Guitar Gods: Picks, Strings, Guitars, Amps, Tunings, Pedals and Effects
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This carousel lists reported pick choices, string choices, preferred instruments, amps, tunings and effects pedals for well-known guitarists. Treat these as reference points, not rules. Artists change gauges by guitar, tuning, tour, studio session, endorsement, and tech preference.
GLS Note: copying a famous player’s strings will not automatically produce that player’s tone. Scale length, tuning, setup, pickups, amp, speaker, touch, pick angle, and technique matter just as much.
Accuracy disclaimer: Some artists have official or signature string sets, guitars or amps. Others are based on reported rig rundowns, interviews, tech notes, long-standing community references, or common historical association. The carousel is intentionally worded with “reported,” “commonly associated,” or “listed” where appropriate.
Allen Collins
Lynyrd Skynyrd
Picks
- Preferred: Dunlop Extra Heavy
- Material: Nylon / Tortex
- Gauge: Extra Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Reported/common: Gibson-style nickel electric sets
- Gauge: Reported: .010–.046 or similar
- Tuning: Mostly standard; song/slide parts may vary.
- GLS Note: Use as a reference only; Southern-rock players changed guitars/tunings and reliable exact set documentation is limited.
Instruments
- Instruments: Gibson Firebird I / Firebird-style guitars; Explorer/Les Paul-type guitars also reported.
Amps
- Amps / rig: Peavey Mace and high-headroom Southern-rock rigs commonly associated.
Effects / Pedals
- Effects: Minimal strongly documented pedal use; primarily guitar, amp volume, and Southern-rock stage tone.
- Use: More amp-driven than pedal-driven; any effects should be treated as song/era dependent.
- GLS Note: Do not invent a modern pedalboard here. The safer reference is Gibson/Firebird-style guitars into loud Southern-rock amp rigs.
Angus Young
AC/DC
Picks
- Preferred: Fender Extra Heavy
- Material: Celluloid
- Gauge: Extra Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: Ernie Ball / nickel electric
- Gauge: Often reported: .009–.042
- Tuning: Mostly standard; some AC/DC recordings/tours sit slightly flat or vary by song.
- GLS Note: Light gauge supports wide bends and aggressive SG rhythm/lead work without heavy left-hand resistance.
Instruments
- Instruments: Gibson SG family, especially late-’60s/early-’70s SG-style guitars.
Amps
- Amps / rig: Marshall Super Lead/JMP/JTM-style stacks; Wizard amps also associated in later touring eras.
Effects / Pedals
- Effects: Generally no regular pedals; guitar straight into Marshall-style amps.
- Use: Power amp volume, right-hand attack, SG pickups, and Marshall response are the core sound.
- GLS Note: One of the strongest examples of a simple signal chain. Do not chase AC/DC tone by stacking pedals first.
Billy Gibbons
ZZ Top
Picks
- Preferred: Custom/Very Thick or Mexican Peso Coin
- Material: Very Hard Plastic / Coin
- Gauge: Very Heavy
- Shape: Standard/Modified (351)
Strings / Tuning
- Manufacturer: Dunlop Rev. Willy’s / very light nickel electric
- Gauge: Often associated: .007–.038 range
- Tuning: Often standard or Eb; also open tunings and studio-dependent setups.
- GLS Note: Classic example that heavy tone does not require heavy strings; setup and touch are critical with ultra-light gauges.
Instruments
- Instruments: 1959 Gibson Les Paul ‘Pearly Gates’; Gretsch, Bolin, custom and chambered guitars also used.
Amps
- Amps / rig: Marshall, Magnatone, Fender and custom/studio rigs depending on era.
Effects / Pedals
- Effects: Fuzz, overdrive, EQ, studio processing, and unusual devices have all been associated with different eras.
- Use: Often heavily shaped by studio production, amp choices, and touch rather than one fixed pedalboard.
- GLS Note: Use broad wording. Billy Gibbons’ tone varies by period, guitar, amp, and production approach.
