Equipment page
Some people you should know who are mentioned in this document: Earnie Bailey, Kurt's main guitar technician, who sent a package of information to Chris Lawrence (included below and cited around the page as source 41). Jim Vincent, Kurt's guitar technician from the "In Utero" tour whom I spoke with on the telephone (included below and cited around the page as source 40). My telephone conversation with Mark Snyder, who made Kurt's rack, demoed Kurt Boogie gear, and had other great stuff to say (included below and cited around the page as source 58). I hope to get more info from Mark in the future. Finally, Ralph Smith, who did the original equipment FAQ and the precursor to this page.
***Table of Contents***
(Just click on a section to jump to it!)
I. Guitars
II. Amplification
III. Effects
IV. Recording of 'Bleach'
V. Recording of 'Nevermind'
VI. Recording of 'Incesticide'
VII.. Recording of 'In Utero'
VIII. Recording of 'Unplugged'
IX. Brief Summary of Tour
Gear/Info
X. Miscellaneous
XI. A Note on Guitar Destruction
XII. Help!!
XIII. Thanks to...
XIV. Sources
Kurt played guitar left-handed, mostly using
left-handed guitars, but sometimes using a right-handed guitar strung for
a lefty and played upside down. If a right-handed guitar is mentioned in
this document, it was being played this way.
A). Fender Mustangs. Kurt said that his favorite
guitar was a Mustang (9).
1). One of the most note-worthy of the assorted
lefty Mustangs he used was a 1969 Lake Placid Blue "competition"
model purchased around the same time as his Jaguar (discussed later), just
prior to recording "Nevermind" (57). This is the guitar from
the "Smells Like Teen Spirit" music video; however, Kurt had
been seen using one often during shows (seen 2,10,15). Fender produced
the Mustang competition series from 1968-1973 and they are easily identifiable
by the three racing stripes on the body. Pretty much all of the colors
were "custom" except for a couple of standards; blonde for instance
(11). Others note that red, orange, or burgundy were the non-custom colors
(12). The "Fender Book" says that the competitions, quote, "sometimes"
came with matching headstocks. According to Fender, they do not have records
as to the exact years when their guitars were produced and production specifics.
It seems the public thinks the opposite but the fact is Fender simply doesn't
know (11). Kurt's Mustang was lake placid blue with matching headstock.
It had two black, single coil sized pickups with a white mother-of-pearl
pickguard; the bridge was replaced with a Stewart MacDonald Gotoh Tune-O-Matic
(Kurt's favorite)(57) before the Argentina trip. Despite his babying this
guitar, he trashed this guitar during the infamous Tree Club show (seen
2). As a result, it had lower edge damage and a broken neck joint (41).
This guitar can also be seen on the relatively well-known "Hollywood
Rock" festival concert footage shot in Rio de Janeiro, Brazil in 1993
(seen 13, 10). This guitar remained in storage during the "In Utero"
tour because Kurt really liked this guitar (57).
From what I've heard, this guitar is now in the Australian Hard Rock Cafe's collection of guitars (10).
2). Fiesta red with red-swirl-mother-of-bowling-ball
pickguard (seen 1) (later changed to white pearl pickguard) with two black
single-coil sized pickups (which may have come with the pearl pickguard,
if I'm understanding Chris' Tutorial info correctly) later routed for a
humbucker. Kurt received this guitar right before the first Roseland show.
It came with a red-swirl pickguard which Earnie Bailey replaced with a
white pearl pickguard from Chandler. It was used during the In Utero tour,
most often seen with the white pearl pickguard. This was the first Mustang
Earnie routed to fit a full-sized humbucker in the bridge. It was fitted
with a Seymour Duncan J.B. Kurt later wanted all of his Mustangs routed
for the J.B., that is, except for the '69 competition (41).
The March 1995 issue of "Guitar World"
magazine mentions Kurt sent out 4 new, stock, Mustangs to be routed for
humbuckers (32). These were sonic blue and one fiesta red (41). The way
Earnie modified these guitars is fascinating:
"First, they had to be cut for the heavier
strings. Then, the necks were shimmed for a better bridge angle. Then,
Gotoh Tune-O-Matic bridges were installed. Then, Earnie had to modify the
tailpieces (large, cylinder-shaped objects that the ball-end of the strings
sit in). He removed the two springs (for the vibrato bar) and added washers
underneath to the posts beneath the bridge plate, which locked it down
to the plate. Earnie sent me (Chris) a diagram. but it's hard to explain.
Basically, this procedure made it solid like a stop tailpiece. This meant
that you couldn't use the vibrato bar, which Kurt detested anyways. Last,
Earnie flipped the tailpiece around, so instead of having to put the strings
through under the bridge, you could stick them right in normally. The ball
ends could then fit in the recesses" (41).
3). Robin's egg (sonic) blue with a full-sized
humbucker in the bridge (seen 15, 7). There were three of these guitars,
two of them set-up like above. One had a red-swirl pickguard (seen 7),
another a matte red pickguard. These three were sent out for the In Utero
tour. The third one was never set-up or modified and stayed at Kurt's house--
I don't know the type of pickguard, although I'd assume it was red-swirl
(41). It never came out of its box becuase the "In Utero" tour
people were waiting for the other Mustangs to be broken, which they never
were..
4). Early 60's sonic blue Mustang. It was used
in Geffen's "In Bloom" video (seen 42)(41). Kurt picked up this
guitar at the time of the video shoot in Los Angeles. Earnie saw it at
Kurt's house and says it was really clean-- it had no body contours and
stock hardware. It never toured (41).
5). I've been told a white Mustang is visible
behind the mannequin in the "Sliver" video but with a single-coil
pickup in the bridge (seen 36). Maybe it was one of the pre-modified sonic
blue Mustangs?
6). Supposedly a no-name Mustang with no pickguard,
used in the Sub Pop "In Bloom" video (seen 43)(41).
7). Early 60's sanded-down Mustang used when
Jason Everman was with the band. Had no contours and no decal with unusual
hardware. Had a Soundgarden sticker on it (41)(seen pgs. 95, 96 on (25)).
Also said to be visible in the "Incesticide" cd insert, but I
don't know if it is really the same guitar ("Incesticide" 44).
Said to have a cut-up vinyl record for a pickguard (15).
8). Mid-70's sunburst Mustang with black pickguard,
black Hot Rails, rosewood neck, and rusty parts. Earnie Bailey says this
was used for the encore at the Rio show (41)(seen 13). Yet on the video
which many of us own, he plays a Univox. But like Chris says on his Tutorial,
"Although, there is some confusion as to what the Rio concert was.
Most believe it is the Hollywood Rock Festival, January 23rd, 1993 (41).
Aneurysm and Dive from 'Live! Tonight! Sold Out!' were taken from this
show (seen 16). However, the 'LTSO' book lists this as being in Sao Paulo,
while "Come As You Are" says otherwise (25). I'm confused about
this, so...but Earnie says Kurt played this guitar, so I guess he had it
at some point in time" (41).
Also, despite how many pictures appear, Kurt
never used a white Mustang. The sonic blue tend to look white, especially
with the crazy light show NIRVANA had during the "In Utero" tour.
Jim Vincent's girlfriend did the lighting for the shows and also designed
the sleeve for the band's first single. If any of you have any photos of
the whole stage from the "In Utero" tour, please let me know!!
Jim has been looking for pictures of the stage for his girlfriend's portfolio!
Thanks.
B). The Fender Jaguar.
1). Kurt's main guitar during the Nevermind
era was a 1965 sunburst (red faded out) Fender Jaguar with red-swirl mother-of-bowling-ball
pickguard (seen many 15)(41) 2 volume knobs,1 tone knob, and a black chrome
Schaller bridge. There was tape covering the on/off and phase switches.
