~The *NEW* Kurt Cobain Equipment FAQ~
http://members.aol.com/bhabes/private/nkcequi.htm
Version 2.6
TEXT VERSION
Rest in peace, Kurt.
We miss you.
Copyright 1996, 1997 Brian Haberman
Do not copy without permission, but
feel free to link your page to this site.
This page is updated frequently.
Page last worked on: 3/2/97
This page is constantly being improved on to look better, be
even easier to use, and above all, be fun!
Some learned musicians laugh at the idea of having an
entire web page devoted to the musical equipment of Kurt
Cobain (I personally had about 8 years of formal piano lessons,
not to mention various instruments played throughout grade
school-- so I'm no dummy myself). Kurt didn't play light-
speed fast solos, know musical theory, or even know how to
read music. One could even say he was hardly a good musician.
But, Kurt played with intense feeling*, a thing which has
become rare in today's money-hungry music industry. He was
true to his music down to the core. Kurt was most unique in his
equipment, composing, and approach to music in general. He
got me to start listening to music other than my Disney
soundtracks and experience music in a whole new way. I've
often wondered why I hated the guitar when I was young (70's
and 80's), but whenever I see the horrible, fake bands with 40
Marshall stacks the 80's usually churned out I now know why.
Kurt showed us that any kid could pick up a guitar, start playing,
and feel good about themselves.
If there's one thing Kurt taught me, it would be to play what you
feel, but feel what you play.
* * * * * * * * * * * *
If you have a NIRVANA page of your own *please* add a link
to this page. Also please encourage other pages to link here.
I've found that most NIRVANA page links lists still do not
include this one. Spread the word! Thank you! Mini logo
available on my page for you to use as a link.
* * * * * * * * * * * *
This page was originally created by Ralph Smith
(rsmith@clysmic.com) who provided information on this page
and wrote some of it as well.
This page is maintained by Brian Haberman.
Any information (and comments or questions!) can be sent to:
BHabes@aol.com
-or- bhabes@pegasus.rutgers.edu
Please have a source(s) as I'd like facts, not opinions. I
respond to ALL of my mail (give me a couple of days!), so if
you don't get a response, *please* write again! I may have
accidentally deleted it or something. I *rarely* do this, but e-
mail gets lost/misplaced like ordinary mail. Also make sure that
when I hit the "reply to" button, it'll send mail to your FULL,
COMPLETE address. I don't know how many times I wasn't
able to reply to mail due to an incomplete address.
* * * * * * * * * * * *
Where can I get pedals like the ones Kurt used??
I get quite a bit of e-mail from people asking me where they can
find the vintage pedals, guitars, etc. just like the ones Kurt used.
I give my highest possible recommendation to Bruce Barr at
"Sound Barrier International" in Tennessee. I personally mail
order my own equipment from him, not to mention many of
today's top artists. Bruce actually makes the Bixonic Expandora
crunch box pedal Bush uses and promotes. Bruce has one of
the largest collections of vintage items in the world and he's a
terrific, friendly guy to boot. I've had 40 minute conversations
with him on the phone just casually talking about guitar stuff.
PLEASE, and this request comes from Bruce himself, when
you speak to him make sure you stress that you were referred
to him by me, Brian Haberman of the Kurt Cobain Equipment
FAQ Web Page. This way Bruce can quickly know what type
of pedals you may be interested in and serve you better.
Give him a call at (423) 756-8742. I know this'll sound silly
but-- you'll be glad you did.
Also take a look at Sound Barrier's brand new web page
(http://www.soundbarrier.com)!
* * * * * * * * * * * *
Take a look at a cool (non-NIRVANA) page!
http://users.aol.com/gelfling69/private/jake.htm
Jake, the guy who runs the page, is the coolest thing since
sliced bread.
* * * * * * * * * * * *
Please check out:
http://www.muohio.edu/~carmance/moshing/
STOP MOSHING: No One Should Die At A Concert
* * * * * * * * * * * *
NOW, on to real business!
PLEASE READ:
This page is to be used as the general guide to Kurt's
instrumental equipment. The information here is as close to
facts as one can get. HOWEVER, with anything mis-quotes,
transcription errors, the person quoted remembering things
incorrectly, and the like are always possible. Hey, we're only
human. Also, when I note a source(s) for guitars, amps,
effects, and the like, keep in mind that the equipment was
probably used for many shows-- I only note one or two
sources for verification. (source ?) means I didn't have any
information on the source. Below you is the cause of many
hours of neck strain, eye strain, and the early onset of carpal
tunnel syndrome so I hope everyone enjoys this new page,
which I hope will continue to be updated quite frequently :)
***Table of Contents***
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. Miscellaneous
X. A Note on Guitar Destruction
XI. Help!!
XII. Thanks to...
XIII. Sources
Some people you should know mentioned here often: Earnie
Bailey, Kurt's main guitar technician, who sent a package of
information to Chris Lawrence (included below and cited as
source 41). Jim Vincent, Kurt's guitar technician from the "In
Utero" tour. Finally, Ralph Smith, who did the original
equipment FAQ.
