(as of 01/93)
Guitars: 2 Fender Stratocasters: 1992 Floyd Rose and 1989 Reissue Model 1989 (approx.) Surfer Model - Both modified with DiMarzio Dual-coil Humbucking pickups in the bridge position
Strings: D'Addario .010 to .046
Amplification: Marshall JCM-900 driving a Marshall 4x12 bottom
Rig in the works: JMP-1 Pre-Amp, Mesa/Boogie Amp, same cabinet
Effects: Roland GP-16
Picks and Cables: "I'll take the hardest pick and the longest cable I can find. I actually used to use dimes for a long time because I couldn't find a pick hard enough. Also, dimes were a little cheaper. The dime has certain limitations, so a pick is a lot better. Actual metal picks I never used because they don't have the thing I really liked about the dimes - a ridged edge. Also, they were really small so I had a lot of control, but I grew out of it, I guess."
"And," adds Kris Abbott, "sawed through a lot of strings."
Guitar: Kramer Guitar outfitted with Floyd Rose system - Single DiMarzio Duo-Sound Pickup
Strings: D'Addario .010 to .046. "Because of the job that I've had with TPOH, which is a sort of thick, rhythm thing, it gives me a very stable sound. That's my main reason for using it. But this time 'round I think I'm going to use a Les Paul, because it has more of that same characteristic."
Amplification: Fender "The Twin". "I'm using 'The Twin' because I love the ability to go back and forth between two channels. I set up one side (which has the overdrive on it) as a plain, basic 'guitar into amp' kind of sound and I get most of my overdrive sound out of that. Then I run my GP-8 through the other channel that's clean so I get my rhythm choruses as unaffected as possible."
Effects: Roland GP-8
Picks: Hard Plastic
Cables: "Whatever we get that works."
We've never had a lot of money to be super-picky about the equipment that we've used, so we've always made the best of the situation. That attitude is important because if you wait around forever to have the best to be the best, it's an excuse. You don't get anywhere because you're not trying, and you've got to try."
Bass: 1986 Factor, custom-made by Phil Kubicki of Los Angeles - Kubicki custom- wound pickups in a Fender Jazz configuration. Controls include tone and pickup selection, bass/treble switch, five-way active/passive switch controlling two active and three passive circuits. Built-in device similar to the "Hip Shot" which allows the E string to play a D, but doesn't detune the string, for extended range.
Strings: Regular GHS Boomers
Amplification: Peavey Megabass head, Peavey 1516 Cabinet, Peavey 4x10 cabinet
Picks: Fender Heavy
"When I joined the band I hadn't been a pick player. Up to that time I'd always played with my two fingers. Because the first two records sounded like they had a pick sort of attack, it became painfully obvious that to play those songs the way they were represented on the albums, I was going to have to adopt a new style. And it just sort of stuck after that. The way Moe hears things, the way he demos songs, I thought that my playing would have to have that kind of attack. But I found that as a songwriter, Moe is able to give me the freedom to do what I want in a live setting. However, I chose to continue playing with a pick because it makes what I'm doing all that much clearer."
Drums: Red Five-piece Canwood Kit, all maple shells
Toms: 10", 12" 14"
Snare: 14"x 51/2". Alternate snare drum is early brass protoype 14" x 51/2" also made by Canwood
Drum heads: All by Remo
Toms: Top heads: Coated Ambassadors. Bottom heads: Clear Ambassadors
Kick: Clear Pinstripe
Snare: Coated Ambassador / Black Dot
Cymbals: Zildijan Ks; 16", 17", 18", 22" Ping Ride
Hi-Hats: 13" Zildijan K (top), 13" Zildijan Z (bottom)
Cross-hat: 14" Zildijan K (Ran-Can, by LP)
Sticks: Rim-Shot 5Bs (solid wood) "With not a speck of Nylon on them."
Copyright © 1993 Canadian Musician Magazine, Norris-Whitney Communications, Inc.