There are full-sized humbuckers in both the bridge and neck positions,
the neck being a DiMarzio PAF and the bridge a DiMarzio Super Distortion
(57)(41) until the In Utero tour when it was replaced with a black Duncan
JB. This guitar was purchased around the time prior to recording "Nevermind"
(57) already modified from the "L.A. Recycler" (info on source
at 45). The Jag had an incorrect decal under the lacquer. It had an anvil-type
flight case for a while. This wasn't the guitar Kurt claimed to baby. According
to Earnie Bailey, Kurt never polished it. To quote Earnie from Chris' FAQ,
"He NEVER polished the thing! It was disgusting. "Lithium"
video it hits the stage hard (seen 46). In Rio (seen 13) it gets soaked
in cantaloupe juice and seeds, then dropped onto the camera rails when
Kurt is spitting on the camera" (41). It looks like this guitar actually
had 3 strat buttons, the odd-placed one being on the other pointed part
(opposite of the one with the normally-placed strat button). His strap
locks on this guitar appear to be StrapLok-style or some other similar-looking
brand (15). Just a guess.
The Jaguar was especially seen on tours circa
1991 (seen 19, 22, 10). It was also played by Eric Erlandson in Hole's
"Doll Parts" music video (seen 23)(41).
2). 60's sunburst (Fender?) Jaguar, dot neck,
bad reproduction pickguard. It seems Kurt had another Jaguar but it wasn't
the same as his '65. It was lefty like Kurt's other Jag. It had DiMarzio
pickups which were returned to stock pickups by Airline Vintage in Texas
where the guitar was purchased in the Fall of 1992 for about $500 (41).
3). Framos Jaguar copy which was used as a
prop in an "Alternative Guitar" magazine cover. Probably from
1992 and also probably just a prop guitar (41).
C). There were occasional Fender Stratocasters
(Japanese preferred, because of availability and smaller frets (57)).
1). All-white Fender Strat with 3 white single-coil
sized pickups, of which Kurt had 2. The stock pickups were replaced with
Seymour Duncan Hot rails, white or black at any given time because these
pickups damaged easily. Both guitars also had various necks (41). One was
used at the MTV Video Music Awards in 1992 for "Lithium" (seen
47). One Strat was trashed at the Seattle Center in 1992 (source info?)
and the other at Argentina (source info?)(41).
2). All-white Fender Strat with 2 white single-coil
sized pickups and a tilted black humbucker in the bridge. Had the "K"
sticker (seen 37 and also quickly in two of the segments in between "Sliver"
and "On a Plain" in (16)). (Owned before the above two other
all-white strats) (41).
3). All-black Fender Strat, black pickguard,
2 white single-coil sized pickups and a black full-sized humbucker in the
bridge, used as early as 1991. Said to be maybe a Strat Special. It looks
like there is a two position coil splitter where the third tone knob would
be (10), but I think I've seen it with the third tone knob instead of the
coil-splitter, as well (16). Maybe the last knob had just come off? Had
the sticker, "Vandalism: As beautiful as a rock in a cop's face"
(seen 15) and supposedly, "Courtesy of the Feederz: Office of Anti-Public
relations" (41). The neck/headstock was replaced with a Fernandes
for the 10/31/91 Seattle Paramount Theater show (seen 15, 16, 10) where
it was broken off again and replaced. This guitar was smashed in Paris
in the spring of 1992 or the winter of 1991 (41).
4). Black Fender Strat with a white pickguard,
three single-coil sized pickups and a full-sized black humbucker in the
bridge (had a chrome ring around it)(seen pg. 177 on (25)). Had a chrome
Tune-O-Matic bridge and a stop chrome tailpiece (41). It was smashed during
the recording of "Endless, Nameless" for "Nevermind"
("Nevermind" 33)(25)(41). Once fixed, it had a black pickguard
and black pickups which made it look like the all-black Strat above, except
with a Tune-O-Matic bridge (41).
5). Kurt has also been seen with a sunburst
Strat with a white pickguard and three white single-coil sized pickups
(seen 15 and pg. 273 on (25)). Smashed in Florida. Earnie built it for
Kurt out of Stewart MacDonald parts. The bridge and pickguard assembly
were leftovers. Earnie put an aftermarket Fender decal on it (41). And
as Chris suggests on his page, yes, I think this is illegal to do. :)
6). Black Fender Strat which was set up like
the all white Fender Strats and also from around the same time. It had
a black Hot rail in the bridge. Dave smashed this guitar at the Reading
Festival in 1992 (seen 48)(seen pg. 274 of (25))(41).
7). Candy apple red '57 Japanese Fender Strat
reissue, early-style white Seymour Duncan hot stock pickup. Cost $200.
It had a maple neck and white single ply pickguard which Earnie Bailey
switched to a rosewood neck which Kurt like better. It was smashed during
the east coast leg of the In Utero tour (41).
8). Kurt used 5 or 6 black Fender Mexican Strats
with white pickguards and black Seymour Duncan Hot rails in the bridge
during the In Utero tour, used mostly for smashing (seen 16). They were
pieced back together all the time (41).
D). Occasionally, he used Fender Telecasters
(not often apparently).
1). Blue Fender Telecaster, had the "'heart'
Courtney" scratched into it (seen 15). Well, actually it was sunburst,
but Kurt painted it blue with latex house paint and scratched the heart
and the "Courtney" into it; you're actually seeing the red sunburst
underneath (41). Seen in the "Come As You Are" music video (seen
49) breifly seen a couple times and very quickly. The large guitar seen
often in the video is discussed shortly.
2). I've been told a red Tele (from the Australian
tour) has been seen, but I don't know if it is true (10).
3). Sunburst Telecaster Custom, sent to Kurt
by Fender in early 1994 (57). Quoting Earnie Bailey from Chris' FAQ: "Fender
sent this out for the In Utero tour to replace the blue one (#1). Stock
pickups were very shrill. After Kurt's coma in Rome, I thought modifying
this guitar would make it a workhorse and get him away from the Mustang-Jaguar
image. Hopefully get him perked up. I put on new tuners (Gotoh's - his
favorite). A Tele bridge from Stew-Mac with a Humbucker cut-out and individual
saddle for each string. In the bridge, I put a Duncan JB - black, and in
the neck, and new Gibson PAF, potted with a Chrome cover. He got this 2
weeks before he died, and said it was his new favorite. He used it for
the home recordings he was making with Pat" (41) and Eric Erlanderson
in March 1994 in Kurt's basement (57).
E). Custom-made Fenders, built for Kurt
1). The Ferrington Guitar. The luthier Danny
Ferrington made a custom guitar for Kurt in 1992, based on the Fender Mustang.
Here are two articles on it.
"Kurt is left-handed, and he really likes
the Fender
Mustang he's been playing for a few years. But his
playing style is so rough, and left-handed Mustangs
so rare, that it was beginning to look as if his
favorite guitar was going to break apart right out from
under him. I'd talked with Nick Close, one of
Nirvana's roadies, about trying to find replacement
necks for the Mustang, but finally Kurt called me to
talk about ordering a new custom guitar.
"Nirvana left for Australia a few days
later, and Kurt
faxed me a great little picture showing where he
wanted the pickups to be and what shape to use for
the body. It was the first time I'd collaborated by
fax, and I thought it was real fun to be designing a
guitar by long distance using such a modern
communications technology.
"I built his guitar to be a lot like that
old Mustang,
except we used a Gibson-style bridge that's better
at keeping the guitar in tune, and I made the neck a
little straighter so that it won't be so apt to break
when Kurt plays it hard. It's tricky making left-
handed guitars, though, because everything on a
left-handed guitar is counter-intuitive for me. Right
off the bat I made a few mistakes on Kurt's guitar,
so finally I took to labeling all the parts 'This Side
Up' to remind myself that I needed to do everything
backwards. The guitar turned out real well, and a
few months later Kurt came by with his wife to pick
it up. Just after he started playing it he stopped
dead in his tracks and said, 'This is like my dream
guitar!' His wife asked, 'Honey, are you gonna
trash this one too?' but Kurt got this horrified look
on his face, and in a solemn voice he said, 'No, this
one's going to be my recording guitar.' I was tickled
to death, and it was incredibly satisfying to hear that
I'd hit the nail right on the head" (28).
