Gear

Fuzz on his board.

Chorus on the board.

One of the few distortions he uses.

Second overdrive.

On his board.

The rhythmic delays on her leads.

The shimmer on the arpeggiated parts.

Noise gate.

Tuner.

His long-standing dirt pedal.

Multi-effects in his rig.

The lead sound on the Chili Peppers records.

Delay on his board.

Delay of choice.

Noise gate.

Chorus.

Tuner on her expanded board.

Delay.

Used for the odd, percussive repeats.

Delay.

The compressor that evens out his fingerstyle attack.

Graphic EQ.

Patched in by his tech for two solos.

In the effects loop for delays, choruses and flanges.

Tuner.

One of just a few pedals on the board.

Reverb.

Chorus.

Extra sustain for his fingered style.

Overdrive in the chain.

Vibrato on her board.

Keeps his axes in tune.

Compressor and overdrive for sustain and push.

Keeps the high-gain rig quiet.

A staple of his pedal setup.

Brought in live for the heavier sections.

A light drive to push the Vox into breakup.

His main dirt box through the Nevermind and In Utero eras.

A staple of his board.

Tone shaping on the board.

Reverb.

Plate reverb emulation.

Oil-can delay emulation.

Tweed-style amp-in-a-box.

The overdrive that pushes the Marshall.

Boosts the Laney into that thick, grinding crunch.

The booster that pushes his SG into the amps.

The treble booster in front of the AC30s is the core of his tone.

Fuzz on his board.

A germanium Fuzz Face, cleaned up by rolling the guitar volume back — the source of his clean-to-fuzz dynamics.

His main source of dirt.

Compression on the board.

Pitch effects on the pedalboard.

The pitch shifts at the heart of his solos.

Pitch-shifting for the octave riffs of the early 2000s.

The pitch shifts that imitate turntables.

For the pitch-shifted textures.

The pitch shifter behind his DJ-style effects.

Pitch shifting on his board.

The dive-bombs and squeals of his solos.

Silicon fuzz built by a friend.

Used sparingly on the funkier numbers.

For the spluttering, gated fuzz tones.

Used on White Room and countless live solos.

The wah on the Sweet Child o' Mine intro.

Used as much for texture as for solos.

For the Bright Lights stomp.

Ridden constantly, often with the amp already screaming.

Sits on a board that is larger than either guitarist's.

His signature wah.

Used for its more dramatic envelope and travel.

For the dive-bombing solo lines.

Used in the more aggressive passages.

Used for the funkier instrumentals.

The most-used pedal in his rig.

His signature wah.

Wah on the board.

Used for the stranger, more textured parts.

Used on nearly every solo.

A staple of his board.

His signature wah, nearly always engaged.

Used for the filter sweeps.

Ridden through nearly every solo.

Octave pedal in his rack.

Drive pedal on the board.

The ram's-head Big Muff is the core of the 'Comfortably Numb' solo tone.

The fuzz that turns the stacks into a landslide.

The chorus on 'Come as You Are'.

For the fuzzier, more explosive moments.

Analog delay for the earlier U2 records.

The core of the Siamese Dream sound.

For the heavier, dirtier sections.

The grit behind the early records.

The envelope filter behind his cartoonish lead tone.

Bass fuzz for the heavier moments.

The fuzz behind the White Stripes' blown-out sound.

The fuzz behind his leads.

Polyphonic octave generator.

Fuzz on the board.

Starts the main board's signal chain.

On his sprawling studio board.

Volume control.

Overdrive running into the Morgan.

Octave fuzz on the board.

The octave fuzz on the heavier riffs.

Dual fuzz in the chain.

Overdrive.

The talk box behind Frampton Comes Alive.

Noise gate.

Stacked with the Fuzz Face for solos.

Stacked into the Klon for solos.

His delay of choice.

Longtime overdrive of choice.

A low-gain boost in front of the amp from the '80s onwards.

The funk wah on the rhythm parts.

Chorus in his live setup.

Distortion on the board.

Into two MXR pedals from there.

Boost for the tight, fast riffing.

Used as a clean boost in front of the Rectifier.

The only dirt he really needs.

Two Tube Screamers — one as a boost, one as the dirt — into a loud, mostly clean amp.

A low-gain push into the amps.

Transparent overdrive on the board.

His overdrive.

Level up, gain low — used to push the amp rather than colour it.

Always on, low gain — the core of his clean tone.

Built into his guitars for on-board effects.

The rack delay behind the dotted-eighth repeats of 'Where the Streets Have No Name'.

Starts his fly-date board.

Tuner on the board.

Fuzz on his board.

The wide chorus behind his rhythm sound.

The swirling phase on the spacier tracks.

Phaser on his board.

The only dirt pedal in his rig.

Used as a mid-boost in front of the amp.

Phaser.

Reverb.

Octave.

Noise gate.

Flanger.

Chorus.

Second filter in the chain.

Talk box.

Overdrive on the board.

Overdrive on the main board.

The old script version, run on batteries and set to the slow Van Halen setting at 10 o'clock.

Delay.

Swirling phase for the spacier numbers.

Graphic EQ.

The script-logo Phase 90 for the swirl on the early records.

The fuzz that made Satisfaction.

The distortion behind Creep and the heavier parts.

His distinctive wah approach, Hendrix-style.

The quack on Fire on the Mountain.

The funk filter.

Tuner on the board.

Pushes the amp further for the heavier sections.

On at the start of the show and unplugged at the end — used to tighten the low end rather than add distortion.

The distortion he used for heavier live moments.

Distortion staple of his board.

Used as a second gain stage on later Pink Floyd tours.

Amp head switcher in the rig.

The phaser behind his funk sound.

Tube overdrive on his board.

Swirling modulation on 'Machine Gun' and 'Little Wing'.

Sits after the tuner in the chain.

His early fuzz, heard across the first Led Zeppelin records.

Two Timelines sit alongside the Decos.

Chorus.

Two Decos live on the lower shelf of his side-stage rack.

Delay in the loop.

Reverb and tremolo.

Reverb.

The delays that fill out the arrangements.

Tuner.

First in the chain.

Delay.

A preamp that shapes his distorted bass tone.

Bass DI and tone shaper.

The wah he has used live for decades.

Overdrive on the board.

Powers the board.

Powers the board.

Used for the mid-set wah workouts on 'Dazed and Confused'.

The pedal on Paint It Black.

The wah pedal driving the intro of 'Voodoo Child (Slight Return)'.

For the greasy half-cocked wah parts in the live sets.

Amp-in-a-box on his board.

Overdrive in his backstage rack.

Clean boost.