Brian May
Queen
Picks
- Preferred: British Sixpence Coin (Pre-1956)
- Material: Metal (Cupronickel)
- Gauge: Uses Serated Edge
- Shape: Coin
Strings / Tuning
- Manufacturer: Optima Brian May 24K Gold
- Gauge: Listed set: .009–.042
- Tuning: Mostly standard; song-specific exceptions.
- GLS Note: Light strings, coin attack, Red Special pickups, Vox-style amplification and touch all work together.
Instruments
- Instruments: Red Special / Brian May-style guitar with Burns Tri-Sonic-style pickups.
Amps
- Amps / rig: Vox AC30s are central to the classic Queen sound.
Effects / Pedals
- Effects: Treble booster into Vox AC30; delay and multi-amp/stereo processing for layered parts; occasional modulation.
- Use: The treble booster is essential to the classic Brian May attack and sustain into AC30-style amps.
- GLS Note: Red Special + treble booster + AC30 is the core system. The coin pick and pickup switching are also major factors.
Carlos Santana
Santana
Picks
- Preferred: V-Picks Psycho
- Material: Acrylic
- Gauge: Extremely Heavy
- Shape: Modified Teardrop
Strings / Tuning
- Manufacturer: Commonly reported: PRS / GHS / custom electric sets
- Gauge: Often reported: .009–.042 or .010–.046 range
- Tuning: Mostly standard.
- GLS Note: Sustain-heavy lead tone comes from the full rig and touch; verify exact current touring set before treating as definitive.
Instruments
- Instruments: PRS Santana models; earlier Gibson SG Special/Yamaha SG instruments are historically important.
Amps
- Amps / rig: Mesa/Boogie Mark-series and Dumble-style rigs are commonly associated.
Effects / Pedals
- Effects: Minimal pedalboard approach; wah, line driver/buffer, and switching/splitting systems are commonly referenced.
- Use: The sustained lead tone is primarily guitar, amp gain, speaker response, touch, and controlled volume.
- GLS Note: Do not treat Santana as a heavy pedalboard example. The amp and player are the main effect.
Dave Hlubek
Molly Hatchet
Picks
- Preferred: Extra Heavy
- Material: Nylon / Tortex
- Gauge: Extra Heavy
- Shape: Modified Teardrop
Strings / Tunings
- Manufacturer: Reported/common: nickel electric sets
- Gauge: Reported: .010–.046 or similar
- Tuning: Mostly standard; verify song-specific versions.
- GLS Note: Exact published data is limited; treat as a Southern-rock reference, not a confirmed prescription.
Instruments
- Instruments: Gibson Explorer/Les Paul-style guitars commonly associated with Molly Hatchet-era Southern rock.
Amps
- Amps / rig: Marshall/Peavey-style high-gain rock rigs reported; exact rig varies by era.
Effects / Pedals
- Effects: Limited strongly documented pedal data; amp-driven Southern-rock gain is the safer reference.
- Use: Likely relied more on guitar, amp, stage volume, and band mix than a complex pedalboard.
- GLS Note: List as reported/common only. Avoid claiming exact pedals unless a verified source is available.
David Gilmour
Pink Floyd
Picks
- Preferred: Fender Heavy
- Material: Celluloid
- Gauge: Heavy
- Shape: Standard (351)
String / Tunings
- Manufacturer: GHS David Gilmour Signature Boomers
- Gauge: Strat: .010–.048; Les Paul: .0105–.050
- Tuning: Mostly standard; lap steel/open tunings for specific songs.
- GLS Note: One of the better-documented artist string references; balanced custom sets support bends, sustain and strong note authority.
Instruments
- Instruments: Fender Stratocaster, especially the Black Strat; also Telecaster, Les Paul, lap steel and acoustics.
Amps
- Amps / rig: Hiwatt heads, WEM cabinets, Fender and studio rigs; effects are central.
Effects / Pedals
- Effects: Compression, fuzz/Big Muff, overdrive/boost, Uni-Vibe/phase, Electric Mistress-style flanger, chorus, delay, rotary/Leslie-style effects, and Pete Cornish systems.
- Use: Highly song- and era-specific; effects are central to many Pink Floyd tones but not one fixed setting.
- GLS Note: Gilmour is a system example: guitar, pickups, compression, gain staging, modulation, delay, amps, and phrasing all matter.