The Ferrington guitar is distinguished by several
features. It has heart-shaped fretboard "dot" inlays,
a stylized "f"(for Ferrington) on the peghead, three
pickups (which look like single coil neck and middle
pickup, and a humbucker bridge-position pickup),
and an almost-Mustang pickguard where the plastic
continues right down to the control knobs (this
section is chrome on actual Mustangs). The
Mustang slide switches are replaced with a toggle
switch where the input jack would be. The actual
input jack is a Stratocaster-style jack mounted
below the pickguard. The body is basswood, with a
maple neck and rosewood fretboard. Its finished in
what Fender calls sonic blue, with a red-swirl mother-
of-bowling-ball pickguard. I don't know of any
pictures or footage of Kurt playing this guitar, but this
could be because it was used only as a "recording
guitar" (28).
Second article:
"[Kurt] hooked up with Danny Ferrington via Richard
Thompson's guitar technician, who was friendly with
Nirvana roadie Nick Close, who was desperately searching
for left-handed necks to replace the ones that Kurt had
destroyed onstage."
"'Kurt called me from the backstage of
Saturday Night Live
when Nirvana was doing the show,' Ferrington narrates. 'We
talked for a long time about what he wanted. Basically, he
loved Fender Mustangs, but he also hated them because you
couldn't tune them. And it's hard to raise the action. He
thought you could improve on it. He essentially wanted a more
sophisticated Fender Mustang. So we talked about the features
he wanted. Then the band went to Australia, Kurt faxed me
over a little drawing that he'd done, with the pickup placements
and other little notes.' The instrument Ferrington built is depicted
in his book. In body shape and headstock, it's closely modeled
on a Fender Mustang, but it has a Gibson-style Tune-O-Matic
bridge and three Bartolini pickups. The bridge pickup is a
humbucker, while the neck and middle pickups are single coils.
The middle pickup is angled. The bridge pickup, Ferrington
further explains, 'has a coil tap, so you can get series, parallel,
and single coil. Kurt said he wanted a lot of switch options.'"
"The bridge pickup variations are governed
by a small toggle
switch located below the guitar's two knobs (a tone and a
volume). There's also a Strat-style pickup selector. The
instrument's body is made out of basswood, with a maple neck
and a rosewood fretboard. The baby blue body colour and
tortoise shell pickguard were Cobain's choices, as were the
heart-shaped fret inlays"(32).
Kurt loved the look of the Ferrington, but
he didn't like the Bartolini humbucker or its heavy weight (41).
2). The Jag-Stang (18).
Another custom collaboration was with Fender,
and was again based on the Mustang. It was planned in February 1993, right
before recording "In Utero" (57). Here are two articles on it:
"Cobain worked with the Fender Custom
Shop to
develop the "Jag-stang," a very functional
combination of Jaguar and Mustang design. "'Kurt
always enjoyed playing both guitars,' says Fender's
Larry Brooks. 'He took photographs of each, cut
them in half, and put them together to see what
they'd look like. It was his concept, and we
detailed and contoured it to give him balance and
feel.
"'He was really easy to work with. I had
a chance
to sit and talk with him, then we built him a
prototype. He played it a while and then wrote some
suggestions on the guitar and sent it back to us.
The second time around, we got it right.'
"The guitar features a Mustang-style short-scale
neck on a body that borrows from both designs.
There's a DiMarzio humbucking pickup at the bridge,
and a Texas Special single coil at the neck, tilted at
the same angle as on a Mustang. Cobain was quite
satisfied with the guitar. "'Ever since I started
playing, I've always liked certain things about certain
guitars but could never find the perfect mix of
everything I was looking for. The Jag-stang is the
closest thing I know. And I like the idea of having a
quality instrument on the market with no
preconceived notions attached. In a way, it's perfect
for me to attach my name to the Jag-stang, in that
I'm the anti-guitar hero - I can barely play the things
myself'" (18).
Second article:
"'I was able to track down what they needed,' says Fender
Director of Artist Relations Mark Wittenberg, 'so they
could keep his guitars up and running. Then we were
contacted and told that Kurt had an idea for a guitar --
something that he had in his mind's eye but wasn't really
seeing out there in the real world. His favorite guitar was a
Mustang, but there were things about the lines of the Jaguar
that he really liked too.'"
"Wittenberg and Fender master builder
Larry L. Brooks
journeyed to Cobain and Love's Hollywood apartment to
discuss the guitar. The couple were just in the process of
moving out. Like Ferrington, the Fender guys were
impressed with Cobain's courteous manner. 'He was very
soft-spoken and very gentle.' Brooks recalls. 'As it turned
out, we'd gotten him out of bed. He'd been out or played
the night before, so he was still a little tired. But as we
started talking about the guitar, the adrenaline started flowing.
He was very easy to work with. He knew what he wanted,
but at the same time he was able to say, "You're the builder,
so you know the best way to accomplish what I'm after." He
was very open-minded that way'" (32).
Fender cut a body and sent it to Kurt who sent
it back with
some slight suggestions. He then sent out one of his favorite
necks for them to copy (41).
"The resulting instrument has an alder
body, plus a 24-inch
scale maple neck with a rosewood fretboard and vintage-style
fretwire. At Cobain's request, Brooks used stock Mustang
hardware from Japan, where the guitars are still produced (32)
(according to Nirvana guitar tech Earnie Bailey, the bridge
was later changed to a Tune-O-Matic (41)). The neck pickup
is a single-coil Texas Special, which was originally designed as
a bridge pickup for Fender's Stevie Ray Vaughan model. The
bridge pickup is a Dimarzio H-3 Humbucker."
"'The Texas Special is a little hotter
than most single coils,'
Brooks explains. 'With a humbucker at the bridge, the Texas
Special in the neck position really helped to balance things out
so that there wasn't such a drastic drop in volume and output
going from one pickup to the other.'"
"'Kurt requested two guitars' says Mark
Wittenberg, 'one in
Solid Blue and one in Fiesta Red.' The blue instrument was
delivered to Cobain, who used it on Nirvana's 1993 tour. 'We
were just finishing the Fiesta Red one,' Wittenberg continues. 'In
fact, we were literally ready to deliver it when we received
word of his death.' The red guitar has been earmarked for the
Fender museum which is being planned" (32).
The "Jag-stang" was seen starting
in mid-to-late 1993 (18) although Kurt rarely played it. A reviewer for
Guitar Shop saw a "cross between the Jaguar and Mustang, the Jag-stang
features a sonic blue Jag body with white pickguard and Mustang bridge"
(24). As most of you know, the Jag-stang has hit the stores some time ago.
Like Chris points out on his FAQ, and others have told me via e-mail, the
Jag-stang isn't exactly as Kurt intended it to be (41). Kurt didn't even
like the Jagstang that much when he received it (57). He forgot to have
Fender do the contours for the arm and the stomach (41). It was as thick
as a Telecaster and rather misbalanced. He wouldn't even play it for the
(first?) month he had it. It was also tough to set up. Earnie immediately
changed the pickups, routing it out (wasn't the Dimarzio H-3 a full-sized
humbucker?- Brian) and putting a Duncan JB in the bridge (57). As previously
stated, he installed a Tune-O-Matic bridge on it. Earnie had also talked
with Kurt about re-shaping the body for a more traditional Fender look.
Earnie told Mark Wittenberg about these changes (also, the fitted bridge).
Mark was interested in the changes, but he passed away, too. So Fender
released that Jag-Stang in the way Kurt had received it (41). Kurt eventually
became comfortable enough to use his Jag-Stang on rare occaions for a whole
show (57).
Courtney gave the Jag-Stang to Peter Buck after
Kurt passed away (41). He played it in the "What's the Frequency,
Kenneth?" music video (seen 27), and Mike Mills plays it live on "Let
Me In" (41).
F). Although Kurt is known for his Fenders,
he used a non-Fender from time to time. One type which definitely needs
to be noted was a Univox.