I. Guitars
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, which Kurt babied. This is the guitar
from the "Smells Like Teen Spirit" music video; however,
Kurt had been seen using one 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) before the
Argentina trip. 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).
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).
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).
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).
One small thing I find odd about Kurt's pickup settings and
switching. He liked to switch pickup settings often on his '69
competition Mustang (from neck off and bridge on in down
position; to both on and in up position or down positions
(either of the last two scenarios, I dunno which one)(seen 2 and
13 for example)), but very little it seems during the "In Utero"
-era Mustangs which were always/or at least most of the time
in the latter position (seen 7 for example). NOTE: I can't be
100% sure about these settings, but if any of you own the Rio
or Trees Club shows, you can hear the pickup changes and
sometimes see the pickup settings on close-ups. To me, it
seems like Kurt only switched pickup settings on the '69
Mustang and hardly ever on any of his other guitars (or at
least the ones used most often and seen/heard most in
videotapes/audios). He was apparently interested in pickup
switching on the Ferrington guitar and the Jag-stang. Just an
observation!
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). 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 until the In Utero tour when it was replaced with a
black Duncan JB. It was purchased already modified from the
"L.A. Recycler" (info on source at 45)(41). 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).
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 lower price and smaller frets (22)).
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
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,
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). In Chris's FAQ he says this guitar
was used in the "Come As You Are" music video (seen 49)
which is certainly true, but is a bit misleading. It is only visible
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. Taken directly from Chris'
FAQ, quoting Earnie Bailey:
"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).
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. 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 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. A great, detailed article on it can
be found at Guitar World Online, soundcheck (see source 4
under " IX. Sources" below for web address). 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. He forgot to
have Fender do the contours for the arm and the stomach.
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).
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 Custom".
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). 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.
7). 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)."
End quoting from Chris' page.
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. Chris says that it reappears at Raji's (source info?), but I
think he means the HUB Ballroom in January, 1990 (source
info?). (Seen on pg.131 in (25))(41).
5). Mid 60's Sunburst Fender 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).
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). Chris has a Red Epiphone ET270 on his page; it doesn't
come from Earnie, but from another source (41). He also says
it was used in the SubPop "In Bloom" video (43) and was his
main guitar around that time (41)(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). The odd, unknown guitar on my pictures page has been
said to be a BC Rich guitar (10).
15). Kurt's first guitar was a Lindell, given to him on his 14th
birthday by his uncle, Chuck Fradenburg (53).
H). Acoustic Guitars
1). Prior to the In Utero tour, Kurt's main acoustic was an
Epiphone Texan (32). 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.
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?)(seen 51 according
to Chris).
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"
section.
7). Martin D-18E acoustic, see "Recording of Unplugged"
section.
II. Amplification
"Bleach" (34) era:
1). Randall heads used in conjunction with the Japanese
Epiphones noted in "Guitars" section and whatever cabinets
were available. He later used: Sunn-Beta Lead head driving
4X12 Peavey cabinets during the Bleach era (32).
--
2). Mesa/Boogie preamp (9)(20)(22) - he turned "all the
midrange up" (22). May be:
3). Mesa/Boogie Studio (possibly "Two" or "Tube" (41))
Preamp, rack-mounted with Crest power amp (40)(Crest 4801
(41)) (also rack-mounted). Definitely used for the "In Utero"
tour, I'm not sure of before that. This was the amp set-up for
the tour. Kurt didn't break any "important" equipment during
this tour (40).
4). 4 Crown 800W power sources (power amps) (9)(22).
5). Carver power amp (20).
6). Supposedly Mesa/Boogie Mark III heads (10).
7). Fender Twin Reverb. Used on "In Utero" (32) and
"Unplugged." 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, 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. (Chris says it is on pg. 58 of (25), which
is incorrect. I think he's referring to pg. 292)(41).
11). 70's Peavey Vintage with the fake vinyl tweed covering,
2X12. It was Kurt's first amp and he said his favorite. Tube
model, which is odd for a first amp as most of you guitar
players know-- most of us are hooked into horrible solid-state
amps when we first bought a guitar! Kurt's father gave it to
Goodwill; Kurt was always trying to find another one (amp,
that is!)(41).
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).
III. Effects
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.
2). Roland (BOSS) DS-2 Turbo Distortion pedal (19)(20).
Also used on "Unplugged" ("Unplugged" 21) and the
"Nevermind" tour.
3). "Roland EF-1 distortion" (probably a transcription error for
the DS-1, but Boss may have made an EF-1). "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. Jim said he remembered it's settings
as "Three-up, three-down." The top knobs facing away from
you, and the bottom facing towards you. Pat also had a
SansAmp but preferred his Rat (40).
5), Electro-Harmonix Small Clone Chorus. This pedal was
used extensively throughout a good portion of Kurt's career. 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).
6). Electro-Harmonix Small Stone phase shifter pedal (9)
(used for some live solos of "About A Girl" and "Francis
Farmer..." I've been told at times (10)). Jim wasn't sure if Kurt
ever used a phase shifter pedal, but he didn't think so. This
pedal may have been:
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.