Dickey Betts
Allman Bros.
Picks
- Preferred: Fender Medium/Heavy
- Material: Celluloid
- Gauge: Medium/Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Reported/common: nickel electric sets
- Gauge: Reported: .010–.046 or similar
- Tuning: Mostly standard; open/slide contexts by song.
- GLS Note: Exact gauge may vary by guitar and era; melodic Southern-rock phrasing does not require extreme gauges.
Instruments
- Instruments: Gibson Les Paul Goldtop/Les Paul-style guitars; ES-style and PRS instruments in later years.
Amps
- Amps / rig: Marshall, Fender and high-headroom blues/rock rigs depending on era.
Effects / Pedals
- Effects: Mostly amp-driven tone; boost/drive may appear by era, but exact pedal use is not consistently documented.
- Use: Melodic lead tone depends heavily on phrasing, Les Paul-style guitars, amp response, and band context.
- GLS Note: Keep this conservative. Do not imply a fixed pedalboard without verified support.
Duane Allman
Allman Bros.
Picks
- Preferred: Fender Medium/Heavy
- Material: Celluloid
- Gauge: Medium/Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Reported/common: nickel electric sets
- Gauge: Often reported: light/medium electric sets
- GLS Note: Slide/open tuning context matters; top-wrapping and setup can change feel as much as gauge.
Instruments
- Instruments: Gibson Les Paul Goldtop and ’59-style burst; SG/Les Paul for slide also associated.
Amps
- Amps / rig: Marshall 50-watt-style rigs and Fender amps are commonly cited by era.
Effects / Pedals
- Effects: Primarily guitar, amp, slide technique, and open tuning; no fixed modern pedalboard reference.
- Use: Slide tone comes from touch, tuning, sustain, amp response, and phrasing more than stompboxes.
- GLS Note: Avoid over-listing pedals. The historic reference is Les Paul/SG-style guitar into loud amps with slide control.
Eddie Van Halen
Van Halen
Picks
- Preferred: Dunlop Max-Grip
- Material: Nylon
- Gauge: Heavy
- Shape: Modified Standard Eddie Van Halen like to experiment, especially with metals, and various edges.
Strings / Tuning
- Manufacturer: Commonly associated: light nickel electric sets
- Gauge: Often reported: .009–.040 / .009–.042 range
- Tuning: Often Eb standard or standard; many songs are guitar/song-specific.
- GLS Note: Fast, flexible feel; the Van Halen sound was not based on heavy string tension alone.
Instruments
- Instruments: Frankenstrat / EVH-style Superstrats; Kramer, Music Man, Peavey Wolfgang and EVH Wolfgang models.
Amps
- Amps / rig: Marshall Super Lead-style early rig; later Soldano, Peavey 5150 and EVH 5150 rigs.
Effects / Pedals
- Effects: MXR Phase 90, MXR Flanger, Echoplex EP-3-style tape echo/preamp, EQ, occasional wah or tape echo.
- Use: Phase and flanger were used as musical color, not always-on tone crutches. Echoplex-style preamp/delay contributed to feel and space.
- GLS Note: The core is still guitar, amp, cabinet, variac-era amp behavior, attack, muting, and timing. Pedals are accents.
Eric Clapton
The Yardbirds, Cream, Solo
Picks
- Preferred: Ernie Ball Heavy
- Material: Celluloid
- Gauge: Heavy
- Shape: Modified Standard
Strings / Tuning
- Manufacturer: Commonly associated: Ernie Ball / standard nickel electric
- Gauge: Often reported: .010–.046
- Tuning: Mostly standard; acoustic/slide exceptions.
- GLS Note: A practical blues/rock all-around set with enough resistance for vibrato and bends.
Instruments
- Instruments: Fender Stratocaster; earlier Gibson ES-335, Les Paul, SG and Firebird are historically important.
Amps
- Amps / rig: Marshall Bluesbreaker-era amp, Fender tweed/blackface-style amps, Soldano in some eras.
Effects / Pedals
- Effects: Vox wah in Cream-era contexts; occasional fuzz/boost depending on era; later rigs vary widely.