The following section is taken directly from
Chris' FAQ (41); I only replaced the referred pictures to comply with my
citing system and changed the numbering of the guitars.
"1). Univox Mosrite copy. Actually called
"Hi-Flyers" on pg.116-117 of Rolling stone's Cobain book (source
info?). White pickguard, maple fretboard.
2). White Univox (also mentioned (32)). Not
custom made. Used in Heart-Shaped Box video. Maple fingerboard. Had a B.C.
Rich made Badass bridge. Smashed in Kansas City 1993. There is another
one just like it that survived. It had different string trees than the
one used in the video. Earnie sent him this guitar to use in the video
when he couldn't find...[the] 1969 competition Mustang, which turned out
to have been under his bed the whole time!
3). Sunburst Univox Custom (also mentioned
(32)). Used on SNL 1993. It had a nailed on logo that said "Univox"
as opposed to "Univox Custom" which was previously thought (58).
This was his favorite Univox. This was the first guitar that had a Duncan
JB installed in it. Kurt loved the sound of this "plywood beast".
Earnie bought it for him for $150. The previous owner was a Minister in
Everett, Washington. This had an Ibanez Badass bridge installed. Possibly
seen on pg. 286-287 of (25).
4). Univox Hi-Flyer. Had a Mahogany Neck and
stock single coils at Sao Paulo show. Kurt liked this one too. Later got
a humbucker in the bridge. I think Earnie meant the Rio show. Hollywood
rock show, anyways. Encore.
5). Natural Univox Hi-Flyer. He had 2 of these,
in Fall 1993. They had stock humbuckers (he liked these pickups a lot),
Badass bridges (stock humbucker models had single-piece bridges, while
P-90 single coil models had Jazzmaster type bridge-tail piece units). He
had a friend paint one of these in a Van Gogh style. These had maple necks
and fingerboards."
6). Univox, with pink and green stickers all
over it. Also had Monkees sticker and "WASP: We are scary posers"
written on it. First ever smashed guitar. Seen pgs.61, 116 of (25)."
7). Black Univox Les Paul Custom copy. Given
to Kurt by Publicist Anton Brooks on Europe tour 1991. Bolt-on neck, stock
hardware, painted Flipper fish over logo in white, and had a Witchypoo
sticker on the body.
End quoting from Chris' page.
A sunburst Univox Hi-Flyer (not sure exactly which one of the above guitars this was, if any of them) was the first guitar Kurt smashed. It was at Washington's Evergreen State College on 10/30/88, said to be in response to frustration with Chad's drumming. Kurt bought a lot of Univox's (for an average of $100 over a course of 5 years) from Guitar Maniacs in Tacoma, Washington and Danny's Music in Everett, Washington. Guitar Maniacs says that Kurt bought a lot of the Hi-Flyers with humbuckers and also the P-90 version (57).
G). Miscellaneous Guitars
1). Sunburst Mosrite Gospel with white pickguard,
which Kurt loved. It was used at the Motor Sports show (41)(seen 51). The
day of this show, Kurt bought:
2). Orange Vantage Les Paul copy, had a bolt-on neck. Also smashed at this show (41).
3). The Hard Rock Cafe's collection of guitars
has Kurt's "trademark" Fender Jazzmaster which is autographed
. As far as I know, Kurt never used a Jazzmaster, so this seems to be a
mystery. The photo also has, I believe, Kurt's all-black Strat which was
destroyed and pieced back together (35).
4). Bluish Gibson SG Standard, pickups taped
in. Used in Tijuana where it was broken in half and had the neck broken
off. It reappears at the HUB Ballroom on 1/6/90. However, a guitar resembling
guitar #14 below may be the (or one of?) the HUB guitar(s) (Seen on pg.131
in (25))(41)(57).
5). Mid 60's Sunburst Fender XII (57) electric
12-string, dot neck, right-handed (unlike most, if not all, of Kurt's other
Fenders). It had cherub stickers on it. He wrote "Serve the Servants"
on this guitar. Courtney had one too, but both guitars were damaged in
the Spring of 1992. Kurt hid some guitars, songbooks, and tapes in their
bathtub figuring burglars wouldn't look in the tub, were the house ever
robbed. The bathtub filled with sewage and damaged his guitar the most--
the body was water-stained about halfway up, split, and warped. Earnie
offered to build a new body for it, but Kurt didn't think the guitar was
worth saving. Kurt was very depressed about the unfortunate accident to
this guitar (41). Purchased around the end part of the "Nevermind"
tour (57).
6). Black Epiphone Les Paul which was used
for (and probably only for) the "Nevermind" under photoshoot
(41)(seen (25), pg. 184 I believe).
7). Red Epiphone ET270. Said to be used in
the SubPop "In Bloom" video (43) and was his main guitar around
that time (41)(57)(possibly seen (25), pg. 132).
The following I quote directly from Chris'
page (again, I only changed the numbering and conformed it to my source
system):
8). Blonde F-hole Archtop Harmony. Used in
Come as You Are video. It had fake painted flame maple on the sides and
top. Also had a maple fretboard. This sat in Kurt's doorway to his home
with a broken headstock. Kurt said he liked it that way.
9). National Map Body. Seafoam Green, right-handed,
tremolo, small body fiberglass model, 2 pickups, not a big Glen Wood, strung
lefty, but strap button not moved. Never toured.
10). Hagstrom blue glitter 3/4 size Les Paul
copy. He got this in December 1992, paid $500, a lot for that model at
the time. Had a pearloid fingerboard and back.
11). Lefty Rickenbacker 4001 Bass. Natural,
he loved this bass.
12). Ibanez Les Paul custom copy, cherry sunburst,
Dimarzio X2N pickups, 2 coil tap mini switches (installed when bought),
lefty, set neck, flame in top, black pickguard and pickup rings, pickguard
may have been removed. Black or gold speed knobs. This was a great lefty
guitar but Kurt wouldn't play it live because he said it looked too much
like Jimmy Page! Earnie may have sent this for the "In Utero"
recording.
13). Blue Mosrite Mark IV. Damaged in bathtub
incident, Kurt gave this to Pat at SNL 1993 (seen 50)."
End quote from Chris' page.
14). Greco Mustang copy purchased from Guitar
Maniacs. Supposedly destroyed on 7/9/89 in Pennsylvania but it may have
reappeared in some form at the HUB on 1/6/90 (57).
14). The odd, unknown guitar on my pictures
page has been said to be a BC Rich guitar but who knows if this is true
(10).
15). Kurt's first guitar was said to be a Lindell,
given to him on his 14th birthday by his uncle, Chuck Fradenburg (53) along
with a 10-watt amp. This guitar was left in an abandoned meat-locker he
practiced at with some friends. When he finally was able to get back to
the meat-locker, it was in pieces. He saved the neck, electronics, and
hardware and attempted to build a new body for it in woodshoo. However,
he couldn't get its intonation right (57).
16). Supposedly an unknown right-handed black
guitar with a white pickguard, headstock similar to some Gibsons, newer
Epiphones. Was completely smashed. Could be one of the above guitars? (15)
H). Acoustic Guitars
1). Prior to the In Utero tour, Kurt's main
acoustic was an Epiphone Texan (32); purchased after completing "In
Utero" as a replacement for the Stella (57). It was probably from
1961. It is easily identified by the "Nixon" (or is it "Nixon
Now"?) sticker. The guitar's adjustable bridge was changed to a lefty
flat-top bridge (41) and a standard saddle (57). Earnie says this was one
of the best-sounding acoustics he's heard, and Kurt's best; despite this,
he wouldn't use it on "Unplugged" ("Unplugged" 21)(41).
I think I've seen this guitar used on (52), during the "In Utero"
tour.
2). Takamine acoustic (seen 15), cutaway, and
rented for use at a radio show-- seen with Kurt wearing a black (?) leather
jacket. NIRVANA wasn't happy of pictures getting around of them playing
"modern" equipment (41).
3). Yamaha acoustic, so I'm told (seen 15).
