Mark Knopfler Guitar Setup And Rig Rundown


Dire Straits, one of the rare bands who had such a reach around the world without conforming to outside pressures or temporary trends. Their repertoire is full of hits that even those who don’t necessarily listen to rock know.

No matter what some people say, Mark Knopfler is definitely the brains of the whole operation.

His guitar skills, creativity, and voice are all on a level of their own. Aside from having some of the best songs in the history of rock music, this band also has a pretty refined and unique sound.


Again, that is in good part thanks to Knopfler, who has been the main driving force behind Dire Straits for decades. Because of that, we are going to take a closer look at Mark Knopfler’s guitar rig now and see what his regular setup consists of.

As you are about to find out, with Knopfler it is all mostly about simplicity. Even so, he has managed to dial in some of the most legendary guitar tones known to man.

Throughout his long career, we’ve mostly heard him with those crystal clear tones through his Fender Stratocasters. However, he’s also been known for his use of Gibson Les Pauls and Schecters, but we’ll get to all that in a few moments.

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They say that one’s first guitar is always going to take a very special place on the rack, no matter how crappy it is or how many expensive guitars you get afterward. That is exactly how Knopfler views his first electric guitar.

The model in question is 1962 Hofner Super Solid V2.


He received this one from his father as a gift, which was pretty cheap back in those days. Even though he has reached global fame, Knopfler still has this guitar and is most likely keeping it in a safe and secure place.

We could easily say that he will never play it on stage ever again. Glancing at this old guitar model now, it’s definitely something that looks pretty unconventional at this day and age.

It comes from the early 1960s and features an unusual looking tailpiece and a tremolo bar, two humbucker pickups, one volume and two tone controls, and a weird 3-way pickup selector switch.

Before he became a Schecter guy, Mark was riding the Gibson and Fender train for quite a while. He owns a 1959 Gibson LP Doublecut – a somewhat of a rare model that he sharpened his teeth on in terms of sound.

gibson les paul special double cut

It features two P90 pickups and a simple stop bar as a bridge. The overall features are similar to those old Les Paul Junior and SG Junior guitars.

Afterward, he got a hold of a ’61 Red Stratocaster, which would define the start of his affinity toward Strat style guitars in general.

61 red strat sultans of swing

Currently, this specific guitar is probably sitting somewhere next to that Hofner we mentioned above since it’s pretty special to Mark.

Buying it sometime before the recording of Dire Straits’ debut album, this is most likely the instrument we can hear on the band’s legendary song “Sultans of Swing.”

Check out this video where YouTuber Dusty Strings lays into the í59 Gibson Les Paul Special.

Going over to another one of his famous Stratocasters, there was also a red ’62 in his collection.

However, it is rumored that this is actually a Japanese copy. There have been many theories about this instrument over the years and there’s still some mystery of about its origins surrounding it.

Although he’s not known for these models, there have been a ’69 black Fender Telecaster and a white Gibson SG Custom with three pickups, built sometimes in the 1960s.

Now going over to some other of his memorable guitars, the 1980 Schecter Stratocaster in red is another one of his important instruments.


For all the fans of Dire Straits, this is the guitar they probably imagine Mark playing when they think of the most memorable performances. The guitar came with a maple neck and Schecter pickups, which were later replaced with a set of Seymour Duncans.

There’s a 1980 Schecter Strat that he got it in the early ’80s. The guitar was played all the way through the decade, up to the early ’90s.

There have also been some other Schecter guitars in his arsenal, including a 1984 Telecaster that he used on “Cal”, which is the soundtrack to the film of the same name, released in 1984.

After using Schecters for a significant portion of his career, Knopfler later switched over to a mix of Pensa-Suhr, Gibson Les Pauls and Fender Strats.

There have also been other interesting guitars in his collection, like the Steinberger GL2 Standard. However, none of these guitars were as notable as the ones we mentioned above.

Acoustic guitars

But of course, we should not forget about his extensive use of acoustic guitars over the years. National Tricone and ’37 National Duolian Resonator are some of the most interesting instruments in his collection.

Especially the Duolian Resonator, which he got back in 1978 from Steve Phillips. The two of them actually performed under the name The Duolian String Pickers for a while.

This guitar was also used on Knopfler’s 1982 song “Telegraph Road” as well as his 1980 tune “Romeo and Juliet”.

Mark’s Martin D18, made in the 1930s, stands out as one of his favorite instruments of all time. As Mr. Knopfler explained once, this guitar has its own character and that vintage dry tone.

martin d-18 mark knopfler

As for the other acoustic guitars, he was mostly focused on Martin and Gibson guitars and he used them on numerous occasions throughout his career.


Mark’s choice of amps is a pretty interesting one. If you’ve listened to more than one album of Dire Straits, you probably have a clear enough picture when it comes to his tone. Interestingly, he used a number of different amps to get all those different types of tone.

Fender Vibrolux comes to mind as the first important amp. It was used for their first album, while it came to foreground the most on the “Sultans of Swing.”

Next amplifier that is worth talking about is the Mesa Boogie Mark II.

This one was Mark’s choice for “Brothers in Arms” album, along with the Marshall JTM45. Speaking of which, that JTM45 is responsible for the crisp tone we heard on the song “Money For Nothing”.

marshall jtm45

This is, by far, one of the company’s most famous products and one of the most diverse amps. It’s been designed after the legendary Fender Bassman amp model.

Here’s a quick demo of the Mesa Boogie Mark II.

When it comes to his main rig in more recent years, Soldano SLO100 comes up every time. It appears that Knopfler settled down on this model and decided to use it as his foundation.

This 100-watt amp is known for its great sound and great looks. First released back in the late 1980’s, it’s been used by guitar players from softer genres, all the way to crushing heavy metal.

But although Mark started his guitar playing career way back in the 1960s, he’s certainly open to new technology which is rather unusual for musicians of his age. It has been revealed in 2019 that Knopfler got into the world of digital modelling amps.

The amp (or should we say effects processor) in question is Kemper, which has also been praised by many other guitar masters, including Steve Vai.

Although somewhat of an unusual turn of events to witness him play through this, Kemper definitely manages to recreate the tone of various guitar amps, both older and newer ones.


Besides, it is way more practical for taking on those long tours overseas since it’s compact, does not require expensive maintenance, and brings more consistency. And the fact that Mark’s decision to start using it is clearly a proof of Kemper’s greatness.

Some other amps have also been present in his various rigs over the decades, including Crate VC 5212, Fender Super Sonic, Tone King Imperial MKI, Music Man 212-HD, and even Reinhardt Storm 33 which is somewhat rare to find these days.

reinhardt storm 33

Effects Pedals

If you know Mark, you probably know that he is not a big fan of effects pedals. In fact, he prefers to let this guy backstage take care of the effects almost completely.

With that said, there are some pedals he has used, which have left a mark on both his tone and understanding of guitar effects in general.

Morley volume pedal was definitely a big part of Mark’s main rig back in the day. He used it for his live performances, and it gave him the edge he needed when racked effects just couldn’t cut it.

These days he hasn’t included this Morley into his setup too many times, but it’s suspected he is still using it for studio work.

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Dunlop Cry Baby Wah is another pedal that comes to mind. However, Knopfler didn’t really use it as most other guitar players would. Instead, he fixed the wah in a certain position and played it that way.  This is one of the main secrets behind the tone on “Money for Nothing”.

Playing through his Gibson Les Paul, his Shure SM57 microphones were placed in a particular way by accident, which also contributed to the tone on this well-known song. 

Lately, Crowther Audio Hotcake seems to be his dirt of choice. The pedal is a booster/overdrive combo box and a pretty conservative one at that. With that said, Knopfler was seen playing through it on recent tours.


Read our review of the Hot Cake here

Check out this video by YouTuber Prymaxe playing the Crowther Audio Hotcake Distortion Pedal.


One of the more interesting things that are worth mentioning is Knopfler’s affinity towards D’Addario strings. Most of his guitars are stringed with one of their models, or another.

He has chosen D’Addario quite some time ago, and he still prefers them over most other brands on the market. Just how much of an impact this decision had on his tone is hard to determine, but we believe it definitely played a part.

For the most of his electric guitars, he’s been using D’Addario EXL120 which are a 9-42 set.


Although he’s clearly a fan of lighter gauge strings, his acoustic guitars mostly feature Dean Markley strings that are 12-53, which are most certainly quite heavier compared to his electric setup.

His National Tricone and National Duolian are somewhat of an exception as he uses D’Addario EJ15/3D 10-47 sets on these two guitars.

And since Mark Knopfler has been, of course, a lead vocalist all throughout his career, he always needed a solid microphone for his work. And for this purpose, Mark has been using a Shure SM58.

This particular microphone is pretty much an industry standard. This is not only due to the sound quality but also due to its ability to withstand rougher handling. As for other microphones, he’s also been seen using Audio Technica AT4055.

at4055 handheld cardioid condenser


If you were to ask us what single trait makes Knopfler a great artist, we’d say it is his approach to music in general. Mark’s a simple man when it comes to sound.

Give him a good amp, a good guitar and just watch him completely align everything toward a pretty awesome tone. Sure, there’s a decent number of effects in Dire Straits songs, but those are either added by technicians during recording or in the post-production process.

Knopfler himself rarely deals with that, and that is the way he always was.


Most of his tone’s character comes from his own ability to make the guitar sing. Mark’s technique and subtle details are the core of Dire Straits’ music. Those who strive to do more with less are definitely going to appreciate his style.

There are certain guitar lovers that like to say that the tone comes from the guitarist and not the gear. Whatever is your take on that, Mark Knopfler could be, in a way, a proof that this saying is true as none other would sound like him through the same rig that he’s using.

Jerry Cantrell Guitar Setup And Rig Rundown

jerry cantrell guitar setup rig rundown

They say that each decade has its own genre of music that defines it. In the ’60s it was pure rock – garage rock, psychedelic rock, progressive rock, hard rock, and the beginnings of metal with Deep Purple, Led Zeppelin, and Black Sabbath..