- Use: Often more amp-and-hands focused than pedalboard focused.
- GLS Note: Be careful by era: Yardbirds, Bluesbreakers, Cream, Derek and the Dominos, and solo Clapton are not the same rig.
Eric Johnson
Solo
Picks
- Preferred: Dunlop Jazz III
- Material: Nylon
- Gauge: Extra Heavy
- Shape: Jazz (Small Teardrop)
Strings / Tuning
- Manufacturer: Commonly associated: nickel electric sets
- Gauge: Often reported: .010–.046
- Tuning: Mostly standard.
- GLS Note: Tone is highly touch-sensitive; exact string choice is only one part of the system.
Instruments
- Instruments: Fender Stratocaster; also Gibson ES-335/Les Paul-style guitars.
Amps
- Amps / rig: Fender Twin/Deluxe-style clean amps, Marshall lead amps, Dumble-style tones depending on rig.
Effects / Pedals
- Effects: Tube Screamer-style overdrive, fuzz, delay, chorus, Echoplex-style delay/preamp, and carefully ordered signal chains.
- Use: Effects are used with extreme attention to gain staging, impedance, cable length, amp pairing, and dynamics.
- GLS Note: Eric Johnson tone is highly system-sensitive. Pedal model alone will not reproduce the response.
Gary Rossington
Lynyrd Skynyrd
Picks
- Preferred: Fender Extra Heavy
- Material: Celluloid
- Gauge: Extra Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Reported/common: Gibson-style nickel electric sets
- Gauge: Reported: .010–.046 or similar
- Tuning: Mostly standard; some Skynyrd versions vary.
- GLS Note: Reliable exact documentation is limited; use as a general Southern-rock setup reference.
Instruments
- Instruments: Gibson Les Paul, SG and Explorer-style instruments associated with Skynyrd-era work.
Amps
- Amps / rig: Peavey Mace and classic Southern-rock high-headroom rigs commonly associated.
Effects / Pedals
- Effects: Mostly amp-driven Southern-rock tone; limited reliable pedal documentation.
- Use: Primary sound comes from Gibson-style guitars, amp response, volume, and band arrangement.
- GLS Note: Use conservative wording. Treat specific pedals as unconfirmed unless separately verified.
Jeff Beck
The Yardbirds, Solo
Picks
- Preferred: Typically Fingers Only
- Material: N/A
- Gauge: N/A
- Shape: N/A
Strings / Tuning
- Manufacturer: Commonly associated: light nickel electric sets
- Gauge: Often reported: .009–.042
- Tuning: Mostly standard, with song-specific exceptions.
- GLS Note: Fingerstyle/tremolo control and touch mattered more than heavy strings.
Instruments
- Instruments: Fender Stratocaster; earlier Yardbirds-era Telecaster/Esquire and Les Paul are historically important.
Amps
- Amps / rig: Marshall, Fender, Magnatone and other stage/studio amps by era.
Effects / Pedals
- Effects: Early Yardbirds-era fuzz such as Tone Bender-style circuits; later wah, delay, reverb, and modulation as needed.
- Use: Later Beck tone is dominated by fingers, volume control, tremolo arm, phrasing, and amp response.
- GLS Note: Do not reduce Beck’s tone to pedals. His touch is the main effect.
Jimi Hendrix
The Jimi Hendrix Experience
Picks
- Preferred: Fender Medium Heavy
- Material: Celluloid
- Gauge: Medium Heavy
- Shape: Standard (351) Jimi would often play using the rounded shoulder
Strings / Tuning
- Manufacturer: Commonly associated: Fender Rock ’N’ Roll-style light/custom sets
- Gauge: Often reported: light custom set around .010–.038
- Tuning: Often Eb standard; standard and song-specific variations also exist.
- GLS Note: Eb tuning lowers tension; string choice worked with Strat scale length, fuzz, amp volume and hands.
Instruments
- Instruments: Fender Stratocaster; also Flying V, SG/Les Paul Custom and acoustics in specific contexts.
Amps
- Amps / rig: Marshall Super Lead stacks; fuzz, wah and Uni-Vibe-style effects are important.