4). Ibanez Vantage (or Vintage) acoustic, used
for a Tower Records store performance (source info?)(supposedly seen 51).
5). Natural finish Harmony 12-string acoustic.
Other than the finish, it is identical to (41):
6). Stella 12-string acoustic, see "Recording
of "Nevermind" and "Recording of In Utero" sections.
Also used live.
7). Martin D-18E acoustic, see "Recording of Unplugged" section.
Also used live.
"Bleach" (34) era:
1). Randall heads used in conjunction with
the Japanese Epiphones noted in "Guitars" section and whatever
cabinets were available. It was said he later used:
Sunn-Beta Lead head driving 4X12 Peavey cabinets during the Bleach era
(32). This may be true, but he also used a BFI Bullfrog cabinet and a Randall
head (57). See #14 below and also the "Brief Summary of Tour Gear/Info"
section below for more details.
--
2). Mesa/Boogie Studio Preamp (56)(57), rack-mounted
with Crest power amp (see below)(40)(Crest 4801 (41)(57)) (also rack-mounted).
Kurt said he turned all the midrange up (57). This was the amp set-up for
the latter part of the "Nevermind" tour and all of the "In
Utero" tour (57). As a side note, Kurt didn't break any "important"
equipment during the In Utero tour (40).
4). 4 Crown 800W power amps (9)(22). This never
worked out very well and was "a particular source of frustration"
for "Nevermind" tour tech, Nick Close. He says the band didn't
have a lot of spending money yet, and because of time and money, a lot
of gear which would have worked better for Kurt that didn't get tried.
Plus, Kurt wasn't a gear head and didn't want to take the time to sit down
and talk about what could be done. The output on the Boogie Studio preamp
was so hot, the Crown power amp would blow up a lot and have to be repaired.
The Crown was replaced with:
5). Two Crest 4801 power amps. Finally, they found amps which could take the beating. Earnie Bailey called these "the amp that wouldn't die" (57).
6). Supposedly a Carver power amp (20), maybe
they meant Carvin?
Correction: Kurt never used Mesa/Boogie Mark
III heads (56).
7). Fender Twin Reverb. Used on "In Utero"
(32), "Unplugged," and at least one live show (seen 55). See
each section for more details on this amp.
8). Marshall 4x12 cabinets (seen in many 15).
They're visible in most any concert footage or photographs. For the live
set-up on the "Nevermind" tour (very similar to the setup for
"Nevermind" album), the individual speakers were 25 watt Greenbacks,
75 watt Celestions, and then Vintage 30's (Kurt's favorite) (41). I believe
Jim Vincent told me the speakers during the "In Utero" tour were
25 watt Greenbacks (40). During their last tour Kurt used 8 cabinets, Chris
8, and Pat 4 (32).
9). Small, red vinyl Marshall "MiniStack"
(or "MicroStack"?) head and cabinets (seen 7). It is *most likely*
the Marshall Lead 12 "MicroStack" (10). The guy was just for
fun, it was never used or plugged in. Supposedly at the fall 1993 show
in Chicago, Kurt asked the crowd if they wanted him to break anything;
he picked up the MiniStack and threw it across the stage (10).
10). Fender Champ (25).
11). 70's Peavey Vintage with the fake vinyl
tweed covering, 2x12, tube model. It's said to be Kurt's first amp on Chris'
page, but technically the small 10-watt amp given to him by his uncle was
his first (57). The Peavey was however, his favorite amp. Kurt's father
gave it to Goodwill; Kurt was always trying to find another one (amp, that
is!)(41). Another source simply says the amp "disappeared sometime
between early 1986 and late 1987" after it was loaned to Krist when
trying to get him to join the band. With this amp and an unknown guitar
sold and retrieved from a pawn shop and almost lost again when loaned to
a drug dealer, Kurt formed his first band in 1985-- Fecal Matter (57).
12). The Mesa/Boogie amp head we've all wondered
about from the Jonathan Ross show is said to be a Strategy 400 Stereo,
stereo power amp, rackmounted. Thanks to Matt Salleo of the Krist Bass
FAQ who saw a picture of this head in a two-year old issue of the "Australian
Music Trader" magazine (source info?), or something to that effect
(10).
13). '68 Fender Twin. Used for recording "Bleach."
See "Recording of Bleach" for more (54).
14). A Randall amp (probably solid-state) was
used on 1/23/88 session when Dale was on drums. It was probably also used
that summer at the "Love Buzz" session. Not used on "Bleach,"
however (54). If this amp was only a head, it was probably used in conjuction
with a BFI Bullfrog 4x12 cabinet, the Epiphone ET270 guitar, and a Boss
DS-1)(57).
15). Hiwatt 4x12 speaker cabinet(s). Seen at
least once, at the Beehive Record Store on 9/16/91 (57).
16). Marshall head and cabs seen on the "Top
of the Pops" show were NOT used.. (seen (15)). Just figured I'd mention
this setup. Again, Kurt didn't actually use it.
17). Kurt's actual rack (which held his rackmounted
preamp and power amps) was specially made for him by a guitar tech named
Mark Snyder (58).
18). Mesa/Boogie Tremoverb. Kurt tried out
the first Mesa/Boogie Tremoverb amp! Mark brought it to Kurt at the NY
Roseland Ballroom show (1) where it was on stage. Kurt eventually sent
this amp back (58).
19). Mark seems to recall Kurt using Marshall
heads as a power amp, using the Boogie preamp and the Marshall's returns
(58). I hope to get more info on this from Mark, either proving it or disproving
it.
1). Roland (BOSS) DS-1 Distortion pedal (9)
- Kurt always referred to these as "Roland" pedals, rather than
BOSS. Seen throughout "Bleach" and "Nevermind"-eras.
Used until February 1992 when it was replaced with:
2). Roland (BOSS) DS-2 Turbo Distortion pedal
(19)(20). Used on "Unplugged" ("Unplugged" 21) and
the "Nevermind" tour. This pedal was first used in February of
1992 (57). I don't know if this was the norm, but one picture depicts it's
knob settings as follows. Level: all the way up, tone: at about 10-11 o'clock,
distortion: all the way up, and the last knob is cut out of the picture
(55). Eventually it was probably only used on "The Man Who Sold the
World" live.
3). "Roland EF-1 distortion" (a transcription
error for the DS-1 (56)), "I go through about five a tour..."
(22).
4). Tech 21 Classic SansAmp amp-simulator box
(seen 7). This was Kurt's MAIN distortion during the "In Utero"
tour, despite popular beliefs and was used throughout the entire tour.
Pat also had a SansAmp but preferred his Rat. His settings on the DIP switches
were as follows, from left to right: three-up, three down (Jim said he
remembered it's settings as "Three-up, three-down"(40)), two-up,
and all of the knobs were turned all the way up except for the high control
which was at about 12 o'clock. Jim doesn't recall where the SansAmp's three-position
selector switch's setting was, but thinks it was the Normal (center) setting
(57).
5), Electro-Harmonix Small Clone Chorus, purchased
sometime in 1990 from Guitar Maniacs. This pedal was used extensively throughout
a good portion of Kurt's career and was one of his favorites until his
death (57). It is visible in most any concert footage (including "Unplugged"
it looks like, ("Unplugged" 21)) which catches a glimpse of the
floor by Kurt's feet. Two of the best pictures of it I've come across is
the insert in the In Utero cd. It's visible on the black-and-white side
under the track listing "6 Dumb 2:29" ("In Utero" 8)
and also in a huge picture in "Circus" magazine (39). Kurt used
many rate and color settings in the Small Clone; some light for rhythm
and others more obvious (57).
6). Despite beliefs, Kurt never used a Electro-Harmonix
Small Stone phase shifter pedal (56).
7). Unknown MXR pedal seen live possibly. Possibly
the above? (10)(seen 15). May also be:
8). Orange MXR Phase 100 which was used for "Curmudgeon" (available on several bootlegs, etc.). It was probably owned by the studio where it was recorded (41). Chris says a phaser was never used again, but I don't know if this is coming from him or Earnie. An MXR pedal has been said to be seen in photos from a bootleg cd. It had 2 knobs. Also visable in the picture is said to be the Arion stage tuner and an unknown Fender combo (possibly a 2x12) amp. This amp may not have even been used. Pictures may be from a studio recording or live (15).