When the ’80s came around, we saw glam metal draw nigh, with bands like Ratt, Warrant, Motley Crue, and Bon Jovi.

However, compared to both of these genres, what took the stage in the ’90s was a lot darker – grunge – and it originated in Seattle.  Here’s a famous clip of the song “Man in the Box” by Alice in Chains, written by the subject of today’s article – Jerry Cantrell.

Grunge was a relatively unique type of music whose message reached millions around the world.  It was an unlikely genre, as the musicians who played “grunge” were labelled grunge rockers by music industry people, and the fashion, if you can call it that, was based on the sort of thrift store chic, with baggy clothes, hats, combat boots, flannel, and sort of lumberjack attire as it was based out of the Pacific northwest.

You’ve probably heard of at least four (ie. the “Big Four”) famous grunge bands, and one of them is almost always going to be Alice in Chains.

The lead guitarist and the brains behind some of their most influential songs, Jerry Cantrell, can be thanked for the direction that helped the band rise to its current fame.

Their riffs are dark with elements of pure metal, some glam (from their humble beginnings), sludge rock, doom rock, and prog rock, while the style of singing that Layne used being something of a one-of-a-kind sound that was often imitated, never duplicated.

Cantrell’s vision was always crystal clear, and he had no problem realizing his goals. What we want to know today is what type of gear did he use to get that job done.

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Guitar Setup

Aside from a number of Gibson Les Pauls and Fender Telecasters, Jerry’s main choice in guitars mostly came down to G&L creations.

One of the most memorable models is the G&L Rampage, which he promptly modded by adding Seymour Duncan pickups and replacing the tremolo bridge.

This guitar would later be used as the basis for G&L Rampage Signature Jerry Cantrell model. His affection for what most people consider to be true Leo Fender designs doesn’t stop there.

He went on to get a G&L ASAT as well.

jerry cantrell g&l guitar

In terms of his acoustic guitars, there’s a decent number of recognizable models on his inventory list. For example, he used a Martin D-35, a Guild D50 along with their JF30 acoustic guitars.

Cantrell even played a Line 6 Variax for a period of time.


His choice of amplification had a major impact on the Alice in Chains overall tone.

Although the number of different models he was seen using over the course of his career is extensive, a clear pattern is visible once you glance over that list.

For example, he has a thing for Bogner Amps, including the Bogner Alchemist and Bogner Ubershall.

These were usually paired with Bogner cabs which featured Celestion speakers. You can also see a Fender Twin Reverb sitting alongside a Mesa/Boogie Dual Rectifier.

However, when Eddie Van Halen gave Cantrell an EVH 5150 that changed everything.

Overnight, this became his main amp and he shows no signs of wanting to change that.


With that said, he has one of the more developed inventories of amps.

There are numerous different heads there, including some Hiwatts, Marshalls, and more. He also used a standard Vox AC30 for some specific sections of their songs.

Needless to say, Cantrell wasn’t shy when it came to mixing things up and trying to find the exact type of sound that would fit into a song like a glove.

Effects Pedals

Effects pedals are something you will see an abundance of in Jerry Cantrell’s gear.

His pedalboard is mostly comprised of popular models, but there are some in there which are more obscure. Let’s start with the wahs.

Dunlop makes a signature model for Jerry called the Cry Baby JC95. Besides that model, he used Dunlop’s 535Q Multi-Wah as well as their Dimebag model.


Cantrell’s distortions are pretty straight forward. We are talking Big Muff Pi sitting next to a ProCo Rat.

He also loves the MXR M222 Talk Box, which he uses prominently in Man in the Box.  In fact, you could credit this pedal for AiC’s fame, as Man in the Box was their first huge radio hit.

In terms of modulations, there is plenty to see. He has a Boss Chorus Ensemble, MXR Bass Octave, and even the Line 6 MM4 as well.

Among the more obscure pedals, you will find Eventide Time Factor, BBE Soul Vibe, and an ISP Decimator.

Check out this video demoing the ISP Decimator Noise Reduction Pedal courtesy of Matt Manzella.

This whole configuration, plus all the other pedals we didn’t mention, is powered by a single Voodoo Labs Pedal Power 2 Plus unit.

That model brings all isolated channels with enough juice to run just about any setup.

Some of you will probably wonder why didn’t go for something more professional, and that’s a question only he can answer.

In the mean time, that Power 2 Plus box is getting the job done with little to no effort.


All things considered, his pedalboard is rather busy.

The fact that you can’t even hear a good portion of those effects unless you actively search for them, tells a story of how efficient he is in their use.

Often when you see pedal boards this saturated, you expect to have that guitar player just drown the signal with various effects.

Not Jerry, though. He knows how to be as subtle as it is necessary to get his message across.


Many critics are crediting Jerry Cantrell with shaping an entire generation and influencing future artists in a very profound way.

His alternative creativity is not something you see every day.

Even though the gear he uses is pretty extensive, and his pedalboards are usually full to the brim, Jerry is first and foremost a master of guitar.

Grunge as a genre is pretty open to all kinds of variations and personal touches. Someone like Cantrell simply flourishes in that type of environment.

He experimented a lot, both with gear and sound, only to create one of the best grunge bands of all times in the process.

With that said, copying his tone is not too difficult. In broad terms, it’s not that much different than what you can get with a somewhat decent setup.

It’s when you start going into fine details where things tend to get complicated.

Not a lot of people will equate grunge with sophistication of any kind, but the truth is definitely something else.

Cantrell might not be the best technical player in the world, but he has managed to create a revolution in other ways.

Here’s an awesome video of Jerry Cantrell giving us a rig tour thanks to Total Guitar.

Jimi Hendrix Guitar Setup And Rig Rundown


Ever since electric guitars were first invented back in the ’50s, there have been hundreds of guitar players who have all been considered to be the masters of their art.

However, there is one man who probably isn’t the most technically proficient guitar player who ever lived, but that one man is considered to be the best guitar player who ever walked the earth.

The one that is at the top of every internet list all the time, and rightfully so as his playing has influenced players of all genres from jazz, blues, and all the way to the heaviest of metals.

If you haven’t guessed it by now, we are talking about none other than Jimi Hendrix.  Cue awesome and rare Hendrix solo…

There are numerous reasons why we make this claim along with thousands of other music critics.

His way of handling electric guitar was simply unique at the time. He was a lefty, but he insisted on playing a right-handed guitar turned upside down. This seemingly inconvenient method of playing allowed him to have a pretty distinctive sound and approach to his left and right hand techniques.

That sound combined with his own take on standard blues boxes is what made him one of the elite, one of the best guitarists in the history of rock music.

Even to this day, you’ll hear people praising his songwriting, guitar playing, and arrangement skills. Hendrix pretty much set the standard for all the musicians that came after him.

In this article here, we are going to go over the gear he used during his career and talk about the technical aspect of his style.

Photo of Jimi Hendrix 10 denmark

Fender Jimi Hendrix Stratocaster – Olympic White

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The most obvious thing anyone watching Jimi Hendrix perform for the first time would notice, are his guitars.

As we have mentioned before, he always used the right-handed models which he played inverted.

Not only did he achieve a unique tone that way, but the whole performance looked completely amazing as well.

Those who have spent some time going over the footage of his live shows and you have probably noticed that he almost exclusively used a Fender Stratocaster.

That is true for the most part. However, he used a variety of other guitars. Let’s go over some of the most notable models in his collection.

Believe it or not, Jimi’s metaphorical guitar rack was full of a variety of guitar models, some of whom were not often seen in his hands.

We will get to his Stratocasters a bit later. For now, let us start with his very first electric guitar. The model in question is a very elusive 1957 Supro Ozark 1560s.

This was a pretty cheap and rather unusual electric guitar which was gifted to Jimi by his father back in 1959.

As fate would have it, Hendrix only got to play this guitar for a year or so before it was stolen after one of his early performances. This one was made by a now mostly forgotten company named Valco.

The model itself is somewhat of a collectible item among the guitar enthusiasts, but just imagine how much it would sell for if someone was to dig up this Hendrix’s guitar and prove that it was, in fact, the one he played on.

Next guitar he got was a Danelectro Shorthorn 3012. This one was a replacement for the stolen guitar. It’s a simple instrument that was popular at the time, featuring one single-coil pickup.

There were some discussions over the years between the music historians whether this was a 2013 or a U-1 model, but it was later confirmed that this was, in fact, a 3012.

1960s Danelectro Bronze Standard

Later down the road, he got into Strats. But before that time, he owned an Epiphone, a Fender Duo-Sonic, Fender Jazzmasters, and even an old Ibanez called Jet King 2 which was pretty much a Jazzmaster copy.

The Epiphone in question was the 1961 Wilshire, and he used this particular instrument while performing with a band called King Casuals, sometime in the early 1960s.

His Strats start out with the 1964 model he got in New York City circa 1966. And that was the moment he fell in love with this specific model. The guitar was white with a rosewood fretboard, which is something Hendrix would go on to abandon completely later on in his career.

His 1965 Strat is among the more notable guitars he ever played simply because it was the first one he burned during one of his performances. This unusual practice would become his signature thing.

Check out PlayRockZone kicking out some Little Wing.  Hear that sound?

However, the most important guitar to ever be played by Jimi Hendrix is the 1968 Fender Stratocaster.

This was Jimi’s favorite guitar, and the one he played the most. It was a black Strat with a maple fretboard. Its been said that he played this very Strat the night of his death. Current whereabouts of this Strat, unfortunately, still remain a mystery.

Check out EddieVegas in this video showing off the ’68 Strat.

Aside from these, Hendrix was seen holding some other guitars at the hight of his career. There was a Bartell Black Widow, a semi-hollow body guitar that isn’t that easy to find these days. He traded it for one of the Stratocasters.

Although a Fender guy, it wasn’t that unusual for Hendrix to be seen holding an instrument made by Gibson, their biggest competitors. He owned a few Les Pauls, the most notable one was a right-handed black ’56 Custom. This one is currently owned by Hard Rock Cafe International.