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). I doubt he ever
did use one, but you never know. 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 in
January of 1994 at Bob Lang's North Seattle studio when Kurt
forgot his pedals and a pedalboard of Earnie's. 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). (Jim didn't know if Kurt ever used rotovibe (40)).
11). Electro-Harmonix EchoFlangers (32)(40) and PolyChorus
(37)(seen 15). Although 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 supposedly have the same
internal circuitry and I believe similar casings.
12). Supposedly a DOD phase shifter pedal, but I really doubt
it very much (10).
13). ProCo Rat. See "Recording of 'Nevermind'" for more
details.
14). Electro-Harmonix Big Muff. See "Recording of
'Nevermind'" for more details.
15). 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).
16). Electro-Harmonix Clone Theory, an AC unit which Kurt
didn't like as much as the Small Clone and broke it (41).
17). 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.
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, other pedals were supposedly used
on occasion-- Rotovibe, phaser, etc. I don't know where their
positions would have been if they were even actually used.
IV. Recording of 'Bleach'
I don't think there is any information available about these
sessions. On Chris' page he includes the equipment used, but I
think it's just speculative and not necessarily factual. Check it
out if interested.
V. Recording of 'Nevermind'
"Nevermind" was recorded at the following studios: Sound City,
Van Nuys and Devonshire, North Hollywood. It was
produced by Butch Vig and NIRVANA. According to Vig,
his guitars were "a late-Sixties Mustang, a Jaguar with DiMarzio
pickups and several new Stratocasters with humbuckers in the
bridge positions." His main effects were the aforementioned
DS-1 Distortion and Small Clone. A ProCo Rat distortion
pedal was also probably used on some songs. His main amp
was a Mesa/Boogie Studio .22 (However, one source,
ironically the same magazine the following year I'm told, notes
Kurt using a Mesa/Boogie Studio Two preamp and Crest 4801
power amps (32)(10). But I've been told Boogie never made a
Studio Two). 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 one 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.
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,
also quickly in two of the segments between"Sliver" and "On a
Plain" in (16))(41).
VI. Recording of 'Incesticide'
This, like the "Recording of Bleach" section, is unknown. Again,
check Chris' page for speculation as to the equipment used.
One thing to note that I get asked often, you can hear what is
almost definitely the Small Clone chorus on the intro to
"Aneurysm."
VII. Recording of 'In Utero'
"In Utero" was recorded at Pachyderm Studios in Minnesota
with producer Steve Albini (25). As for guitars, Kurt used his
Fender Jaguar and possibly the Ibanez Les Paul mentioned in
the "Guitars, Miscellaneous" section. The Stella acoustic, after
it was fixed-up, was used for the acoustics on the album (41).
A Fender Twin Reverb was the main amp used. It was a
1980's blackface "Ultra Linear" model which was very clean
in sound. It was 120 watts instead of 85. At first, it had two
Peavey 6L6 power amp (output) tubes in it (which meant it
was now only 60 watts 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 (unbeknownst to
Kurt) 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).
As for effects, the Boss DS-2, Small Clone chorus (on what I
don't know), Earnie's Polychorus, his own EchoFlanger, (41)
and supposedly a Tech 21 Classic SansAmp amp-simulator
effects box (32) were used. According to Chris' page, 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
possibly used the Epiphone Texan as well) was a 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, 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).
Although the standard procedure for "Unplugged" is for
acoustics to run direct, Kurt insisted on putting his Martin
through his Fender Twin Reverb amp. 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).
Along with the Twin Reverb, it appears as if a DS-2 distortion
pedal and an E-H Small Clone Chorus stomp box were also
used (seen 21).
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).
IX. Miscellaneous
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)).
NIRVANA was offered a Gibson endorsement, but Kurt
couldn't find a Gibson he liked (22).
X. 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)!
XI. Help!!
This is a section of things I'm NOT sure on that I think others
out there can help with.
First of all, e-mail me with questions for Jim Vincent! Any "In
Utero" tour questions!
What is the head used on Territorial Pissings (Jonathan Ross
Show) on the "Live! Tonight! Sold Out!" video? Is it the Studio
Two noted as possibly being used for "Nevermind"? --under the
"Recording of 'Nevermind'" section?
Thanks to...
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 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:
Josh Pannepacker (petreestow@aol.com)
Sven (Eck-Wagner@t-online.de)
Matt Hall (hallmatt@cps.msu.edu)
Gallons of Rubbing Alcohol Flow Through the Strip:
(http://www.proaxis.com/~elcurte/) (elcurte@proaxis.com)
and last, but certainly not least,
Tim Lynch (Timmlynch@aol.com) who sent me many great
pics!
Ralph Smith thanks the following for their input into his original
web page:
Joe Hartley, Mark Saucier, The Rev. Justin A. Redd, and John
Dee
XIII. Sources
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 Eve, 1993, live performance in Oakland, CA.
53). "Goldmine" magazine/newspaper. 2/14/97, Vol 23, No 4,
Issue 432. Pg. 16.
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