets me sync with other MIDI instruments, such as my Novation Circuit Tracks — a groove box that offers programmable drum loops and sound creation that mimics a synthesizer.
NOTE: I’m working to explore these possibilities as I grow! For most standard gigs, I just use the looper — it’s simple, and live-performance-proof! I don’t have to worry about anything going wrong. But having the additional option of bringing in extra sounds, drum loops, and beats opens up a whole new world for creativity.
BOSS FS-7 Dual Footswitch
The BOSS FS-7 Dual Footswitch gives me hands-free control of other pedals in the chain. I use it primarily to trigger start/stop and undo/redo of individual loops on both the
Boss and the Infinity 3, without taking my hands off the guitar.
It’s a simple piece of
gear, but the ability to control the looper with my foot while continuing to play is worth
more in a live context than the price tag suggests.
ZOOM LiveTrak L6max
The Zoom LiveTrak L6max is what everything runs through before it hits the speakers. It’s a 12-channel digital mixer and recorder that runs on batteries, AA cells, USB bus power, or a mobile power bank. That flexibility is part of why I chose it.
On the mixing side, it handles EQ, effects, and four scenes for save your favorite mix environments, for instant recall. The AI noise reduction was something I was skeptical about before I used it. In a coffee shop setting a few weeks after I got the rig together, it removed a noticeable amount of ambient noise from the vocal mic in real time without touching the guitar tone. That was not what I expected.
It also records up to 14 tracks simultaneously to an SD card. That means every performance is a potential recording if I want it to be. This is an excellent tool for capturing the magic of a live performance! All you have to do is hit record and transfer the recorded tracks to your home studio to mix and master using your favorite DAW, at a later date. I don’t always use that feature but having it available at no extra cost is genuinely useful.
For a rig built around portability and battery power, a mixer that matches that philosophy was important. The LiveTrak fits.
NOTE: Here’s a link to the Zoom LiveTrak L6 — this is the smaller version, with fewer inputs and outputs. Both have the same recording capability, and both can be battery-powered. The L6max requires a battery power bank that can handle a heavier load.
Zoom MS-70CDR+ MultiStomp Guitar Effects Pedal
I currently use the Zoom MS-70CDR+ MultiStomp Guitar Effects Pedal to add delay via the Aux 2 output, back into the stereo input of channel 8 on the digital mixer. The Zoom mixer comes with multiple choices for reverbs and delays, but you can only use one at a time. I like having both reverb and delay available as separate options to add to my vocals, or — if I’m playing the handpan — as a nice additional effect to enhance it.
NOTE: The Zoom MS-50CDR is no longer listed on Amazon, as a new version of this pedal now exists: the Zoom MS-70CDR+ MultiStomp Guitar Effects Pedal, for guitarists and keyboardists, with 140+ chorus, delay, and reverb effects, stereo I/O, effect chaining, a built-in tuner, and battery power.
Powered PA Speakers
CoolMusic BP40D Powered Monitors
For small and medium venues where I want to hear myself clearly without relying on a venue monitor mix, these handle it well. They also function as standalone amplification for a busking setup if you don’t need the full FOH system. The 80 watts of output is more than sufficient for street performance.
I cannot express how impressed I’ve been with these powered speakers! I’ve owned or tried every battery-powered acoustic guitar amplifier on the market, and this matches, if not surpasses, anything I’ve tried! It also has more options and a longer battery life than anything else on the market. There’s a larger version available, but I love how these speakers are compact, lightweight, and handle almost any job I face.
NOTE: When I need additional speakers for larger venues, I use the CoolMusic speakers as my monitors and add a second pair of AC-powered monitors, each with its own portable AC power bank. I own a pair of 8-inch and 10-inch Behringer powered monitors! For larger venues or outdoor spaces with a bigger crowd, a pair of either the 8-inch or 10-inch speakers can cover almost any environment.
Behringer Eurolive B110D Active 300 Watt FOH Speakers
I use two Behringer EUROLIVE B110D Active 300 Watt 2-Way 10″ PA Speaker System active PA speakers, which provide the main audience-facing sound. They’re 10-inch 2-way speakers that cover FOH in small to medium venue situations. To keep my rig 100% battery-powered, I power these speakers using the GENSROCK power bank with the AC outlet.