Hendrix also owned two Gibson Flying V guitars. One of those is a hand-painted Flying V that Gibson even revived as a very expensive Custom Shop version in the 2000s.

Among other Gibsons, there were a few SGs in his collection. This does not come as a surprise as the SG’s design had some advantages for left-handed players who had troubles finding instruments they could use properly.

There was a white 1967 Custom Shop SG that he used over the years. This guitar is also currently owned by Hard Rock Caffe.


In terms of amps, Hendrix was a pretty straightforward type of guy. During his early days, he was very much involved with Silvertone Twin Twelves, Supro Thunderbolts, and finally the legendary Fender Twin Reverb.

Later on in his career, Hendrix became a huge Marshall fan.

Take a look at this Silvertone 1484 Twin Twelve, with playing courtesy of Rocket Music.

And here is ProGuitarShop Demos with a demo of the Supro S6420+ Thunderbolt.  Behold!

He went through a huge number of Marshall Plexis which included a variety of models. Among the most notable Plexi amps, we could find is the JTM45 and 1959 Super Lead.

The Super Lead is a legendary amp, also used by many other guitar heroes of the ’60s and the ’70s. Both of these amps have that trademark vintage Marshall tone which many guitar players around the world still love to this day.

Hendrix really knew how to push those tubes to the point of breaking, which did happen more than several times during his performances.

Here’s Guitar Gear Demos with a great demo of the Marshall JTM45 1965 Plexi Vintage ORIGINAL Guitar Amp!

And here’s Brigado70 playing the Marshall 1959 Super Lead with his Gibson Les Paul..

There have been some more “obscure” amp models in his arsenal that are definitely worth mentioning. One of those is an Ampeg Portaflex, the B15-N model.

And there were also some Sunn amps in there as well, like the 100s. He even made a deal with the company to provide his band with equipment after the legendary Monterey Pop Festival.

Effects Pedals

Effects pedals are not something Hendrix is known for too widely. Which is not really a surprise since the 1960s was not exactly the era of guitar pedals and not that many of them were widely used back in those days.

All in all, there are few pedals that he implemented, with two of those being different Vox wah pedals. Wah-wah, of course, became one of the most important effects in his rig, something he even became very well-known for.

With that said, he did love one single pedal which he based his whole tone upon. That is none other than the legendary Dallas Arbiter Fuzz Face.

Here’s Graemey demonstrating the power of the pedal.

Hendrix carried this thing with him just about everywhere he went. He is also one of the reasons why this particular pedal became so popular in later years.

Today, Fuzz Face is made by Dunlop and it represents a very true copy of the original one Hendrix used.

Back in the late 1960s, the Fuzz Face was made by Dallas Arbiter. The idea behind this peculiar design was for it to serve as a microphone stand. While it didn’t serve this function, it had a pretty great tone.

However, the very first series of Fuzz Face came with germanium transistors and were known for amazing tone. However, these were a bit unstable and tended to overheat, ultimately changing the tone mid-session. They were then replaced by the standard silicon transistors.

Of course, the robust and large casing would be kind of impractical these days, so Dunlop basically makes those mini versions of the Fuzz Face that nicely fit into any standard pedalboard out there.

There was another dirt box that he used, the Roger Mayer Octavia. This is an octave fuzz pedal, something that was popular at the time.

We should also not forget the legendary Univox Uni-Vibe pedal that delivered some of the best-known vibrato and chorus tones. Not to mention that it has also been seen in signal chains of many other guitar heroes throughout the decades.


Replicating Jimi’s sound is, seemingly, not too hard, especially with the abundance of equipment we have today and the fact that he kept everything simple.  In some ways, you could definitely scale down his whole setup to a vintage Fender Stratocaster, a Marshall Plexi and a that Fuzz Face pedal.

jimi hendrix live

However, those subtleties he was the master of – now, those are going to take a lot of skill and knowledge to get down correctly!  The list of gear we showed you here represents the most important equipment he Hendrix used during his brief career.

You can start by using a Fender Stratocaster, or even a cheaper copy although quality single-coil pickups will help you out in the process. Many Marshall amps these days and various digital modelling units also have presets that will replicate Hendrix’s tone.

If you really want to go old school, an old vintage fender, Marshall Super Lead, and the Fuzz Face will help you out. In case that’s too expensive for you, you can go with a Mexican Strat, a small tube-driven Marshall, and any kind of a fuzz pedal.

You should also not forget about Hendrix’s extensive use of wah pedals and there are many products out there specially designed to help you copy his wah tones. However, even the standard Dunlop Cry Baby GCB95 can come in handy in this case.

In the end, replicating Jimi’s tone also takes a lot of practice. Even if you had the same exact instruments and amps, it’s not exactly easy to make it all sound like him.

It will take time, but closely listening to his dynamics, the way he picked the strings, his choice of notes, and all the other things will help you get there. This is all of huge importance if you’re trying to get it close to his tone.

His skill, tone and overall charisma drove millions of peoples for decades, and chances are he will have that same effect on fans of hard sound far into the future. The gear he used to achieve his impressive sound is nothing too special.

For the most part, it’s a somewhat standard combination of guitars and amps with a sprinkle of thick fuzz. The core of his characteristic tone lies within the way he played the guitar, how he made it scream.

Jimmy Page Guitar Setup And Rig Rundown


When you walk into a guitar shop, chances are there will be a sign in the area designated for trying out guitars, that says “no Stairway to Heaven” on it.

This might be a silly example, but it’s little things like this that really paint a picture of just how influential Led Zeppelin was, and what kind of impact this band has had on the course of modern rock and metal music and even other genres.

In addition, “Stairway to Heaven” is, indeed, one really overplayed song. But for a good reason – it’s so damn great that it’s just unavoidable in one guitarist’s musical journey.

The main driving force behind this legendary band were two guys – singer Robert Plant and guitar player Jimmy Page.

The way Page played (and still plays) guitar is considered to be revolutionary for the time frame we’re talking about. Even today, you’ll be able to hear his impact in the playing of some younger guys.

He’s a type of guitar player who not only has the technical know-how, but also the impressive creative capacity. His riffs, solos, and licks are among the greatest ever played on electric guitar. And there’s no discussion about this whatsoever.

Our task in this article is to find out what type of gear Jimmy Page used, and how that gear impacted guitar tone and the overall artistic output. We will take the time to look into his guitars, amps and effects pedals.

Hopefully, by the time you are done with this piece, you will have a better understanding of what hardware lies behind Led Zep’s tone. Now let’s take a listen to one of the many, many great Zep tunes, this one from “Physical Graffiti” – the classic “Trampled Under Foot.”


The most important component of every guitarist’s setup are – obviously – their guitars. Jimmy Page has a very distinct taste when it comes to the instruments that he plays. Which is most definitely not a surprise for such a sophisticated and experienced musician who started his career as a session musician.

Most rock music fans will instantly recognize his immense affection for Gibson Les Pauls. That is no surprise considering that his inventory of guitars mostly came down to this model.


With that said, there is one guitar that is truly special both to Page and to us. It’s his 1959 Les Paul Standard he named “Number One.”

This guitar is followed by two more Les Pauls that are designated as “Number Two” and “Number Three.” However, the first one is still the most notable piece he has.

In essence, it’s a regular 1959 Les Paul Standard, which is pretty special in itself.

Once Page acquired this Les Paul, there were a number of modifications done to it. Most notably, the neck was sanded down for more speed and playing comfort.

Page, a Telecaster man until that moment, took the “Number One” and swapped the tuning machines along with pickups at a later point in time.

All the Les Pauls that were made back in 1959 are still, even to this day, considered as the “holy grail” of the guitar world. It is one Gibson series with such quality that all the other series strived to achieve this level.

Needless to say, these guitars are highly valued and can sell for more than $100,000.


His “Number Two” and “Number Three” were mostly based on this customized Les Paul since Page was so impressed by what the guitar could do.

Aside from these, Page also used some pretty weird guitars. There’s the 1970 Gibson EDS-1275 Doubleneck guitar that he liked to pull out specially for Stairway to Heaven.

This particular model has also been used by countless other guitar heroes over the years and features one neck with 12 strings and the other features the regular 6-string setup.

Arguably the most unusual axe he ever used is the 1967 Vox Phantom XII, which is a 12 String. This thing has the weirdest body shape among all of the Jimmy Page’s guitars throughout his career.

While we’re at some of the weird instruments in his collection, Page also used somewhat of a rare guitar, the Danelectro Longhorn double-neck.

As opposed to the usual setup of double-neck guitars, where one is a 12-string and the other one a 6-string, here we have two 6-string necks. The only difference between the two parts is that the lower one has a longer scale length, serving as a baritone guitar that goes into some lower tunings.

While writing and recording music for some of the 1980s films, like the “Death Wish II,” Page played on a Roland G-707 guitar.

As these were the times of experimentations and innovation in both technology and music, the G-707 is one of those synth guitars from the decade that were all responsible for revolutionizing the music world.

It can essentially be used as a MIDI controller along with a synth processor unit to create various tones, even imitating pianos, strings, and countless other instruments.

But, of course, one should not forget about one more of his legendary guitars, the well-known hand-painted Fender Telecaster. Being a gift from his good friend (and another guitar master) Jeff Beck, the instrument was implemented on Led Zeppelin’s self-titled debut album.

This comes as a surprise to some, not only due to the obvious Les Paul affection that Jimmy Page has but also due to the fact that it’s really unusual to hear a Telecaster sound so heavy. Aside from the debut record, Page used it for some of the band’s earliest tours as well as on the famous groundbreaking solo for “Stairway to Heaven” from the band’s fourth album.

Of course, there have been many other guitars in his collection and we could probably write a series of articles to cover each and every one of them. Bear in mind that these are just some of the most notable ones, along with some oddballs worth mentioning.


In terms of amplification, the hardware list is almost as colorful as it is with his guitars. Naturally, his selection of amps dictated a large portion of his tone, which was nothing unusual back in those days.