9). DOD Grunge pedal. This was just a joke (40). At one show, it was thrown into the crowd! (10). Jim Vincent supports this-- although he says it wasn't "thrown," persay (40)
10). Supposedly a Dunlop Rotovibe (26)(10) but I seriously doubt he ever did use one. Someone told me they saw Kurt use one at a show, but I can't verify it by any means. Supposedly, the only time Kurt ever "used" rotovibe was from January 28-30 of 1994 at Bob Lang's North Seattle studio when Kurt forgot his pedals and a pedalboard of Earnie's. The rotovibe in the pedalboard was not used, though. The effects it had were: a Boss flanger, a Boss vibrato, a Boss delay, a rotovibe, and an Ibanez Supermetal. Kurt recorded one song, "You Got No Right" ("On the Mountain")(on bootlegs, etc.) where the Ibanez Supermetal and maybe the Boss flanger were used (41)(57). (Jim Vincent didn't know if Kurt ever used rotovibe (40)).
11). Electro-Harmonix EchoFlangers (32)(40)
and PolyChorus (37)(seen 15). He supposedly only had one EchoFlanger, despite
what is said in (32). Kurt used the EchoFlanger on the Brazil shows (source
info? Rio perhaps?) and the song "The Priest They Called Him"
(found on various bootlegs, etc.). Both pedals were taken on the "In
Utero" tour. The EchoFlanger "acted up" sometimes and Earnie
gave Kurt his PolyChorus as a back-up. This PolyChorus was used on "In
Utero" for the "Heart-Shaped Box" solo, "Radio Friendly
Unit Shifter," and "Scentless Apprentice" (41). Earnie sent
out another PolyChorus to Kurt, hoping to get his back, but the "new"
one broke and was given to Eric Erlanderson of "Hole" who had
it fixed. Earnie did eventually get his PolyChorus back, but not before
Kurt marked his settings on it with nail polish and put Velcro on it. The
EchoFlanger was supposed to be used on "Unplugged" ("Unplugged"
21) but caused too much 60-cycle hum in the control room because it is
an AC unit. What he would have used it on, I don't know. Possibly a normal,
chorus-sound for "Come As You Are." Courtney now has Kurt's EF
(40).
Just wanted to point out that despite the different
names, PolyChoruses and EchoFlangers all have the same internal circuitry
and somewhat similar casings.
12). ProCo Rat. See "Recording of 'Nevermind'"
for more details.
13). Electro-Harmonix Big Muff. See "Recording
of 'Nevermind'" for more details.
14). Univox Superfuzz. Kurt had it before "Bleach"
("Bleach" 34) but it was stolen from the band's practice space.
Earnie built him a handwired duplicate in a silver, metal box on which
he humorously labeled it "Yung-Mann Fuzz" (41).
15). Electro-Harmonix Clone Theory, an AC unit
which Kurt didn't like as much as the Small Clone and broke it (41).
16). Supposedly a Vox Tone Bender Fuzz, two
of them actually, hooked up next to each other (why I don't know!). Apparently,
these two pedals are on a poster of Kurt from around the "In Utero"
tour where Kurt is using his sonic blue Mustang; kneeling down pressing
one of the pedals on. The name (Vox Tone Bender Fuzz) is supposedly visable
on the boxes (10). Nobody who knew Kurt's gear remember Kurt using this,
though (56)
17). Unknown wah-wah pedal on "Bleach"
("Bleach" 34).
In the "Bleach/Nevermind" days, Kurt's
effects were normally as follows (from Kurt's point of view looking down,
right to left): DS-1 (DS-2), Small Clone chorus.
Later it would be the DS-2, SansAmp, Polychorus,
Small Clone, for example. The Grunge would be between the DS-2 and the
Sansamp. Again, if other pedals were ever used, I don't know where their
positions would have been if they were even actually used.
Jack Endino says in the early days a Univox
guitar (Hi-Flyer (57)) with stock humbuckers was used (54). Jack bought
of these type of stock Univox pickups from Kurt once. It was in pieces,
but Jack was able to stick the wires together (57). The Univox(s) was around
approximately until "Sappy" was recorded; a new guitar was seen
at least by the time Jack did the "In Utero" demos which he remembers
as being a small Fender guitar, "perhaps a Mustang." Jack Endino's
'68 Fender Twin amp was used on the album. It didn't have any speakers
and was run into a closed-back 2x12 cabinet loaded with 70 or 75-watt Celestions
of Kurt's. Jack says Kurt used a bottom-of-the-line orange Boss distortion
pedal (perhaps a DS-1?)(54). Sounds like a wah-wah pedal was used, as well
("Bleach" 34). The album was recorded closed-miked with a Shure
SM-58 (54).
See Jack
Endino's Web Page for more details!
"Nevermind" was recorded at the following
studios: Sound City, Van Nuys and Devonshire, North Hollywood. It was produced
by Butch Vig and NIRVANA. With the monetary advance for recording the album
the band had more money to choose equipment; Kurt bought "a bunch"
of guitars and effects from Guitar Maniacs (57).
The guitars used were his competition Mustang,
his Jaguar and a new Stratocaster(s) with humbuckers in the bridge positions
(6). Kurt purchased a bunch of Japanese Strats (had humbuckers installed
in the bridges) and effects for this album from Rick King of Guitar Maniacs.
Just prior to recording this album Kurt apparently developed a taste for
Fender guitars. It has been said his main amp was a Mesa/Boogie Studio
.22 but it has recently been said that the recording setup was really similar,
if not identical, to his upcoming live setup (purchased before entering
the studio): Mesa/Boogie Studio Preamp with a Crown power amp, and a variety
of Marshall cabinets. Note: in live performances, his Crown power amp was
eventually replaced with 2 Crest power amps, discussed in the "Amplification"
section (57). He also used a Fender Bassman on about four songs and a Vox
AC30 for some clean tracks. Four microphones were used to mike Kurt's speaker
cabinet (he would pick which mic he liked best for each song and its signal
was sent through the Neve console at Sound City): a Shure SM57, an AKG
414, a Neumann U87, and occasionally a Sennheiser 421. His main effects
were the aforementioned DS-1 Distortion and Small Clone (like his rack
setup and Marshall cabs, these pedals were also used in live settings).
A ProCo Rat distortion pedal was also probably used on some songs on the
album (6).
According to Vig, the Small Clone was the key
to "the watery guitar sound you hear on the pre-chorus build-up of
'Smells Like Teen Spirit' and also 'Come As You Are.'" An Electro-Harmonix
Big Muff fuzz box was used on "Lithium" for that "dark,
thumpier sound." Vig recalls using the U87 mike on "Lithium"
because it wasn't so bright and had a heavier sound.
"Polly" was recorded at Vig's Smart
Studios in Madison, Wisconsin during demo sessions for "Nevermind."
The guitar had only 5 strings which had never been changed; it was tuned
down about a step and a half down from E and was recorded with an AKG 414
microphone. The same guitar is on 'Something in the Way.'" (6). It
was a 12-string Stella Harmony, but only had 5 nylon strings on it. It
was sunburst in color, flattop, with a white screw-on pickguard, and a
floating wood bridge which was glued down. It was purchased from Edgewater
Pawn Shop and Sheridan Jewelry (cost $29.00 plus $2.23 in sales tax) on
October 12, 1989, when Kurt was living in Olympia. Recorded "Polly,"
"Something in the Way," and the "Lithium" demo version
with this guitar (Stella seen pg. 4 on 38 and also quickly in two of the
segments in between "Sliver" and "On a Plain" in (16))(41).
VI.
Recording of 'Incesticide'
Almost all of this section is unknown and any info on it is pure speculation, simply taking into account what gear Kurt was using at the time. A few things to note. NIRVANA used Tad's equipment (while they were at dinner) to record the "Sliver" single. Also noteworthy is that you can hear the Small Clone chorus on the intro to "Aneurysm" (57).