NOTE: To run both stereo monitors and stereo main speakers, I use the four-way balanced XLR splitter listed below, since the Zoom LiveTrak L6max mixer has a left and right main output but no separate output for monitors. I’ve tried numerous direct boxes, etc., and the most reliable, best-sounding way I’ve found to achieve a monitor mix and main mix that mirror each other is by using a splitter that keeps the line level the same.
CULILUX1-in-4-out Balanced XLR Stereo Splitter
The CULILUX 1-in-4-out XLR stereo splitter takes the Main L and R outputs of the Zoom LiveTrak and distributes the signal to both Monitors (CoolMusic battery powered PA speakers) and the FOH speakers (Behringer AC powered main speakers). This unit requires no power, sends a matching stereo min to both monitors and mains, without signal drop.
NOTE: This unit is fantastic! I’ve tried every direct box I can get my hands on, and the signal isn’t hot enough and powered speakers require a line-level signal. This is a must have unit to properly split the L and R main outputs from the ZOOM LiveTrak L6max to feed both mains and monitors.
Anker Prime Power Bank and Charging Base
The Anker Prime Power Bank is my primary power source. It outputs 300 watts across two USB-C ports and one USB-A port, which is more than enough to run the mixer, effects unit, and other gear simultaneously. The capacity is 26,250mAh, which is the maximum allowed on commercial flights without special approval, so it travels without issues.
The app control is something I use during performances. I can see which devices are drawing power and how much run time is remaining, without physically checking anything. That kind of visibility matters when you’re mid-set and can’t stop to manage gear.
NOTE: This power bank powers the Zoom LiveTrak L6max digital mixer, the Infinity 3 looper (which has a 12V power supply requirement), or the Boss looper (which only requires a 9V supply), plus a MIDI hub for syncing the GE200 and the Infinity 3 looper with the Novation Circuit Tracks.
INIU 20000mAh Power Bank
The INIU 20000mAh Power Bank is a secondary unit used for additional devices or as a backup. It outputs 65 watts and is roughly the size of a thick wallet. The size-to-output ratio is what makes it worth having in the rig. It charges my laptop to 50 percent in around 30 minutes, and it covers anything else that needs power without adding significant weight or volume to the bag.
The INIU 20000mAh Power Bank is used to power the Zoom MS-50CDR MultiStomp Guitar Effects Pedal. This effect unit requires a standard 9V power supply.
GENSROCK 24,000mAh Power Bank with AC Outlet
The GENSROK 24,000mAh Power Bank is used to power the Behringer speakers. The power lasts at least four hours.
myVolts USB-C to 9V Adapter
The myVolts USB-C to 9V adapter converts USB-C power bank output into 9V DC, which is what most guitar pedals require. It eliminates the need for a separate pedal power supply in the chain. If you are building a battery-powered pedalboard, this type of adapter is worth knowing about.
myVolts Ripcord USB to 18V DC Power Cable
The GENSROK 24,000mAh Power Bank is used to power the Behringer speakers. The power lasts at least four hours.
Microphone Setup
Beyerdynamic M 88 Dynamic Microphone
The Beyerdynamic M 88 is a hypercardioid dynamic microphone manufactured in Germany. A hypercardioid pattern means it has a very tight pickup angle and strong rejection of sound coming from off-axis. In a live outdoor or small-venue environment, where you can’t control what’s happening acoustically around you, that rejection is what separates a clean vocal from one buried in room noise.
I use it for vocals primarily, and it also handles close-miked sources cleanly. It’s an excellent option for miking my handpan when I add that to my solo performance. The output level is high for a dynamic microphone, which means less gain required at the mixer, and less noise in the chain. At the price point it sits in, it’s a serious professional tool.
Xvive AC58 Wireless Guitar System
The Xvive AC58 Wireless Guitar System 5.8GHz, A58 Guitar Wireless System with Charging Case for Active or Passive Pickup Electric/Acoustic Bass Guitar is an excellent solution to avoid having to use a guitar cable.
This is an excellent system, and comes with a carrying case for protection and mobile charging.
Microphone, Stand, Boom Arm, Mount, Clip and Accessories
Mic Stand Extension Tube, 4 Pieces Microphone Extension Pipe Microphone Stand Extender with 2 Screw Aadpters for Desk Boom Arm Stands
On-Stage MSA9502 – On-Stage Posi-Lok Mini Microphone Boom Arm, Black. This 7 inch Mini-Boom comes complete with two 52-teeth disks that rotate 300 degree and grip securely together. This versatile boom is designed specifically for those hard to reach places, such as drum or other instrument miking. Built with an ergonomic knob adjustments are simple and easy.