One of the first amps he ever used with Led Zeppelin is the Rickenbacker Transonic combo. This is an old piece of gear, a very rare transistor amp coming from the 1960s. If in good condition, some can reach the price of a few thousand dollars if sold today.

This monolithic amp, and one rather unusual unit for today’s standards, was with Page during their first US tour, only to be used for a number of occasions afterward.

Next notable amp that he had in his collection is the Hiwatt Custom 50 and Custom 100. This was his main choice from 1969 to 1971.

Both of these were slightly modified according to his own taste, however, it’s fair to say that he didn’t really change the core of the sound. Rather, his customizations gave these amps an edge of sorts.

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Of course, one of his favorite amps has got to be the Marshall SLP-1959 Super Lead. This was an old school Marshall stack that had 100 Watts of power and two channels.

It was one of the first amps to come with an overdrive. He used this configuration extensively throughout 1975 and later on as well.

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However, the story goes that Jimmy Page’s Super Lead was modded and that it went up to the power of the very impressive 200 watts.

Maybe this was a bit excessive, but we know that Page is one of the people responsible for developing heavy metal music, so going into some dangerous areas was not unheard of in those early days of the genre. Especially knowing that those old bands competed in loudness on live shows.

When it comes to some less conventional amps, Supro Thunderbolt is the first thing that comes to mind. This was the amp that Led Zeppelin’s first album was recorded on.

In addition, some portions of “Stairway to Heaven” were also recorded using this old amp. So it’s definitely a piece of gear of great historic value. Paired with his Telecaster, he made some game-changing tones with it.

However, there have been some speculations whether this was a Thunderbolt or a Coronado model, but the story goes that the amp was modded and fitted with a 12″ speaker, instead of the standard two 10-inch ones.

Page’s affection for this particular Supro never went away, and it’s something he still likes to use today.

Effects Pedals

Effects pedals you could find on Jimmy Page’s pedalboard developed from a pretty simple setup in his early days, to a more complex configuration later on.

One of the earliest pedals he ever used was the Maestro FZ-1 Fuzz-Tone. This thing had a pretty raw tone, which definitely went along with Jimmy’s style back in the day. It is also the first-ever commercially produced distortion device in history, also used by the likes of Keith Richards and Billy F. Gibbons.

One particular type of effects pedals Page really loved was the wah. He owned a number of Vox models which could probably represent the evolution of their whole line in chronological order.

Notable examples are the Vox Cry Baby Wah ñ the original one developed by Thomas Organ Company, Vox King Way and Vox Grey Wah.

The aforementioned Vox Cry Baby model is the one that served as the basis for today’s Dunlop Cry Baby.

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Aside from these, you could see a number of different MXR models, including the M101 Phase 90 and a number of Maestro Echoplex pedals.

Speaking of which, his Echoplex EP-3 is something he keeps using to this day. These are, of course, all of those pedals that were produced back in the day.

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Jimmy Page, just like most guitar players of that time, relied heavily on their choice of guitars and amps. That was how they formed the core of their tone. Page’s sudden jump from Fender to Gibson is considered to be the pivotal point in his career.

Those Les Paul humbuckers had all the girth and width he wanted, which resulted in some of the most epic riffs known to mankind. If you are interested in achieving a tone similar to his, you should start with the Les Paul Standard.

If possible, make it a 1959 model although those are considered to be a true piece of treasure and are worth a fortune. However, even the new Les Paul will work as long as you get the electronics right.

Maybe you can start out with some of those replicas of vintage pickups, or some solid Gibson or Seymore Duncan pickups if you want to get the tone without spending money on a whole new Gibson guitar. A solid Epiphone LP with a new set of pickups might just do the trick.

Although bearing single-coil pickups, his old Telecaster helped him achieve some pretty heavy tones. All the Fender Teles today do a good job at making some pretty versatile tones. Even getting a cheaper model, like the Mexican Fender Telecaster, will be a good start if you’re the fan of Led Zeppelin’s self-titled debut record.

As for the amps, there are some Marshalls today that can help you replicate the old vintage hard rock tones. Or, a more affordable yet a controversial approach, is to have any kind of digital amp modelling device that does a good imitation of the Marshall Super Lead.

All the guitars and all the pieces of gear that we mentioned above are the ones that helped Jimmy Page shape his tone, ultimately giving a solid basis for the generations of guitar players to further develop their own distinctive rock and heavy metal tones.

But it’s not rare to find people who specifically try to get those exact Jimmy Page tones that we can hear on the old records. If you’re one of them, bear in mind that this will not exactly be the cheapest task. Especially knowing that he used some pretty old vintage amps that are extremely difficult to find today.

Hopefully, this article helped you understand the hardware behind Led Zeppelin’s sound and how Jimmy Page formed managed to achieve his well-known and easily recognizable tone.

David Gilmour Guitar Setup And Rig Rundown

david gilmour guitar setup rig rundown

There’s only a handful of rock bands that can really be placed in the elite category, and Pink Floyd is definitely one of them.

Even though it’s still questioned whether or not they were the ones who effectively created both the psychedelic and progressive rock scene, it’s a fact that Pink Floyd developed it into what it is today.

One of the musical geniuses and creative forces behind this effort is David Gilmour.

His creativity and ability to transform complex shapes into music made him one of the contemporary guitar wizards.

Even though he wasn’t one of the founding members of Pink Floyd, Gilmour was there when the Dark Side of The Moon was being created, and was a big part of that project.

When it comes to the gear he liked using, the list is not that extensive, but it does include some of the more unusual models of equipment.

Today we are going to go over what this legend has been using throughout his career for his rig, and what type of gear you would have to get in order to replicate his sound, if you dare.

Fender Player Telecaster Electric Guitar – Maple Fingerboard

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Dunlop Ffm3 Jimi Hendrix Fuzz Face Mini Distortion

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Rig Rundown – Guitars

As usual, we will start with guitars. In the case of David Gilmour, things are pretty much straight forward.

He found out what works for him early on, and has since kept a more or less same selection of guitars. Later we are going to take a peek at his amps, and finally his effects pedals. Without further ado, let’s dig right in.

It’s absolutely no secret that Gilmour is a Fender man. More specifically, Stratocasters were always his thing.

The first decent guitar he owned was a 1960 Telecaster he got as a present from a friend. It was a stock model, and that is probably what sparked his interest in this particular brand.

david gilmour telecaster 1968

What followed afterward is a series of Stratocasters, with the most notable being his black 1969 Strat that has become his signature piece of gear.

He bought this guitar in New York in ’70s and has played it ever since. Over time, Gilmour modified the guitar in a number of ways.

The most obvious modification is the paint job since the guitar wasn’t originally black at all. The neck has been swapped several times, as well as the pickguard and pickups.

Speaking of which, depending on the specific year, you could see anything from Gibson PAF to Seymour Duncan SSL-1. The final configuration of pickups includes 1971 Fender single-coils in the middle and neck position, with an SSL-1C in the bridge.


When he donated his black Strat to Hard Rock Cafe, he replaced it with a 1984 Strat ’57 Reissue model.

This one came in Candy Apple Red and was his main guitar until he requested his old black Strat back from Dallas Hard Rock Cafe.

david-gilmour-double-neck-strat-1972Among other interesting models in his collection, the Double-neck Stratocaster has got to be the most interesting one.

This guitar was made specifically for Gilmour by Dick Knight, and it featured two different Fender necks – one rosewood and one maple. Gilmour used this guitar for one tour back in 1972.



In terms of amplifiers, Gilmour found a model that he loved all the way back in 1969.

The amp in question is a Hiwatt DR103, which is a 100 Watt head. He paired it with a WEM Super Starfinder 200 cabs that were fitted with four 12 inch Fane Crescendo transducers each.

Interestingly enough, Gilmour never stopped using these amps, and they have remained in his primary rig to this day.

Other amps he used, that are also worth mentioning, include several Fender Twin Reverbs, a Gallien-Krueger 250ML, and even a Yamaha RA-200 Leslie.

Speaking of those Fender amps, Gilmour had a Twin Reverb II paired with 4X12 Marshall cabs, which were packed with Celestions all the way. Just like his guitars, David Gilmour has a pretty defined taste in amps and cabs.

FX Pedals

The staple of Gilmour’s signal chain has always been the Electro-Harmonix Big Muff Pi.

In some ways, he is directly responsible for the popularity of this effects pedal. Later on, he had Pete Cornish build him a custom pedalboard that included a variety of stompboxes.


Some of the notable models on this list include the Dallas Arbiter Fuzz Face which is responsible for certain modifications being made on the black Strat, a number of MXR Phase versions, Cry Baby Wah, and more.

arbiter fuzzface

This board also included some Pete Cornish pedals. You could see his tone pedal, volume pedal, and the ST-2 booster unit.

As you would expect considering the sound of Gilmour’s guitar on most of Pink Floyd’s albums and his solo work, there’s a quite a bit of modulation in his signal chain.

With that said, he always knew how to use these effects without them coming across too strong.

Additionally, his pedalboard setup is a lot more complex and includes over 20 different effects, some of which were customized by Gilmour in a variety of ways.


David Gilmour’s music, both his work with Pink Floyd and his solo stuff, is on a level of its own. This guy simply knows guitars in and out.

The impact Gilmour had on the progressive scene is hard to measure. He influenced a lot of great bands that are pushing this genre and further developing it today.

Gilmour’s list of equipment and gear is not overly complicated, but it goes to show that you can achieve impressive results with a select number of effects.

One interesting piece we also have to mention is his guitar strap. He owns the original guitar strap that was used by Jimi Hendrix, which was gifted to him by his wife in 2006.

When Pink Floyd disbanded, it was probably one of the saddest events in the history of rock music.

Both the fans as well as other artists were hoping that this great band would come back together for at least one tour. Unfortunately, that is yet to happen.

Until then, we are left to enjoy Gilmour’s solo career.

Read more on the Pink Floyd tone here:

Celestion Ten 30 Guitar Speaker Review

James Hetfield Guitar Setup And Rig Rundown


The story of metal music is a very interesting one. This genre slowly started coming out in the early ’70s with Black Sabbath showing us just how good the guitars can sound. From that point in time until today, metal has been through a lot.