"In Utero" was recorded at Pachyderm
Studios in Minnesota with producer Steve Albini (25). As for guitars, Kurt
used his Fender Jaguar (57) and possibly the Ibanez Les Paul mentioned
in the "Guitars, Miscellaneous" section. The Stella acoustic,
after it was fixed-up with new tuners and strings, was used for the acoustics
on the album (41)(57).
A Fender Twin Reverb, 1982 blackface 135-watt
(Chris' page says 120 watts which seems to be incorrect) "Ultra-Linear"
model, was the main amp used (57). It was a 1980's blackface "Ultra
Linear" model which was very clean in sound. At first, it had two
Peavey 6L6 power amp (output) tubes in it (which meant it was only running
on half the power with the two tubes missing)-- Kurt didn't know how it
worked with only two output tubes, but felt it was the key to it's sound.
Earnie knew it would sound even better with 4 matched power tubes so he
pulled a prank on Kurt and put in four new ones for the "In Utero"
rehearsals, who told Kurt he only cleaned the pots. Kurt said it sounded
better than ever and Earnie let him in on the secret (41)(57).
As for effects, the Boss DS-2, Small Clone
chorus (on what I don't know-- possibly the solo to "Verse Chorus
Verse"?), Earnie's Polychorus (57), his own EchoFlanger, (41) and
supposedly a Tech 21 Classic SansAmp amp-simulator effects box (32) were
used. No rotovibe was used despite what it says in the tablature book ("In
Utero" sheet music book 26)(41).
NIRVANA chose Steve Albini to record "In
Utero" because he was able to get a sound which was "very in-your-face
and real" according to Kurt (38).
Kurt said that because mics are so directional,
to get a surrounding sound you need to use many tracks or use an omnidirectional
microphone farther away from the instruments to pick up the reverberation
from the walls. The key was to use many microphones, a technique he had
been trying to get producers to do ever since they had been recording.
Old, large German microphones were taped to the walls, ceiling, and floor
"all over the place" (38).
VIII.
Recording of 'Unplugged'
The acoustic guitar Kurt used on "Unplugged"
("Unplugged 21")(and his main acoustic guitar around this time,
but he also used the Epiphone Texan as well in live concert settings) was
a late 50's Martin D-18E that he had bought at Voltage Guitar in Los Angeles
in the fall of 1993. The D-18E was one of Martin's earliest electric guitars.
Only 302 were made before it was discontinued in 1959. It is basically
a D-18 acoustic but with two pickups, three control knobs (one volume and
two tone), and a selector switch.
Kurt probably didn't have any idea how rare
the guitar was when he bought it, according to Earnie Bailey. The D-18E
didn't sound very good, so in addition to the instrument's DeArmond pickups
(which were designed to be used in conjunction with nickel strings, and
therefore sounded poor with bronze-wound), a Bartolini 3AV pickup was added
to the top. Kurt was interested in the pickup because of it's usage by
Peter Buck (21)(29)(32)(57).
Although the standard procedure for "Unplugged"
is for acoustics to run direct, Kurt insisted on putting his Martin through
his Fender Twin Reverb amp; but it was only used as a monitor. To keep
the amp as clean as possible, the 7025 power tubes were replaced with 12AX7's
and the 12AT7 phase inverter was replaced with a 12AU7. Alex Coletti ("Unplugged"
producer) made a box out in front of the amp to make it look like a monitor
(32)(57).
Along with the Twin Reverb, the DS-2 distortion
pedal and E-H Small Clone Chorus were also used (seen 21)(57). The Echoflanger
and Polychorus were also brought to the rehearsal but they weren't used
because they created too much 60-cycle hum (57).
Kurt also used Finger-ease on the fretboard
of the Martin to smooth out the solo to "About A Girl." "You
know that goofy-ass stuff? It's like anal gel" said Kurt, who knew
to use the roll-on as opposed to the spray. He said that he had never used
fretboard lubricant before but that his "country and western aunt"
used to (32).
(For LOTS more cool non-technical/instrumental
stuff on "Unplugged," see "Guitar World/Archives"--
source 32).
There's so much gear scattered around this
page, I thought a quick organization of it would help.
"Bleach"-era (and before): Mostly
Univox Hi-Flyers, Epiphone ET270 for guitars. Lots of miscellaneous guitars
were used, though. Usually The Randall solid-state head with BFI Bullfrog
4x12 cabs, but not a whole lot is known for sure about these early days.
Lots of miscellaneous stuff for all his gear. The same goes for distortion
pedals, but eventually it was the DS-1.
"Nevermind"-era: Initially only the
1965 Jaguar, '69 Mustang, and Japanese Strat for guitars; later the sunburst
Tele painted blue. Univox's continually used occasionally. Mesa/Boogie
Studio preamp, Crown power amp (replaced with 2 Crest 4801 power amps),
Marshall cabs. Boss DS-1 and the Small Clone chorus. Basically the same
setup used for recording "Nevermind." Nick Close said everybody
had the exact amount of things needed to play a show. If anything broke,
they were in trouble. He tried to get them to have extra cords and pedals.
Nick was always looking for a backup for his DS-1 (which opposes what Kurt
said about going through 5 a tour). One time when the Crown blew up, it
took the speakers with it; Nick (and Kurt?) was in a music store looking
for Marshall cabs and he saw the DS-2 and bought it. Kurt didn't seem to
like it at first but then started using it after he broke his DS-1 in Hawaii.
Nick got a small supply of replacement neck for Kurt's strats but soon
he was replacing necks every night. He contacted Danny Ferrington in Los
Angeles in late December of '91 to make replacement necks, but Danny instead
offered to make a whole new guitar (the Ferrington). He also got an Echoflanger
from Guitar Maniacs for $99 around this time (57).
"In Utero"-era: Everyone knows Kurt's
usual guitar of choice was the Mustang. New sonic blue (red pickguard)
and fiesta red (red swirl changed to white pearl) Mustangs used almost
all of the time. The '65 Fender Jaguar was used, according to Earnie Bailey
(41). A Univox occasionally. Mexican strats for destroying. Same amp rig
as the end of the "Nevermind" tour. A small, red Marshall ministack
was on stage, but it was never used. Pedals included (in this order in
his chain) the Sansamp Classic as Kurt's main distortion, Boss DS-2 (mainly
used on the acoustic "The Man Who Sold the World." But occasionally
Kurt used both the DS-2 and Sansamp at once!), E-H Polychorus & Echoflanger
(whichever worked that day), and Small Clone chorus. Kurt took care of
the settings on his pedals, "He knew all the sweet spots really well"
(57). Martin D-18E acoustic; also the Epiphone acoustic which seems to
be the only acoustic seen at the end of the tour. All the work to his new
Mustangs (and Mexican Strats) was done before the band went on this tour.
Sometimes Kurt would want one of his Mustangs to smash at the end of a
show, instead of the predetermined black Mexican Strat, but they talked
him out of it! Kurt agreed by saying, "Yeah, all right, I don't want
to break that guitar because it feels really good" (57).
All of Kurt's techs were always recylcing parts
from smashed guitars, often piecing them together. Sometimes, only a pickguard
or the pickups were changed (57)
.
1). Picks: Kurt has been seen using (orange)
Dunlop .50mm's (seen 15)(10). Still used during the In Utero tour- sent
straight form the factory with no logo (40).
2). Strings: Heavy-bottom Boomers (.010's-.052's)
during the In Utero tour (40). Also Dean Markley .010-.052's (the red pack)(41).
3). Ernie Ball straps, in solid black or solid
white. A Fender strap has also been seen (seen 15).
4). Kurt claimed to use a Radio Shack burglar
alarm (9) and Radio Shack speakers (22). Its sounds like he's kidding,
but you never know. He also claimed to use strings made of piano wire,
shipped in long boxes, as he couldn't find guitar wire thick enough for
his taste (9). I seriously doubt this one. I also read somewhere, though
I can't remember where, that he would use whatever strings he could find.