Effects / Pedals
- Effects: Fuzz Face, Vox/Cry Baby-style wah, Octavia/Octavio, Uni-Vibe, feedback, volume, and amp interaction.
- Use: Effects were part of the performance: wah phrasing, fuzz cleanup, octave textures, and Uni-Vibe movement.
- GLS Note: Hendrix tone depends on left-handed Strat orientation, pickup selection, fuzz/amp interaction, Eb tuning, stage volume, and touch.
Jimmy Page
The Yardbirds, Led Zeppelin
Picks
- Preferred: Fender Heavy
- Material: Celluloid
- Gauge: Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: light nickel electric sets
- Gauge: Often reported: .008/.009-style sets
- Tuning: Standard plus DADGAD, open G, open C, open D and song-specific tunings.
- GLS Note: Light gauges support bends and dynamics; not a heavy-gauge tone model.
Instruments
- Instruments: Gibson Les Paul Standard, Fender Telecaster, Danelectro 3021/DC-style, Gibson EDS-1275.
Amps
- Amps / rig: Marshall, Hiwatt, Supro, Orange and studio-specific amp combinations.
Effects / Pedals
- Effects: Tone Bender-style fuzz, wah, Echoplex/tape echo, theremin, studio effects, and room/amp processing.
- Use: Highly song-specific. Some classic tones are dry amp/guitar tones, while others are layered studio productions.
- GLS Note: Page is a production example. Guitar, amp, mic placement, studio processing, and arrangement are as important as pedals.
Joe Bonamassa
Black Country Communion, Solo
Picks
- Preferred: Dunlop Jazz III or Custom
- Material: Nylon / Tortex
- Gauge: Extra Heavy
- Shape: Jazz (small teardrop)
Strings / Tuning
- Manufacturer: Commonly associated: Ernie Ball / custom blues-rock sets
- Gauge: Often reported: .011–.052 range
- Tuning: Mostly standard and Eb; guitar/song dependent.
- GLS Note: Heavier blues-rock feel; top-wrapping and setup can affect perceived stiffness.
Instruments
- Instruments: Gibson Les Pauls, ES-335/ES-style guitars, Fender Strats/Teles and vintage collectables.
Amps
- Amps / rig: Marshall, Dumble-style, Fender, Two-Rock and multi-amp blues-rock rigs.
Effects / Pedals
- Effects: Wah, fuzz, delay, boost/drive, tremolo and switching systems depending on tour and song.
- Use: Effects support a multi-amp blues-rock rig rather than replace the amp tone.
- GLS Note: Bonamassa rigs are tour-specific. Treat any pedal list as a snapshot, not a permanent setup.
Joe Perry
Aerosmith, Joe Perry Project
Picks
- Preferred: Fender Heavy
- Material: Celluloid
- Gauge: Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: nickel electric sets
- Gauge: Often reported: .010–.046 / .011–.048 range
- Tuning: Mostly standard; open tunings and slide/song-specific tunings appear.
- GLS Note: Rock setup likely varies by guitar and tuning; avoid treating one gauge as universal.
Instruments
- Instruments: Gibson Les Paul, B.C. Rich, Gretsch, Fender and custom guitars across eras.
Amps
- Amps / rig: Marshall, Fender, Soldano and touring/studio amp combinations.
Effects / Pedals
- Effects: Wah, Klon-style boost/drive, tape echo-style delay, vibe, fuzz/octave, phaser/flanger-type effects depending on era.
- Use: Effects are used as color around a core rock guitar/amp tone.
- GLS Note: Joe Perry’s rig changes by tour, studio date, and guitar. Do not treat one board as definitive.
Keith Richards
The Rolling Stones
Picks
- Preferred: Fender Extra Heavy
- Material: Celluloid
- Gauge: Extra Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: Ernie Ball / nickel electric
- Gauge: Varies; open-G 5-string setups are common reference
- Tuning: Open G 5-string is signature; also standard and other song-specific tunings.
- GLS Note: Open G and removed low string matter more than a simple six-string gauge number.
Instruments
- Instruments: Fender Telecaster ‘Micawber’ and other Teles; Gibson ES/Les Paul/Junior-style guitars also used.