The Shure A55M shock mount clip reduces mechanical vibration transmission by over 20 decibels.
The VIVO Universal Steel Microphone Adapter Mount, mounts directly to the pedal board so a mic stand w/ boom arm, can be quickly attached to save floor space and reduce setup time.
None of these are headline gear. But the difference between a mic setup that works cleanly and one that causes problems on stage often comes down to exactly these details.
Pedalboard Case
Ghost Fire Standard 28 aluminum locking case
Everything on the pedalboard sits in a Ghost Fire Standard 28 aluminum locking case. It’s 27.5 inches wide, holds 10 to 12 pedals, weighs around 12 pounds with pedals, mixer, and everything else listed above, and travels without issues. The interior has shock-proof foam lining and comes pre-fitted with Velcro tape for mounting. The latches are solid. The anti-slip pads on the bottom keep it stable on any stage floor.
It’s not a flashy case. It’s a functional, durable case that protects the gear and is easy to transport. That’s what matters.
Groove Box
Novation Circuit Tracks
The Novation Circuit Tracks is a standalone groovebox with two synth tracks, two MIDI tracks, and four drum tracks. For my acoustic guitar live
performance rig, I plan to use this unit to add rhythmic and textural elements
underneath acoustic guitar parts when I want to add texture or create
soundscapes. The unit has stereo audio outputs for connecting to the mixer,
and MIDI output for syncing with my delay and reverb effects. It’s a powerful
unit that integrates cleanly and gives me the option to add a drum machine
and synthesizer in a compact package.
MIDI HUB
CME MIDI Thru5 WC 1-in-5-out MIDI Thru, 5-pin DIN
CME’s MIDI Thru5 WC integrates the latest high-speed optocoupler for reliable and exact forwarding of your MIDI data without any errors. Split all incoming MIDI messages to 5 thru ports and synchronize all your MIDI devices with extreme precision.
- CME delivers the future in MIDI technology!
- High-precision transmission of all MIDI messages with
groundbreaking accuracy! - Next to zero latency and jitter!
- Works right out of the box via standard 5-pin DIN ports
- Seamless synchronization of all MIDI devices with secure error-free
MIDI splitting functionality
Using This Rig for Busking
Street performance requires a setup that sounds professional in an outdoor environment with no acoustic control, sets up and tears down quickly, and requires no fixed power source. Those aren’t easy requirements to meet simultaneously.
With this rig, the Coolmusic BP40D monitors alone are sufficient for most busking situations. They’re loud enough for outdoor environments, they sound clean at the volume levels street performance requires, and they run all day on battery. Add the MOOER GE200 for tone shaping and a solid power bank, and you have a professional- sounding busking setup.
If you’re specifically building a rig for busking rather than a full venue setup, you don’t need everything in this list. A simplified version of this chain — guitar into effects processor into one or two battery-powered speakers, with a quality microphone for vocals — covers what you need.
The full rig I described above is what I use when I want the same setup whether I’m busking or playing a venue. That consistency is its own advantage.
Frequently Asked Questions
How long does the battery last?
Does battery power affect sound quality?
What is the signal chain in simple terms?
Is this setup good for busking?
Can parts of this rig be used for studio recording?
NOTE: I’ve tried to get everything I need into a small rig I can travel with to remote locations, even ones that require backpacking. The complexity of what’s needed for a truly sophisticated multitrack recording unit gets complicated once you add multiple MIDI controllers and premium delay and reverb effects. I’ve chosen to go with the live acoustic guitar rig I’ve mapped out above, and I’ve separately built an amazing mobile recording studio for my acoustic guitar that fits in a backpack. That setup has its own specific requirements, so I’ve chosen to write a second article covering all the gear I use for it, and why.
This has been a long and complicated journey, but I now have a live mobile rig that’s easy to perform with, and a mobile recording studio that fits in a backpack and is battery-powered!
Mobile Recording Rig — MOTU M4 audio interface, Rode NT5 condenser microphone, Strymon Sunset dual overdrive, Looptimus MIDI controller, Boss expression pedal, a 12×17 effects case, mic mount, and stands for MIDI controllers — all in one backpack! I’ll cover this in a separate post