With all that said, there is one band out there who single-handedly pushed this genre of music from a very niche environment to mainstream.


You’ve probably guessed it, we are talking about Metallica.

This group of guys took a new and aspiring type of music, infused it with energy, and spread it out around the world. They are considered to be the face of metal music, even today.

If there is one individual in this band who is responsible for the most of the achievement, it’s James Hetfield.

His talent, very peculiar singing style and overall great charisma are what put Metallica on the map in the first place.

Today we are going to do a quick rundown of his gear, and see what he used or still uses on stage to this day.

James Hetfield Rig Rundown

Achieving the type of hard sound Metallica relied the most on during their initial years was made possible by a very specific choice of gear they’ve used.

Some of that stuff is considered a golden standard today, but some of it still remains somewhat in the shadows.

Hetfield never liked to complicate things too much, but he did have his personal style when it came to his gear and setup.

Guitar Setup

One of the most popular things about James Hetfield, aside from his music and talent, are his guitars.

You will rarely see this man with a super Strat or Strat body guitar in his hands. It’s either Flying V’s, Explorers, or maybe sometimes SGs as well.

The number of specific guitar models Hetfield has used over the years is too long to count, but we are going to mention some of the more memorable pieces from his collection.

But first, here’s a little bit of Hetfield playing the riff for Judas Kiss, in case you forgot what he sounds like when he’s tearing up a metal riff.

Ibanez Ts9 Tube Screamer – Classic

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Esp Ltd Snakebyte Signature Series James Hetfield Electric Guitar With Case, Black Satin

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Marshall Jcm800 2203X 100W Tube Head

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Pro Co Rat2 Distortion Pedal

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The Electra Flying V

James’ Electra Flying V is by far one of his most interesting guitars.

It was a cheap axe he got from a friend, but something about it kept him coming back to this rather mediocre guitar.

Over time, he formed a bond with this instrument which is only possible when you go through thick and thin with it.


In the end, his Electra Flying V was so badly damaged that it wasn’t even playable anymore.

Even so, Hetfield kept this guitar and went on to restore it. These days it’s spending more time as an exhibit that something he would use on stage.

Gibson Explorer

His 1984 Gibson Explorers are also among the most iconic pieces in his collection.

It’s no secret that Hetfield is a Gibson type of guy and that he prefers Explorers.

He has two of these awesome guitars – one named ‘So What’ and the other going by the name of ‘More Beer’ of all things. 

Both of these have seen a number of upgrades over the years, such as active electronics from EMG being installed and more.


More recently, Hetfield has entered an endorsement deal with ESP guitars, which resulted in a number of great models being produced under his signature line.

One of the more popular ones is the ESP LTD Snakebyte. This six-string features a shape that is very similar to an explorer, and a number of upgrades Hetfield insisted on.


James Hetfield’s Favorite Amps

When it comes to amps, things are pretty straight forward. In his early days, Hetfield mainly used various Marshall amps.

We are talking JML2203, JCM800, and others. Later on, you could see a number of Mesa/Boogies being included, most notably the MkIIC+ that was used on the Master of Puppets album.

During the Justice For All period, some Rolands were included in the mix, and have remained present ever since.


Somewhere around Load, Reload is when Hetfield started drifting away from the big brand amp and went on to experiment with more boutique type models.

For example, St. Anger was performed mostly on a mix of old Wizard amps and Diezel VH4s.

These days he is running anything from Krank Krankenstein to Revolution 1 heads.

Are Krankensteins any good?  Hear this…

James Hetfield – Favorite Effects Pedals

In terms of effects pedals, there really aren’t many that Hetfield has used over the years. He’s more of an old school kind of guy.

If you can tweak it on the amp, why bother with pedalboards and other unnecessary tech stuff? We can start this very short list of guitar pedals with his distortions, which there are two.

He is either going to be running a ProCat Rat, or the legendary Ibanez Tube Screamer. Both of these were features on some of the most popular albums Metallica has ever recorded.


Aside from these, it’s worth mentioning his DigiTech Whammy and Dunlop Cry Baby Wah.

James is a firm believer in wah pedals and selective signal filtering in general. These two pedals are what he turns to when it is time to spice things up.

More recently James Hetfield ditched most of his pedals and instead uses a TC Electronics G-Major 2.

This unit allows him to call upon various effects and tone colors used on their previous work with little to no effort.

This has become his main solution since he has a dedicated tech who operates the board for him.


What kind of impact James Hetfield had on modern metal music is still being measured, but it’s substantial. Needless to say, Metallica is one of the most popular bands on the planet, which has a lot to do with Hetfield’s talent and charisma.

Metallica’s tone is not really that hard to dial in.

You don’t even need a ton of specialized hear to get there. A good guitar paired with a decent tube amp gets the job done in most cases.

On a similar note, Hetfield’s tone is exactly what defines the core of metal music.

It’s not about finesse, but rather that pure driving force that gives the music its girth. Hetfield understood that from day one.

Yngwie Malmsteen Guitar Setup And Rig Rundown

yngwie malmsteen rig rundown

When people mention the electric guitar, the first thing that comes to mind is usually rock music and any of its numerous sub-genres.

That really comes as no surprise, considering the fact that most popular guitar players and artists became famous due to their work in this and other genres of music similar to rock, like heavy metal.

However, there are some guitar players out there who decided to step out of the box and take a completely different path.

If you have ever heard of Yngwie Malmsteen, you will know exactly what we are talking about.

yngwie malmsteen live vancouver

This legendary guitar player fused classical music with heavy sound and has become known for his incredible skill on the guitar.

Not rarely will you find that his name is used as a synonym for a virtuoso as his technique and music have pretty much shocked everyone since he showed up in the scene back in the ’80s with his debut album “Rising Force.”

malmsteen rising force album cover

If you want to hear just how fast and clinically precise arpeggios can be, play any Malmsteen song and you will find out in a moment.

Or, instead, you can check out his famous video “Arpeggios From Hell” to start with.

However, Yngwie Malmsteen’s playing style is not the only thing that is unusual about him.

It is fair to say that his choice of gear and equipment isn’t all that mainstream either. After all, he is one of a kind maestro and has his own desires in crafting his tone.

In this article, we will be taking a closer look at Yngwie Malmsteen’s guitar setup and see what this ultimate guitar master uses to achieve his refined sound.

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Dunlop Jdf2 Fuzz Face Distortion

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Xvive V21 Echoman Vintage Pure Analog Delay Guitar Effect Pedal

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When you look at most guitar players who have reached a skill level that puts them in the very elite category, you will often see them using rather unusual gear.

Or, if they somehow just use “normal” gear, then at the very least, they will have their own specific way utilizing the gear they have chosen for their main setup.

This is the case with Yngwie Malmsteen.

His choice of guitars and amps is not something that is generally seen among other musicians who play similar types of music. Either way, his own setup is an important part of his image, that is for sure.

In terms of electric guitars, there is only one model that Malmsteen is really passionate about.

If you weren’t familiar with Malmsteen’s work, and you decided to play one of his albums on your stereo, the last guitar you would imagine him using is the Fender Stratocaster.

However, Strats are his thing.


Not only that, but there is a very specific range of Stratocasters that he plays.

Guitars made in the period from 1968 to 1972 are acceptable, while anything else is not. His blonde Strat has become his signature item which is probably as popular as Malmsteen himself.

The reason for using only the Strats made within this four year period is the fact that Fender delivered them with a larger headstock.

Malmsteen is convinced that this larger headstock positively affects the sustain of the guitar. But with this being said, all of his Stratocasters are, obviously, heavily modified.


These modifications include minor things such as replacing the springs on the tremolo bridge with Wilkinson ones, to completely converting the neck and scalloping the fretboard. Different pickups are a standard for all of his Strats.

Even with all of the modifications, Fender has decided to make a Malmsteen signature model. Surprisingly enough, this is only the second signature series they made after Eric Clapton’s.

Yngwie Malmsteen Stratocaster comes with most of the mods found on any of Yngwie’s own Strats, with the inclusion of Seymour Duncan YJM Fury pickups.

Aside from a really cool name, these pickups bring a different twist to the classic single-coils.

Voiced by Malmsteen himself, these are designed to tackle both the heavy riffs and the fluid lead sections, ultimately giving an articulate tone no matter the situation.

In addition, the bridge pickup has a bit more output power to balance things out.

Of course, we should also not forget his use of acoustic guitars over the years. It’s only obvious that such a virtuoso would pick Ovation as his weapon of choice.

Being heavily influenced by classical music, Yngwie has two Ovation Viper CV68 guitars with nylon strings.


While these are not exactly classical guitars, their tone goes in that direction with the nylon strings.

As for some other acoustic guitars, he used Carvin AC175 Thinline for a few studio recordings over the years. But when it comes to live shows, where he does often perform acoustic pieces, he sticks to his Ovations.


Yngwie Malmsteen pretty much became known for his huge stacks of Marshall amps, creating a mind-blowingly huge wall behind him on the stage.

Of course, walls of amp heads and cabinets is nothing new, but rarely anyone has a similar setup to that of Yngwie Malmsteen.

The Swedish guitar legend uses 36 heads and a total of 22 cabinets during his live shows. All of the amp heads are Marshall YJM series, and all of the cabinets are YJM100s loaded with Celestion speakers.

Now, that’s really something, isn’t it? And it sounds a little something like this…

The above video doesn’t show “the wall”, but rather the sounds that Malmsteen makes.

As for the wall, this impressive wall of Marshalls is truly a sight to be seen.  Oh, we found it.  Check this out…

Interestingly enough, Yngwie doesn’t use any of the effects or other features these amps offer. He only works with their raw sound.

On a slightly different topic, his wall of amps is different for another reason. If you come closer to any of his amps, you will find at least four or five picks stuck between the enclosure panels.

Each amp is riddled with picks, but it doesn’t stop there. Pretty much any piece of gear he uses will be covered in spare picks.