5). Arion Stage Tuner, used on the "Bleach"
tour. It was made of black plastic (with white stripe) and broke on tour
(41)(seen pg. 146 of (25)).
6). Kurt's strap locks on his Mustangs and
(blue) Jagstang appear to be a Schaller-type. His Jaguar's strap locks
(if it even had them) appear to be StrapLok-style or another similar-looking
brand (15).
NIRVANA was offered a Gibson endorsement, but
Kurt couldn't find a Gibson he liked (22).
XI.
A Note on Guitar Destruction
An often unnoted aspect of NIRVANA's equipment
destruction was that Kurt often switched to a (presumably) expendable guitar
for the last song, then trashed it. It would be wrong to think he didn't
like certain guitars.
"On tour, they'd find cheap guitars at
pawnshops - sometimes fans would give them a guitar or in a pinch Jonathan
Poneman (from SubPop records) would FedEx one out to them and string them
left-handed and smash them that night" (25).
Ralph Smith has seen Courtney Love of Hole
switch guitars for the encore (she only played one guitar up until that
point), then stage-dive with the "encore" guitar.
Nothing important needed replacing on the In Utero tour. Kurt didn't break the important stuff (40)!
This is a section of things I'm NOT sure on
that I think others out there can help with.
Can anyone make out the style of strap-locks
(if any) on his Jaguar?
See anything else not mentioned on this page?
Again, I appreciate all e-mail and information.
You guys have been very supportive! Special thanks goes to the following
for their especially helpful information:
Ralph Smith (rsmith@clysmic.com) for starting the page originally and also for the background tile.
Jim Vincent Chris Gill of "Guitar World"
magazine (Thanks a million for continually keeping me informed on your
article and for all the GW and AG back issues!) Mark Snyder Jack Endino
Chris Lawrence (mustang@islandnet.com)
Peter Horgan (petramv@ix.netcom.com)
Pete (woodwarp@mail.oit.osshe.edu)
Chris (jagstang@woodland.net)
Thanks to the following for sending me pictures
(PLEASE EMAIL ME IF I'VE FORGOTTEN YOU! I know I've forgotten a few people):
Josh Pannepacker (kurtvana7@aol.com)
Sven (Eck-Wagner@t-online.de)
Matt Hall (hallmatt@cps.msu.edu)
Curt, of "Gallons of Rubbing Alcohol Flow Through the Strip"
(http://www.proaxis.com/~elcurte/) (elcurte@proaxis.com)
Layla, of "Mexican Seafood" (http://www.walrus.com/~dreamlog/nirvana/)
(dreamlog@walrus.com)
Mike, of "Endless, Nameless" (http://members.xoom.com/veryape)
(seppa@cyberbeach.net)
and last, but certainly not least,
Tim Lynch (Timalynch@aol.com) who sent me many great pics!
Mr. Smith thanks the following for their input
into his original web page:
Joe Hartley, Mark Saucier, The Rev. Justin
A. Redd, and John Dee.
1). Still photographs: Roseland new music seminar
performance in NYC, 7/24/93.
2). The infamous Trees Club show video footage shot in Dallas, Texas on
10/19/91.
3). MTV Studios performance of "Smells Like Teen Spirit," "Polly,"
and "Territorial Pissings" taped in New York, NY 1990.
4). Guitar World Online, soundcheck. Web address is:
http://www.guitarworld.com/jan96/soundcheck/scfeature1/sft.page1.html
5). Saturday Night Live rehearsal footage. 1993 NBC.
6). "Guitar World" magazine. May 1996.
7). MTV's New Year's "Live and Loud" concert footage at Pier
47 in Seattle, WA, 12/17/93 shown 12/31/93.
8). "In Utero," album, 1993 DGC.
9). "Musician" magazine interview. January 1992.
10). My and Mr. Smith's discussions through e-mail with various people.
11). My (Brian's) phone conversation with Fender, 8/19/96.
12). Clay Guitars Web Page. Web address is:
http://www.geocities.com/Hollywood/1375/fender.html
13). "Hollywood Rock" festival concert footage. Rio de Janeiro,
Brazil, 1993.
14). Concert footage; said to be Trenton, NJ, 1991.
15). Various photographs.
16). "Live! Tonight! Sold Out!" video. Geffen Home Video, 1994.
17). Saturday Night Live performance, 1993.
18). "Fender Frontline" magazine. Fall 1994 (Vol.14).
19). Still photographs: "Nirvana" (Suzi Black, Omnibus Press)
1992.
20). "Guitar Player" magazine interview. February 1992.
21). "MTV Unplugged" concert video. Fall 1993. Soundtrack released
as "MTV Unplugged in New York" (DGC, DGCD-24727) 1994.
22). "Guitar World presents Alternative Guitar" magazine interview.
Spring 1994. Ralph Smith feels the interview seems to date from the period
right around when "Nevermind" was released.
23). "Doll Parts" music video by Hole. (DGC) 1994.
24). "Guitar Shop" magazine 1994. A review of the 11/15/93 show
at the NY Coliseum, NYC.
25). Book: "Come As You Are: The Story of Nirvana" by Michael
Azerrad (Doubleday). October 1993. Either a picture or in the text.
26). "In Utero" sheet music book (Hal-Leonard pub.) 1994.
27). "What's the Frequency, Kenneth?" by R.E.M. (Warner Bros.)
1994.
28). Book: "Ferrington Guitars, Featuring the Custom-made Guitars
of Master Luthier Danny Ferrington" (HarperCollins and Callaway Editions)
1992.
29). "Vintage Gallery: Collectable Guitars & Amps" magazine.
October 1994, p. 47.
30). Mr. Smith's telephone conversation with Fender, 11/4/94.
31). "Heart-Shaped Box" music video. (DGC) 1993.
32). "Guitar World" magazine (and possibly also a later issue
for the item mentioned in parenthesis under the "Recording of 'Nevermind'").
March 1995.
33). "Nevermind," album. (DGC) 1991.
34). "Bleach," album. (SubPop) 1989.
35). "Guitar Shop" magazine. August 1996.
36). "Sliver" music video. (DGC & SubPop?) Year?
37). "From the Muddy Banks of the Wishkah," album. (DGC) 1996.
Photos from insert and cover.
38). "Guitar World" magazine. October 1996.
39). "Circus" magazine. December 17, 1996.
40). My (Brian's) phone conversation with Jim Vincent, NIRVANA's tour tech
from later 1993 through all of 1994. 1/28/97.
41). Chris Lawrence's Equipment Tutorial which contains information from
Earnie Bailey, Kurt's main guitar technician. Web address is: http://www.geocities.com/SunsetStrip/Towers/5890/kurtseq.html
42). "In Bloom" music video (DGC). Year?
43). "In Bloom" music video (SubPop). Year? Preceded DGC's video.
44). "Incesticide" album. DGC, SubPop 1992.
45) L.A. Recycler. Web address is: http://www.recycler.com
46) "Lithium" music video (DGC). Year?
47) MTV Video Music Award show, 1992.
48) Reading Festival. London, England. 8/92.
49). "Come As You Are" music video (DGC). Year?
50). Saturday Night Live live performance, 1993.
51). "NIRVANA and the Sound of Seattle," book (more info?).
52). New Year's Eve, 1993, live performance in Oakland, CA.
53). "Goldmine" magazine/newspaper. 2/14/97, Vol 23, No 4, Issue
432. Pg. 16.
54). Jack Endino's web page http://www.nwlink.com/~endino/
55). "Guitar World Presents NIRVANA and the Seattle Sound"
magazine. 1993.
56). Information from my conversations with Chris Gill of "Guitar
World" magazine, who did the equipment article in the August 1997
issue.
57). "Guitar World" magazine, August 1997.
58). My telephone conversation with Mark Snyder. Mark built Kurt's amp
rack. He worked for Mesa/Boogie at the time, showing Kurt gear, etc. (thanks
Mark!).