Amps
- Amps / rig: Fender Twin/Tweed-style amps, Ampeg and stage/studio rigs depending on era.
Effects / Pedals
- Effects: Mostly amp-driven; major historic exception is the Maestro FZ-1/FZ-1A Fuzz-Tone on “Satisfaction.”
- Use: Open-G rhythm tone relies more on tuning, Telecaster-style guitar, amp, and right-hand groove than effects.
- GLS Note: Do not build a large pedalboard to chase Keith Richards. The tuning and feel are the bigger lesson.
Malcolm Young
AC\DC
Picks
- Preferred: Fender Extra Heavy
- Material: Celluloid
- Gauge: Extra Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: Gibson-style nickel electric sets
- Gauge: Often reported: .012–.056 or heavy rhythm ranges
- Tuning: Mostly standard; AC/DC tuning can be song/era dependent.
- GLS Note: Rhythm-focused feel; heavier strings can suit hard right-hand attack, but setup must match the guitar.
Instruments
- Instruments: Gretsch Jet Firebird/Gretsch Jet-style guitars with stripped-down controls.
Amps
- Amps / rig: Marshall Superbass/Super Lead-style rigs; Wizard amps in later eras.
Effects / Pedals
- Effects: Generally no regular pedals; Gretsch into Marshall-style amps.
- Use: Rhythm tone comes from tight right hand, clean articulation, amp headroom, and band mix.
- GLS Note: Malcolm Young is one of the clearest examples of “less gear, more control.”
Pete Townshend
The Who
Picks
- Preferred: Fender Extra Heavy
- Material: Celluloid
- Gauge: Extra Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: standard/heavier nickel electric sets
- Gauge: Often reported: .010–.046 or similar
- Tuning: Mostly standard; also open/alternate tunings by song.
- GLS Note: Aggressive rhythm playing requires stable setup and durable strings more than exotic gauges.
Instruments
- Instruments: Gibson SG Special, Les Paul Deluxe, Fender Strat/Tele, Rickenbacker and Schecter/Clapton Strat-era guitars.
Amps
- Amps / rig: Hiwatt stacks, Marshall, Fender and later stage rigs.
Effects / Pedals
- Effects: Mostly amp-driven Hiwatt/Marshall-style stage tone; occasional studio effects, volume/tone manipulation and later rig processing.
- Use: Effects are secondary to aggressive rhythm technique, guitar choice, stage volume, and amp clarity.
- GLS Note: Do not imply a fixed stompbox board. Townshend’s signal chain changed greatly across eras.
Ritchie Blackmore
Deep Purple, Rainbow
Picks
- Preferred: Fender Heavy
- Material: Celluloid
- Gauge: Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: light nickel electric sets
- Gauge: Often reported: .009–.042
- Tuning: Mostly standard.
- GLS Note: Classic lead feel; scalloped-board context can change touch and pressure.
Instruments
- Instruments: Fender Stratocaster with scalloped fingerboard; earlier Gibson ES-335 and other guitars.
Amps
- Amps / rig: Marshall Major/Marshall stacks; later Engl-associated rigs.
Effects / Pedals
- Effects: Tape echo/preamp, Hornby Skewes-style treble booster, wah, variable boost and experimental processing by era.
- Use: Boost and tape-echo/preamp behavior helped shape attack and sustain into loud Marshall-style amps.
- GLS Note: Blackmore tone is not just Strat into Marshall. Scalloped fingerboard, attack, boost and stage volume all matter.
Ritchie Sambora
Bon Jovi
Picks
- Preferred: Dunlop Extra Heavy
- Material: Delrin / Tortex
- Gauge: Extra Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: nickel electric sets
- Gauge: Often reported: .010–.046 / .010–.052
- Tuning: Mostly standard and half-step-down contexts; song-dependent.
- GLS Note: Practical rock gauge range; may change by tuning, guitar and tour.
Instruments
- Instruments: Fender Stratocaster, Kramer, Ovation/other acoustics, Gibson and signature models.
Amps
- Amps / rig: Marshall, Fender, Soldano and touring rack/studio rigs depending on era.