But going back some decades in the past, Yngwie used to have some other amps as well. The most notable model is the Marshall JMP 50 MK II, made back in the early 1970s, most likely ’71 or ’72.

This one is a legendary amp head, featuring the power of 100 watts, and it’s been used by many guitar players over the years, ranging from blues-rock to heavy metal styles.

There were also some other Marshalls in his collection, stuff like JCM900 4100 and JCM 2000 DSL 100. However, he’s mostly fixated on his signature YJM 100 series.

Knowing that he’s very adamant about his tone, it’s only obvious that Yngwie will use an amp that’s specially designed for him and his preferences.

Of course, all these amp heads need some solid cabinets. For that purpose, he uses Marshall cabinets with four 12-inch speakers in them. The speakers in question are the 75w Celestions, but in the past he also used the G12 30-watt ones.

The story goes that Yngwie also used Fender Roc Pro 1000 combo amp in some cases, most notably for his performances with the symphonic orchestra.

These amps are a bit difficult to stumble upon, making them somewhat of valuable collectible items.

Effects Pedals

When it comes to effects pedals and other effects devices, things are pretty straightforward in Yngwie Malmsteen’s signal chain. The main part of his pedalboard is the Boss NS-2 noise suppressor and the CE-5 chorus ensemble, all combined with the Roland Analog Echo, Dunlop Cry Baby Wah, and the RJM Mastermind MIDI foot controller.

The CE-5 by Boss is a classic chorus pedal with the possibility to use it in a stereo mode. As explained by Malmsteen himself, he has this pedal on in most of the cases when he plays clean stuff.

Boss CE-5 Stereo Chorus Ensemble review

When it comes to delays, Yngwie has used the Roland RE-20 Space Echo and the Boss DD-3 delay over the years. The Roland one is a complex piece, basically like an effects processor specialized for delays. As for the DD-3, it’s a classic delay by Boss, used by many amateurs and professionals worldwide.

Of course, he also uses overdrive pedals and one that he’s satisfied with is the DOD Overdrive Preamp 250. But later on, he began using a special dirt box that he developed with Fender, the Yngwie Malmsteen Overdrive.

As one would expect from him, the pedal has a simple layout with just the level and gain controls on it. According to him, this Fender overdrive is “liquid sounding” and has no unwanted fuzz, which perfectly suits Malmsteen’s style.

In many occasions over the years, Yngwie has expressed the importance of using pedals with true bypass over the ones that have buffered bypass. He’s also a huge fan of analog effects and their warm “organic” tone, which can be seen with his use of analog delays.

You will often get the chance to see a Fuzz Face pedal somewhere near his effects pedal setup, but that is there only as an aesthetic detail. Which is pretty weird as the pedal is very well-known for its great tone. Either way, this practice shows Yngwies unique persona.

arbiter fuzzface

The aforementioned MIDI controller, the RJM Mastermind, is what he uses to control a variety of effects and signal in general. But what really makes this controller special are the two Ferrari stickers.

Yngwie Malmsteen once said that those stickers are just as important as any other thing on that controller. Without them, it simply wouldn’t work. Here are some video demos of those above effects pedals…

The Boss CE-5

The Roland Analog Echo DC-20

The Boss NS-2 Noise Suppressor

RJM Music MasterMind MIDI Foot Pedal

The Cry Baby Wah


The way Yngwie Malmsteen plays guitar and the music he creates are both very unique. His modern interpretation of classical music puts him in a very different category of guitar players.

Not only was he among the first to actually play this type of music, but the consensus is that Malmsteen created a whole new genre of metal, ultimately inspiring musicians of all different style and becoming the best example of modern guitar virtuosity.

Today, a large number of known bands attribute their success to the influence Yngwie had on them as they were starting out.

His guitars and amp setup are among the more interesting ones even today. That wall of Marshall amps is definitely not something you will often see on stage.

At the end of the day, Malmsteen is considered to be one of the few true masters of guitar.


As such, it’s not really that odd to see him use what can only be considered a very unusual choice of gear. However, when you are at his level, you will do anything to get that edge in your tone.

Malmsteen’s way of achieving that is having 36 Marshall amp heads running through 22 cabinets. One thing is certain though, it’s not that easy to replicate his tone.

In case you really want to, begin with a classic Fender Strat with three single-coil pickups on it. Of course, any kind of a Super Strat type of guitar with the possibility to use three single coils is a good option.

Getting the signature Malmsteen pickups would also be a great idea, as this is the very basis of his tone. Many times has he expressed his opinion that singles are superior to humbuckers.

The Yngwie Malmsteen signature Fender overdrive will also be a good addition, although you can also go with something like a Boss SD-1. A delay pedal is a must, and something like Boss DD-3 could do the trick for this purpose.

As for the chorus, CE-5 in cleans would be a good idea, although any kind of a cheaper copy or just a regular cheaper chorus could come in handy in case you don’t want to spend too much.

The beast mode here would be to go with his signature Strat and the YJM Marshall amp, although that might be a bit expensive. However, we do know how much of a precise player Malmsteen is, meaning that his technique is of great importance to the tone.

With this in mind, probably the best way to start copying Malmsteen’s tone is to practice. A lot.

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Kirk Hammett Guitar Setup And Rig Rundown


Metal music is one of the most fluid genres out there. With that said, everyone knows just what kind of impact Metallica had on this, at the time emerging music direction, and what kind of role they had shaping it into what it is today. This band has reached the type of global fame only a few artists ever reached.


When you go just about anywhere in the world and mention Metallica, nine times out of ten people will know who you are talking about. James Hetfield is the frontman and the most recognizable face of Metallica.

However, a good portion of their sound comes from the other axeman and shredder of leads, Kirk Hammett.

Even though the whole band has grown older, Hammett will still be known as the slim guy whose curly long hair has a life of its own in the midst of all the thrashing and head banging going on during their set.

Hammett’s sound is one of the most sought after in the community, and today we are going to talk about what equipment he uses to achieve it.


One look at Hammett’s guitar setup will reveal one facet of his relationship with music. The number of different guitars, amps, and pedals he used to use, and still uses is impressive.

It feels like there is not definitive standard when it comes to what he prefers to use.

Even so, he has managed to maintain a pretty uniform sound that hasn’t changed all too much over the years. Let’s start from his guitars.


Anyone who has been following Metallica for some time, probably knows that Hammett has a special place in his heart for ESP guitars.

One of the more noticeable models is his ESP KH-2 ‘Ouija’ which became a legend in its own right. It’s not the first guitar he has made in cooperation with ESP, but it’s definitely one of the most popular ones.


The tone this ax generated was made possible by two EMG pickups, namely the EMG 81 and EMG 60. This is a relatively popular combo that many guitar players install on their guitars. Hammett’s ESP signature series contains a wide variety of models, which also extend to the LTD line.

Aside from his standard ESP lineup, Hammett also owns a number of Strats, Les Pauls, Jackson’s and others. When someone loves playing guitar as much as Kirk, there is no limit on how many guitars one can own before they draw the line.

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When it comes to amps, the situation is not much different compared to his taste in guitars. Early days of Metallica were defined by a variety of Marshall JCM stacks, which the band used to record the first two albums.

Later on, they have moved on to Mesa/Boogie, and have grown to appreciate the Dual Rectifier.

This beast of an amplifier needs no special introduction, and is usually paired with a Mesa/Boogie 4×12 cab that packs Celestion Vintage 30’s. Hammett’s choice of amps has changed since 2007.

This the year he signed a contract with Randall, and together they’ve made some pretty great amps. His signature series heads, such as the Randall KH103 is definitely one of the best sounding amps you can find that are great for gigging, especially larger venues.  

Of his signature Randall amp, Kirk says it can “do anything I needed it to do.”  Check it out!

Aside from Marshall, Mesa/Boogie and Randall, Hammett’s list of amps included a number of Hiwatts, Bogner‘s  and of course, the Vox AC30. Those tubes are hard to replicate, and you will find one in just about any professional guitar player’s inventory.

Effects Pedals

Hammett is not that big on using distortion pedals in his setup. The initial Metallica albums were recorded more or less on whatever overdrive channel the amps they used had, and that way of getting things done stuck with Hammett until today.

This isn’t to say that he never uses a distortion pedal, but the ones that do find their way to his pedalboard are nothing exotic. He’s been known to use the Ibanez TS9 Tube Screamer (a TS808 will also work) and a Line 6 DM4.


Other effects are a completely different story. These days Hammett is leaning heavy on Line 6 pedals for his modulation effects. We’re talking Line 6 MM4 and FM4 combined with Line 6 DL4 Delay pedal.

One of the more notable models you can see on his pedalboard is the Digitech WH1 Whammy. This legendary pedal has been around a while, and just like Metallica, it had a huge impact on the way we see guitar effects pedals today.

Kirk also has his own Dunlop Wah model that goes under the name K95.


Interestingly enough, Kirk likes to have some of his effects in rack format. For example, you will find a Dunlop Cry Baby DCR-2SR rack packed along the Fulman PL Pro, with a number of rack mounted preamps and gates being a part of the setup as well.

Final Thoughts

Hammett’s guitar rig and setup is one of the more diverse in the world of metal music. That comes as a bit of a surprise seeing how his tone, and the tone of Metallica as a whole, hasn’t dramatically changed.

St. Anger was probably the album that had the most unusual type of vibe for Metallica, but even that record was still within the margins of their standard sound.

If you are on a task of trying to emulate Kirk Hammett’s guitar tone, there is a number of things you can do to achieve that goal. Starting with one of his signature model ESP guitars will give you a great foundation.


The fact that he uses pretty common amps and effects pedals makes his tone rather transparent. However, if you are aiming to completely copy his setup and tone color, you might need to dwell a bit deeper into his preferences and specific gear he used for the album you are interested in.

With that said, Hammett’s energy and level of emotion he infuses into his performance, is still one of the best things about Metallica. Their new album just came out, and we are happy to report that the band is back to their original style.

