Gear

Used in combination with Satellite amps live.

The solid-state head that gave him his clean, enormous tone.

Ampeg SVT head.

Backup 1200-watt head.

8x10 cabinet.

The only bass amp on stage.

The classic bass head, often in stereo rigs.

A dual-amp rig for huge tones.

Run through three 4x10 cabs.

A pair of heads feeding the blend.

Ampeg SVT-4 Pro head.

Ampeg heads power the live rig.

A big, clean bass amp turned up — the core of his sound.

Ampeg power for the groove.

The cabinet under the SVT.

Her amp head.

The Motown amp, as documented on History Detectives.

Part of the touring head collection.

High-power boutique head in his rig.

2x12 cabinets used on stage.

Bogner Fish preamps feeding Fryette power amps.

His signature head, clean and articulate.

British-voiced heads in his rig.

His signature amp.

One of the two amps blended live.

1998 VH4 sharing the load with the Marshalls.

One of several Dr. Z amps in the rig.

The rare amp behind his overdriven lead sound.

The holy-grail amp in his collection.

The centrepiece of his lead tone.

A pair of 3-channel signature heads, one wet and one dry.

His signature ENGL amp.

Into a matching cabinet.

Small, clean and turned up with reverb.

Clean, loud and pedal-friendly.

Clean, loud and turned up — the Stones' backline staple.

8x10 cabinet under the Bassman head.

His touring head.

Cranked, with the amp's own breakup doing the work.

Vintage Fender clean at the heart of his tone.

Loud and clean — Berry used whatever backline the venue had.

Turned up with the treble pushed.

Clean power for the bigger stages.

Small tweed combos, turned up and miked close.

The tweed 4x10 he pushes until it howls.

Loud and clean, taking pedals well.

His top amp, customised by Nashville amp guru Kye Kennedy.

Vintage Fender power.

The clean platform behind his tone.

His signature 1x15 bass combo.

A '54 Bassman.

A '56 Twin.

His later-stage combo for smaller rooms.

A solid-state combo he has used for decades.

Clean headroom for the loud Cream-era live shows.

Vintage Fender power.

Cleans pushed by the rack, miked in stereo.

Clean backline for the fusion years.

A pair of blackface Vibroverbs, re-speakered, pushed hard.

A Fender Twin, often paired with a Silvertone for the White Stripes sound.

An amp in his early rig.

A small '60s combo for studio work.

The early-'70s Twin used to record Never Mind the Bollocks.

Loud, clean and bright — the pedalboard does the colouring.

The amps behind his slide tone.

A pair of Bassmans.

Power amps driving his live cabs.

The head behind the Chili Peppers' bass sound.

Longstanding partner for Tool's low end.

His modern touring head.

His classic clean head.

Paired with Fane-loaded 4x12s for a clean, deafening wall.

Used alongside the Marshalls for a wider, cleaner roar.

Clean and enormous headroom — the foundation of the Floyd live sound.

His long-serving live heads.

The solid-state combo he toured with for decades.

The British valve heads of his early rig.

Custom-modified heads — the sound of early Sabbath.

His long-standing amp partnership with Laney.

The boutique head in his rig.

Vintage-style American clean tone.

A 1960s Magnatone in the rig.

Clean and loud, so the gallop stays defined.

For the louder, rockier half of the set.

Enormous clean headroom, the base of his tone.

Early stacks before the switch to Hiwatt.

The head that the fuzz runs into.

The 2x12 combo that defined his early overdrive.

Cranked, often with a second head for more gain.

A modified head that gives the signature midrange bark.

His go-to heads from the '70s onwards.

Plexi heads cranked into 4x12 cabinets.

Dimed, with a 4x12 underneath.

Stacked heads for sheer volume.

The modified Super Bass he blends with the Diezel.

His Marshall combo.

Stacked 100-watt heads into 4x12 cabinets for his live sound.

No pedals or effects to hide behind.

His long-serving amp.

Vintage Marshall stacks behind the Les Paul.

A stock head, dimed.

Cranked, with the signature head for more gain.

The big Marshall head in his rig.

Two heads and 4x12s, dimed.

The volume knob, not pedals, does the work.

His magic 50-watt Marshall.

Cranked Marshall stacks — the secret of his distorted tone was simply turning up.

He was central to popularising Marshall bass amplification.

Stock, running into a stack of 4x12s.

His famously hot-rodded Marshall.

Modified plexis into 4x12s — the backbone of the Zeppelin live rig.

A vintage Super Lead, with a full Marshall backline behind the band.

A 100-watt plexi, run through a Variac at lowered voltage for extra grind.

A pair of heads — one '76, one '77.

100-watt Super Leads, also from Blur's early days.

His expansive collection of modded Marshalls.

A duo of Vintage Modern heads.

Blended with his Ampeg signal.

His signature Marshall head.

The crunch behind the early records.

His modern touring head.

The cabinets under the Mesa head.

A big, clean head for the effects chain.

A modified Boogie combo built to his spec — the 'Santana' Boogie.

The lead channel behind his solos.

The Brothers in Arms-era backline.

The lead channel behind the classic Metallica tone.

Scooped mids, huge low end.

All-tube bass amps stacked in his rig.

His signature Mesa head.

His amplification.

The amps behind his clean and lead tones.

Electra-Dyne head in his amp setup.

Used for cleans.

Mesa/Boogie cabs complete the amp wall.

The clean amp platform at the heart of the rig.

A rare Orange MK Ultra.

A pair of cabs in a custom colour.

Number two, for big angry tone.

His signature amp, used for the crunch.

Part of his long-running rig.

Solid-state heads with a vicious, immediate attack.

Part of his modern hybrid rig.

Amplifies the Moog Taurus pedals.

The other half of his live amp combination.

40 watts of loud, dark tone.

A vintage Silvertone alongside the Marshall.

Vintage amps pushed to the edge of breakup.

One side of his two-amp rig.

Overdriven at high volume for the doom wall.

Small vintage amps turned up and miked close.

Run alongside the Rolands.

TC Electronic amplification.

Boutique clean platform for the Strat.

His signature Two-Rock head.

Chimey clean for the melodic lines.

A stack of AC30s for the chimey, driven top end.

A stack of AC30s is the heart of his rig.

One of the vintage amps in his collection.

The amp behind the mod sound.

Stacked three at a time for his signature chime.

His Master 100 heads.

His rig is full of Wylde Audio wares.