Effects / Pedals
- Effects: Wah, talk box, delay, chorus/modulation, boost/overdrive and rack/studio processing depending on era.
- Use: Bon Jovi-era tones are often production-specific and may combine pedals, rack gear, amps and studio processing.
- GLS Note: Use “reported/common.” Exact Sambora rigs changed across tours and recording periods.
Slash
Guns N Roses, Velvet Revolver
Picks
- Preferred: Dunlop Heavy
- Material: Delrin / Tortex
- Gauge: Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Ernie Ball Slash Signature
- Gauge: .011–.048
- Tuning: Often Eb standard; standard and song-specific tunings also occur.
- GLS Note: Medium-heavy Les Paul rock setup; strong for Eb tuning, attack, sustain and bends.
Instruments
- Instruments: Gibson Les Paul / Les Paul-style guitars are central; also B.C. Rich and others in specific eras.
Amps
- Amps / rig: Marshall Silver Jubilee, JCM800-style and Slash signature Marshall rigs.
Effects / Pedals
- Effects: Cry Baby wah, Boss DD-series delay, Boss GE-7/EQ or boost-style use, talk box on specific material, amp overdrive and reverb.
- Use: Wah is the signature effect. Most core tone is Les Paul into Marshall-style amps.
- GLS Note: Slash is not a heavy-effects player. The wah, Marshall gain structure, Les Paul and Eb tuning are the main references.
Steve Howe
Yes, Asia
Picks
- Preferred: Fender Medium Heavy
- Material: Celluloid
- Gauge: Medium Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: mixed electric/acoustic sets
- Gauge: Varies by guitar
- Tuning: Varies heavily by instrument and song; standard plus alternate/acoustic tunings.
- GLS Note: Uses many instruments; a single gauge would be misleading. Match strings to each guitar and tuning.
Instruments
- Instruments: Gibson ES-175, ES-345/ES-style, Martin acoustic, Fender/other electrics and specialty instruments.
Amps
- Amps / rig: Fender Twin/clean amps, Line 6/modeling and varied stage/studio rigs by era.
Effects / Pedals
- Effects: Volume pedal, chorus, delay, wah/filter effects and acoustic/electric processing depending on instrument and song.
- Use: Effects are highly arrangement-specific because Howe uses many instruments and textures.
- GLS Note: A single Steve Howe pedal list would be misleading. Match the effect to the specific guitar part.
Stevie Ray Vaughan
Double Trouble, Solo
Picks
- Preferred: Fender Medium Heavy
- Material: Celluloid
- Gauge: Medium Heavy
- Shape: Standard (351) SRV typically plays using the rounded shoulder of the pick.
Strings / Tuning
- Manufacturer: GHS Nickel Rockers / heavy custom blues sets
- Gauge: Often cited: .013, .015, .019p, .028, .038, .058
- Tuning: Usually Eb standard.
- GLS Note: Heavy-gauge legend, but not a beginner recommendation. Eb tuning and powerful hands changed the feel.
Instruments
- Instruments: Fender Stratocaster ‘Number One’ and other Stratocasters.
Amps
- Amps / rig: Fender Super Reverb/Vibroverb, Dumble Steel String Singer, Marshall and multi-amp blues rigs.
Effects / Pedals
- Effects: Ibanez Tube Screamer, Vox wah, Dallas-Arbiter Fuzz Face, Octavia/Octavio, Uni-Vibe/Vibratone-style effects in certain contexts.
- Use: Tube Screamer-style drive was often used to push loud clean/edge-of-breakup amps, not as the entire tone.
- GLS Note: SRV tone is heavy strings, Eb tuning, Strat pickups, loud amps, touch and dynamics first. Pedals support that system.
Ted Nugent
Amboy Dukes, Damn Yankees, Solo
Picks
- Preferred: Extra Heavy
- Material: Nylon / Tortex
- Gauge: Extra Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: nickel electric sets
- Gauge: Often reported: .010–.046 / .011–.048 range
- Tuning: Mostly standard; song/era dependent.
- GLS Note: Hard rock setup; exact set may vary by era and instrument.