Billy Gibbons’ Guitar Setup And Rig Rundown


Just what kind of impact ZZ Top had on the evolution of rock music has been known for a while now. Their sound and style is one of the most unique, even today.

One person who is largely responsible for the way ZZ Top turned out is Billy Gibbons. His mastery of tone is impressive, to say the least.

To many, ZZ Top’s music doesn’t sound complicated, both in terms of technique and tone. However, once you take a closer look at just how finely tuned everything is, you will form a very different opinion.

His personal guitar rig is truly something to behold. As you will find out further down in this article, Billy Gibbons goes outside the norm on the regular.

Some of his solutions are pretty unusual, which only adds to the conclusion that his skill goes beyond what is apparent at first. With that said, let’s do a quick rundown of Billy Gibbons’ guitar rig and setup.

Nothing beats a finely tuned bluesy tone, that is for sure. It’s not an easy thing to achieve, but once you get there, you have a really good foundation to work with.

If there’s a single person in this world who knows how to dial this type of tone, it’s Billy Gibbons. In order to find out just how he gets this done, we need to look at the equipment and instrument he likes to use. Let’s start with his guitars.


No matter how many different guitars Gibbons has been seen using, at the end of the day, it all comes down to two specific models.

The first one is his 1959 Gibson Les Paul, which goes by the name “Pearly Gates”, while the other is his unusual Bo Diddley Gretsch.

The ’59 Les Paul is, of course, one of those legendary guitar models, often referred to as the “Holy Grail” of guitars. There’s also another “Pearly Gates” which Billy uses more since the original is pretty heavy.

And here is Mr. Gibbons playing Miss Pearly Gates…

The Les Paul we have just mentioned is his favorite guitar and the one he likes to use the most. Even though there are numerous Les Pauls made in 1959, Gibbons claims that none come even close to his beloved “Pearly Gates”.

According to ZZ Top guitarist, this particular Les Paul was the best one from its batch and performs significantly better than any other Les Paul from 1959, let alone from later years.


The Bo Diddley guitar was made by Gretsch specifically for this legendary guitarist.

Back in 1959, Bo Diddley approached Gretsch and asked them to make him a guitar that had rather unusual curves. What they came up with as the Billy Bo Jupiter Thunderbolt.

Bo Diddley loved the guitar and went on to play it for a long time.

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At one point, he decided to give that Jupiter Thunderbolt to Gibbons, who was incredibly flattered by this act.

Ever since then, Gibbons has kept this Gretsch in his collection and pulls it out from time to time.

Among some other guitars are his Gibson SG ’61 reissue, various Dean guitars, as well as his one of a kind Billy Gibbons SG with the unusual headstock that you’ll find on a Flying V. As for Deans, he’s been using the Dean Z and Dean ML models, but the company has made a special kind of guitar for his needs.

We’re talking about the shockingly weird and easily recognizable Spinning Fur Guitars, those fuzzy instruments that you can see on some of ZZ Top shows.

Aside from these aforementioned guitars, Billy Gibbons has a large collection of Gibsons, which include some several more Les Pauls and some Explorers as well. He also owns some Fenders, namely Strats and Telecasters, but is mostly known for his extensive use of Gibsons.


For the most part of his career, Gibbons has been a dedicated Marshall user. His main rig these days consists of several power amps and two Marshall JCM900 2100 amp heads.

Marshall JCM900 4100 100W 2-Channel Tube Head

This setup then leads to a set of cabinets which consist of three Marshall 4×12 1960AX and three Marshall 4×12 1960BX cabs. These are the classic legendary cabinets, offering that well-known tone through four G12M Greenback Celestion speakers.

Of course, one thing Gibbons is adamant about are his 25 Watt Greenback speakers. However, some of his cabinets also have the Eminence Red Coat The Governors in them which are 75 watt speakers.

Besides the Marshall amps, you could see some Magnatone combos and different vintage Fender Twins which he occasionally uses for recording and studio work.

The Magnatone amps in question are the Super Fifty-Nine, which are somewhat of a recreation of the company’s old amps from the 1960s and the 1970s.

The Super Fifty-Nine MKII model which is produced today gives an interesting combination of the classic American and British amp tones, and that’s something that can certainly be heard in Gibbons’ music.

For some older songs where he needs to be quieter but still present in the mix, Billy uses the 50 watt Mojave Scorpion amp head. These are also a throwback to some of those old vintage amps from the old days.

In all honesty, his rig is not that complicated if you strictly look at amps and guitars. It’s all more or less tame compared what some of the guitar players like to run these days.

However, when we move on to his effects pedals, things get a bit weird. A bit too weird…

Effects Pedals

If we look at his gear setup for 2003, we will see no less than six Bixonic Expandora overdrive pedals.

That’s right, six overdrive pedals, all of which are turned on all the time. For an average guitar player, this probably sounds like a complete mess and a recipe for disaster.  bixonic-expandora-multi-stage-distortion-pedal-billy-gibbons

However, Billy Gibbons has a way of harnessing this unusual setup in a way which makes it practical. The whole deal with using six overdrive pedals is to tune each one a little differently.

Gibbons managed to get a very nice edge this way, although he also said that the noise produced by all of these pedals sometimes creates a unique effect of its own.

Check out this video demo right here of the Bixonic Expandora overdrive pedal to get a sense why Billy likes to have a flotilla of these bad boys on hand.

This peculiar looking piece of gear is a simple overdrive and distortion pedal with some interesting features and controls.

It can achieve three different modes of operation and serves as either a classic distortion, crunch, or an overdrive. It’s a pretty versatile pedal with a great vintage-oriented tone so it’s no surprise that Mr. Gibbons has been using it for years.

Aside from these, Gibbons uses a Park Wah pedal, Tube Works Real Tube, Zvex Super Hard On, and various other pedals.

 The Super Hard On is made by a smaller company called Zvex and is essentially a volume boost. But although it might not seem as a pedal, it does add a bit of its own flavor to the tone, especially if played through tube amps.

The Tube Works Real Tube, as its name would suggest, is a tube driven overdrive pedal originally made in the 1980s. Being one of the first of its kind, it offers some slightly fuzzier overtones, which is something that definitely sits well with Gibbons’ music and style of playing.

The Park Wah is a pretty interesting piece since it’s a very old one and can also serve as a volume pedal when in bypass mode. In addition, it features reverse operation compared to standard wah pedals. It’s a very rare pedal that’s been produced sometime in the late 1960s.

Of course, it’s pretty obvious that Mr. Gibbons is very fond of vintage (or vintage-inspired) stuff, especially when it comes to his pedals.

Aside from the old Tube Works Real Tube drive and the Expandora that he’s been using for years now, one of the pedals that comes to mind when we talk about Gibbons is the legendary Maestro FZ-1 Fuzz-Tone.

As he revealed, he used to rock it way back in the day and was one of his first, if not the first, pedals he ever had. Having this in mind, it’s only obvious that he’s still attached to some vintage and very rare pieces of gear.

Aside from the aforementioned pedals, he has also been using the Boss equalizer pedal, their famous GE-7, featuring seven sliders for seven frequency ranges, and an additional level slider.

Over the years, there were two Jimi Hendrix inspired fuzz pedals, the Dunlop JHOC1 Octavio and the JHM2 Octavio.

Looking at the controls, they’re pretty similar to the Maestro FZ-1 with only the level and gain controls. These both feature the same circuitry of those old Hendrix’s pedals from the 1960s.

These also add that lower octave to the mix, just enough to boost some of that low-end range in your tone.

With so many pedals in his rig, there must be at least something that would help organize things.

For that purpose, Billy Gibbons has a Tech 21 MIDI Mouse, which is a pedal MIDI controller that’s used to search through different presets and programmed pedal combinations. It’s pretty expected to see a piece like this on a professional pedalboard.

Since 2003, his pedalboard configuration hasn’t changed all that much.

Some things are different, but the six Bixonic Expandora overdrive configuration is still there and is kind of the most interesting part of his signal chain.

Aside from the described ones, there are also other interesting pedals that you can find in Gibbons’ rig, like the MXR M109 EQ, MOSFET Overdrive, Okko 42 Boost, Orange Bax Bangeetar Pre-EQ, MXR M288 Bass Octave Deluxe, and the Peterson Stomp Classic Strobe Tuner.


One more aspect of his setup which is kind of strange are the accessories he uses. One of the most notable things is his Peso pick. This is a special kind of pick designed by Stuart Brady AKA Some Dude, who we’ve spoken to about his picks in an interview.

The reason behind using Mexican currency as a guitar pick is the effect it has on the strings.

Gibbons discovered that the edges of the coin create a very unusual metallic effect, which plays well with the rest of his tone configuration.


Additionally, his choice of strings may seem somewhat unusual. Most of his guitars are fitted with light gauge strings, .008 to be more specific.

Gibbons was a hard believer in heavy gauge strings until B.B. King changed his mind. Back in the day, in the earlier days of ZZ Top, he got the chance to speak with King who tried out his guitar.

It was then that King advised Gibbons to switch over to lighter strings. Today, you’ll see him go with .008s and even as low as .007s, which is pretty rare to stumble upon and something you’d expect to see on a guitar from one of those more modern shred metal players.

The strings he uses are made by Dunlop and are his own brand called Dunlop Rev. Willy’s Mexican Lottery.

The way he puts it, lighter gauge strings give you much better playing comfort, while the heavy sound can be achieved by other means.

Here’s a cool demo of the strings playing some Led Zeppelin.


Billy Gibbons has a very unusual approach to his guitar setup. The tone he managed to achieve is a product of his ability to step out of the box and look at things from a different angle.

A lot of people are capable of dialling a driving bluesy guitar tone, but Billy Gibbons took that to a whole different level. The combination of odd signal chain, using a coin for a pick, and other weird elements, has proven to be a success.

To play us out of this rig rundown, here’s Billy Gibbons tearing it up.

Oh, and don’t forget to visit:

Dimebag Darrell’s Guitar Setup And Rig Rundown


When it comes to metal music, Dimebag Darrell was by far one of the most influential guitar players we had the privilege to see. His technique, tone, and charisma shaped a whole new genre that would grow to be a staple of today’s metal scene.

Here’s a video to remind everyone of the guitar-shredding greatness of Dimebag Darrell and of course Pantera.

Unfortunately, we lost him too soon. His death was a shock for everyone. Whether you were a fan of Pantera or not, losing Dimebag hit too close to home. But despite everything, Pantera’s music is still making its impact to this day, with Dime’s riffs and solos still being an essential part of every younger or older metalhead’s playlist.

But while we are familiar with this music and how great it was, a huge part of his legacy lies in his tone. There was no other player out there that sounded like him, which definitely makes him an individual who pushed the boundaries and revolutionized modern music. So there’s always been a lot of interest about what his preferences were when it comes to all the guitars and gear.

Dimebag was always looking to improve his tone. Whenever he reached a stable configuration, he tried to squeeze a little bit extra out of his gear. You would see him swap pickups on his guitars almost weekly, trying to find the best possible combination.


He knew exactly what he wanted, and was not afraid to experiment with gear in order to achieve that perfect tone. In this article, we are going to go through some of the equipment he used on regular basis, including guitars, amps, and different effects pedals.

Rig Rundown

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Compared to other guitar players of his caliber, Dimebag Darrell preferred to use a pretty simple setup. His choice of guitars and amps usually came down to one or two models which he stuck with during his entire career.

We know that some guitar players will use up to ten different guitar models from various brands, both bigger and lesser-known ones. However, this was not the case with Dime. His taste was very specific, and he never really compromised for anything.


When it comes to Dimebag’s guitars, there was only one specific type he was seen playing.

Ever since he was a kid, Dimebag Darrell was just obsessed with Dean guitars. Their shape, tone, and overall appeal were something he just couldn’t resist.

As luck would have it, Dimebag went from owning no Dean guitars to owning two. One was a Dean ML Standard, which was a gift he got from his father. And the other was a Dean ML he won at a contest. Both of these guitars arrived pretty much the same day.

Here is a picture of a Dean ML Standard. If you are a fan of Dimebag and have seen him on stage or on live footage, then it’s a guitar you’ll most likely recognize.


Ever since Dimebag was rocking a Dean ML, the only thing that he changed on those guitars were the pickups. As we have mentioned above, he was experimenting with various combinations of humbuckers while chasing the perfect tone for his taste.

His main setup came down to a Dean ML, the one he won from the contest, fitted with a Bill Lawrence XL500 at the bridge, and a Seymour Duncan í59 at the neck position. He used that guitar as his primary until the very end.

In general, the Dean ML guitars have always featured mahogany or maple bodies, mahogany necks, and either ebony or rosewood fretboards. These guitars became very well-known for their peculiar, yet very likeable, shape that’s sort of a crossbreed between classic Flying V and a classic Explorer.

But although he was a Dean guy at the core, Dimebag started working with Washburn once Dean closed shop, sometime in 1994.

Guitars Washburn produced for him were pretty much the exact copies of the Dean ML. There were several models in play, including Washburn Stealth, x33, and Culprit. One of the Washburn guitars he had was also the Hellflague, which he used a lot with his band Damageplan.

Here’s a quick pic of the Washburn Dime.

washburn dime

However, some years later, Dean finally got back in business. Of course, Dimebag went back to the old manufacturer and continued his cooperation with the brand.

One of the last models that came out of this joint effort was the Dean Razorback. Unfortunately, he only got to work with the prototype before his death. He never used it live, but the story goes that he approved the guitar shortly before he passed away.

As for this particular model, it’s based on the Dean ML shape Dimebag got used to. The only difference here is that it has some additional edges on it, making it look even weirder than the ML.

dean razorback

This design was done in collaboration with Dime and there were a few versions of it released later on, some of them even featuring 24 frets. They also came with a Floyd Rose tremolo and you can easily recognize one of these guitars for its razor inlay on the 12th fret.

Aside from these, there were some other electric guitars in his collection. He was also a proud owner of the Jackson Randy Rhoads models, most notably the RR5 and the RR3.

jackson randy rhoads rr3

There were also some Fender Stratocasters and even Fender Telecasters in there, as well as a Super Strat type of instrument by Charvel, called San Dimas.


Dimebag’s policy on amps was very simple. If it ain’t broke, don’t fix it. For the largest portion of his career, he was using one of three Randall amps. The most popular one out of the bunch was probably the Randall RG100H.

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His love for Randall began with an old Century 200 amp. This is what he used during the days before he became famous. With that said, he never really got rid of that amp and continued to use it in his practice setup. Interestingly enough, all of these Randalls were solid-state amps.

He wasn’t really into tube amps. However, the only tube amp Dimebag was impressed with was the Krank Revolution.


He got in touch with Krank and he was soon equipped with a brand new Revolution model which he apparently fell in love with right from the very start.

Krank later went to create Dimebag signature model called the Krankenstein. With this in mind, it was only obvious that he also used the company’s cabinets, most notably a piece like Revolution 412 cabinet with four 12-inch speakers in it.

Here’s a video from when Dimebag was visiting Krank back in the day and having a good time making some noise and kickin’ it with the crew.

Going back to the Randall stuff, he was also pretty fond of the very powerful Randall Warhead. This two-channel amp has the power of an impressive 300 watts. Not unusual for a hard-hitting groove metal player like Dimebag Darrell was.

Here’s a quote from Dimebag from GuitarWorld in 1994 talking about Randall Amps to shed some light on what he was thinking when it came to his choice of amps: “Solid-state to me is more in your face, while tube sounds like it’s surrounding your body. I’m not going for a soft sound. I ain’t lookin’ for a warm sound. My sound is warm, but I don’t need tubes to do it. The Randall RG-100 is the best amp for what I do. Randall made a tube amp that they sent out to me. It sounded killer, but it wasn’t solid-state, so I’m going to stay with solid. To this day, when people find out that I use solid-state they’ll come up to me and go, “Are you sure? That sounds like tubes, dude.” The Randall has the warmth of tubes, but it has the chunk and the fuckin’ grind right in your face.”

Effects Pedals

Anyone who has ever listened to Pantera or any other project Dimebag was a part of, knows that he used a very limited selection of effects pedals. However, all of these pedals served their purpose and were crucial for his signature tone.

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Of course, we also need to mention Dunlop‘s Cry Baby From Hell – a signature model wah pedal he worked on with Dunlop.

The pedal’s casing is the classic one we’ve seen on the Cry Baby models over the years. The addition here is the camo print that definitely makes it stand out in a pedalboard.

But, above all, the pedal’s circuitry is designed to accommodate to Dimebag’s desires, making its frequency sweep a bit different compared to the classic Cry Baby. Of course, he also used to have that one as well back in the day, the well-known 535-Q model.

Hereís Dimebag demoing the pedal. As you can see, he knows how to work that little thing.

Before he got into Dunlop’s wahs, Dimebag used to have an original Vox unit. Besides these, there was a number of various pedals which he occasionally included in his signal chain.

There have been a few pedals here and there in his rig over the years. Some of the most notable ones are the Electro-Harmonix Little Big Muff, Boss CE-1 Chorus, and MXR 6 Band EQ.

He has also used an MXR Zakk Wylde signature overdrive. While it didn’t serve as his main dirt box, it was a simple but effective booster for his solos, but only during his time in Damageplan.

MXR Zakk Wylde signature overdrive

Either way, it is a pretty simple overdrive pedal with volume, tone, and gain controls, yet it adds a certain color to the tone that makes it really stand out and cut through the mix.

Boosting an already distorted tone with an overdrive pedal is something that’s been done by many players over the years. The Zakk Wylde signature MXR really does this job well and will most definitely help you in your search of Dime’s tone.

We should also not forget the very famous DigiTech Whammy pedal that he implemented here and there during Pantera’s career. The song “Good Friends And A Bottle Of Pills” comes as a great example of this.

Some of the most notable ones are the Electro-Harmonix Little Big Muff, Boss CE1 Chorus, and MXR 6 Band EQ.

The Legacy

Just what kind of influence Dimebag had on metal music is evident from a whole variety of bands you can find on the scene today.

He shaped the minds of many aspiring guitar players, and he still does. However, that’s not the only impact he had on the music industry.

dimebag-darrell rig rundown guitar setup

Dimebag Darrell is the reason why Dean came back after they went out of business. The founder of this company, Dean Zelinsky, saw that Dimebag was practically copying the Dean ML with Washburn, which prompted him to reconsider his decision about closing down Dean.

Recreating Dimebag’s tone is something many are trying to do these days. Fortunately for us, everything necessary to get that job done is readily available.

Dean ML is still being produced, along with pickups specifically designed to replicate the Bill Lawrence and Seymour Duncan combo he used on his Dean From Hell. There are countless versions of the Dime guitar, everything from cheaper entry models and all the way to the more expensive ones.

dean from hell

Talking about his legacy and gear, MXR paid a tribute to the famous Pantera and Damageplan guitarist by making their own pedal with Dimebag Darrell’s name on it.

Marked as DD11, it’s called Dime Distortion and does a pretty good job at replicating some of his signature tones.

mxr dd11 dime distortion

In addition, the camo paint definitely is a nice finishing touch on it, going along with the signature Dunlop Cry Baby Dime wah.

As already mentioned, Dimebag’s setup was pretty simple and straightforward. The Dean guitars and Randall amps are definitely a good start if you want to get his sound.

Adding his signature wah, or any wah pedal that does a bit of a deeper sweep, will be a good addition for lead tones. Using an overdrive as a booster to highlight some lead parts or some riffs is also necessary, especially if you’re getting a sharper sounding overdrive like the MXR Zakk Wylde one.

Needless to say, Dimebag’s death was a tragedy that hit thousands of people all over the world. He left us too early, and we can only imagine what he would be creating if he was still around. With that said, his legacy is immortal.

Pantera’s discography is every bit as popular today as it was while he was still alive. It’s safe to say that Dimebag Darrell will be influencing young generations for years to come. We are yet to see how much his playing will make an impact to the generations of future musicians.