Instruments
- Instruments: Gibson Byrdland is central; also PRS and other stage guitars in later eras.
Amps
- Amps / rig: Fender, Peavey, Marshall/5150-style high-volume rock rigs by era.
Effects / Pedals
- Effects: Primarily amp-driven Byrdland rock tone; wah/drive effects may appear by era, but fixed pedal data is not strongly documented.
- Use: High volume, hollow/semi-hollow guitar behavior and amp response are the safer references.
- GLS Note: Use conservative wording. Avoid claiming a fixed Nugent pedalboard without source support.
The Edge
U2
Picks
- Preferred: Herdim Blue
- Material: Nylon
- Gauge: Medium Heavy
- Shape: Standard (351) The Edge often plays using the textured grip side
Strings / Tuning
- Manufacturer: Commonly associated: standard/light nickel electric sets
- Gauge: Often reported: .010–.046 or similar
- Tuning: Highly song-specific: standard, Eb, open/alternate tunings and capo setups.
- GLS Note: Delay, pick attack and guitar choice are major parts of the sound; strings are only one component.
Instruments
- Instruments: Fender Stratocaster, Gibson Explorer, Rickenbacker 330/12, Les Paul, Gretsch and song-specific guitars.
Amps
- Amps / rig: Vox AC30 is central; also Fender/other amps and extensive delay/effects systems.
Effects / Pedals
- Effects: Delay is central: Deluxe Memory Man-style delay, TC/Korg/AMS-style delays, dotted-eighth rhythmic delays, modulation, shimmer/reverb, drive/boost as needed.
- Use: Delay is part of the composition, not just ambience. Rhythmic repeats often define the guitar part.
- GLS Note: The Edge is the clearest example that effects can become arrangement tools. Timing, tempo sync, muting and pick attack are critical.
Tom Scholz
Boston
Picks
- Preferred: Fender Extra Heavy
- Material: Celluloid
- Gauge: Medium Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: Commonly associated: nickel electric sets
- Gauge: Reported: .010–.046 or similar
- Tuning: Mostly standard; layered studio parts may vary.
- GLS Note: Boston-style tone is highly rig-dependent; exact string documentation is limited.
Instruments
- Instruments: Gibson Les Paul-style guitars are central to Boston-era tones.
Amps
- Amps / rig: Marshall-based tones, Rockman/Scholz-designed gear and layered studio processing.
Effects / Pedals
- Effects: Rockman/SR&D processing, Hyperspace-style effects, modified Echoplex-style processing, compression, chorus and delay-style studio textures.
- Use: Highly engineered, layered, processed tones with studio control and Scholz-designed gear.
- GLS Note: Boston tone is not a normal pedalboard example. It is a systems-engineering and studio-production example.
Tony Iommi
Black Sabbath
Picks
- Preferred: Custom (often used a lighter pick due to finger injury)
- Material: Various (Celluloid / Plastic)
- Gauge: Medium Heavy
- Shape: Standard (351)
Strings / Tuning
- Manufacturer: La Bella Tony Iommi Signature
- Gauge: D#/low-tension: .008–.032; C# set: .009–.042
- Tuning: D# standard and C# standard are key Sabbath references; other song/era tunings exist.
- GLS Note: Important example: low tuning does not always mean heavy strings. His hand injury and touch shaped the low-tension choice.
Instruments
- Instruments: Gibson SG / Jaydee SG-style and Iommi signature models.
Amps
- Amps / rig: Laney amps are central; early Marshall/Sabbath-era rigs also historically important.
Effects / Pedals
- Effects: Treble booster/boost into Laney-style amps, wah on some tracks, primarily amp-driven heavy tone.
- Use: Boost helped drive the front of the amp and focus the sound; low tuning and low-tension strings are also major factors.
- GLS Note: Iommi is not just “more gain.” The sound is tuning, touch, string tension, SG-style guitar, boost, and Laney amp response.
N/A
N/A
Picks
- Preferred:
- Material:
- Gauge:
- Shape:
Strings / Tuning
- Manufacturer:
- Gauge:
- Tuning:
- GLS Note: Important example:
Instruments
- Instruments:
Amps
- Amps / rig: