【GUNS N' ROSES】Slash's Equipment: Amplifiers, Guitars, Effects Pedals

Born in London, England, Saul Hudson (later known as Slash) grew up in a very privileged and unique musical environment. His mother was a fashion designer who worked on costumes for David Bowie and others, and his father was an art director who created album covers for artists such as Neil Young and Joni Mitchell. Due to his parents' professions, he grew up surrounded by top-tier musicians and artists, and naturally, he was immersed in rock music.

He later moved to Los Angeles after his parents' divorce. He spent his childhood immersed in BMX (bicycle racing), but his fate changed when he met Steven Adler (later the original drummer for Guns N' Roses) at the age of 15. He picked up a guitar to form a band with him and immersed himself in practicing at an intense pace of more than 12 hours a day. He was greatly influenced by Aerosmith's "Rocks," absorbed the blues-based rock guitar of legends like Jimmy Page, Jeff Beck, and Jimi Hendrix, and built the foundation of his own playing style.

In the 90s, Guns N' Roses released "Use Your Illusion I & II" and successfully completed a large-scale world tour, but internal conflicts within the band gradually worsened. Differences in musical direction and rifts between members deepened, and Slash left the band in 1996.

However, his creative drive never waned, and he formed his own project, "Slash's Snakepit," pursuing a more bluesy and straightforward hard rock sound. Later, in 2004, he formed "Velvet Revolver" with former Guns N' Roses members Duff McKagan and Matt Sorum, and Scott Weiland of Stone Temple Pilots. Their debut album, "Contraband," debuted at number one in the US and won a Grammy Award, once again proving how universal and powerful Slash's guitar riffs and solos are in the modern rock scene.

After Velvet Revolver disbanded, Slash released his first solo album, "Slash," in 2010. Featuring a star-studded lineup of guest vocalists including Iggy Pop, Ozzy Osbourne, and Chris Cornell, the album became a huge hit. Following this tour, he began to seriously pursue his career as "Slash featuring Myles Kennedy and The Conspirators," with Myles Kennedy of Alter Bridge on vocals, and has continued to release high-quality rock albums consistently ever since.

Then, in 2016, a reconciliation with Axl Rose, which had long been considered impossible, was achieved, and he made a miraculous return to Guns N' Roses. The world tour, titled "Not in This Lifetime… Tour," generated record-breaking box office revenue and thrilled fans around the world. Even now, he continues to lead the rock scene with both his solo work and his work with Guns N' Roses.

The true identity of "the world's most famous Les Paul" was an elaborate replica.

Guns N' Roses' debut album, "Appetite for Destruction," is remembered as a historical masterpiece that single-handedly revived the popularity of the Gibson Les Paul, which was in decline at the time. However, the fact that the main guitar Slash played on the recording was not actually a Gibson, but a "perfect replica of a 1959 Les Paul" crafted by the late genius luthier Chris Derig, is one of the most ironic and beautiful legends in guitar history.

At the beginning of the recording process, Slash was frustrated because he couldn't produce the ideal rock tone he had in mind, despite trying various guitars such as BC Rich and Jackson. Seeing his predicament, his manager at the time, Alan Niven, handed him this replica guitar with its beautifully tiger-stripe grain. The moment Slash plugged this guitar into a Marshall amp and played a single note, that thick, sweet, and beastly growl—the ultimate drive tone—was created.

The Seymour Duncan Alnico II Pro pickups and the superb mahogany tonewoods created a miraculous match, capturing every nuance of his picking. From the intro to "Welcome to the Jungle" to the heart-wrenching solo in "Sweet Child o' Mine," all of the legendary performances in rock history originated from this one guitar. Even today, it remains his most trusted and absolute main guitar for studio recordings, carefully preserved and used.

Another sharp fang to shatter the Les Paul myth.

Amidst the strong public image of "Slash = Les Paul," BC Rich's Mockingbird stands out remarkably and plays a crucial role. Its striking appearance in the "You Could Be Mine" music video shocked many aspiring guitarists.

Slash's preferred Mockingbird is primarily a red model equipped with a locking tremolo such as a Floyd Rose. He chooses this guitar for songs that require intense whammy bar use and tricky playing that are impossible with a Les Paul.

Furthermore, in addition to the rich sustain provided by the neck-through construction, a major feature is that it can produce an aggressive tone that differs from the classic Les Paul sound, with a midrange that sounds like a "half-wah" pedal, by utilizing the active circuitry of the various switches built into the body (such as the Varitone switch and Phase switch). It is another important partner for him, as it combines the aggression of hard rock with tricky playability.

A golden vintage imbued with the soul of the blues.

The beautiful gold-top Les Paul that was featured in the music video for "Sweet Child o' Mine" and etched into the minds of people worldwide—that's "Victoria." It's a vintage instrument from the late 1950s that was used by Guns N' Roses from their early days, and in recent years, it has once again come into the spotlight when Gibson released a gold-top model named "Victoria" as Slash's signature model.

Unlike a sunburst Les Paul (with a maple top), the mahogany tone of the gold top (or dark back) models of that era has a unique sustain and compression in the midrange. Slash preferred to use this guitar when playing bluesy, more raw phrases.

In fact, this original guitar was stolen in the late 90s and was missing for a long time, but the story of its miraculous return to him only adds to its mystique. The slightly hard and aged "golden tone," different from that of a sunburst, strongly reflects the blues roots that lie at the heart of Slash's playing style.

Breaking through stage limitations, the ultimate hybrid gear

Slash wanted to seamlessly transition between the delicate tones of an acoustic guitar and the roaring sound of an electric guitar on stage. To perfectly meet this urgent need, the "Crossroads" double-neck guitar was created through a joint development with Guild.

It has an extremely unique structure, with an acoustic guitar (12-string or 6-string with a piezo pickup) on top and an electric guitar (equipped with a humbucker) on the bottom. The main body is solid (not hollow wood), but the acoustic section on top has a soundhole carved into it, designed to produce an astonishingly realistic acoustic tone.

In songs like "Anastasia," Slash seamlessly switches from the flowing, classical-style acoustic arpeggios of the intro to the electric neck on the lower part of the guitar, launching into heavy riffs that shake the Marshall amp. This custom-made guitar, born from a "on-the-spot" approach to eliminate any time loss during the switch and maximize the dynamics of the song, is a testament to Slash's unwavering dedication to perfect live performances.

The "Holy Grail" that shook rock history: The lost magical amplifier.

When discussing Slash's sound, or even the history of rock guitar sounds worldwide, it's impossible to ignore this amplifier. Used in the recording of his debut album, "Appetite for Destruction," this legendary rental amplifier, SIR's management number "#39," would later become known among gear enthusiasts as the "Holy Grail."

This amplifier, owned by the Los Angeles-based equipment rental company "SIR (Studio Instrument Rentals)," was originally a Marshall 1959T (a 100W model with tremolo) manufactured in the 1970s. However, what is noteworthy is that it was modified by Frank Levy, a technician at SIR (although there is also a strong theory that Tim Caswell later did it), using a "cascade connection" to repurpose the vacuum tubes from the tremolo circuit into the amplification stage, resulting in a powerful gain boost.

The moment Chris Derig's Les Paul was plugged into this #39, an "appetite tone" was born—one that retained the raw edge characteristic of Marshall amps, yet possessed seemingly endless sustain and rich, mournful harmonics in the midrange. Slash was completely captivated by this sound and refused to return it even after recording was finished, lying that it had been "stolen." However, it was discovered by SIR staff during a rehearsal a few months later and ultimately confiscated, leading to a dramatic conclusion. This quest to recreate the tone of this "lost amp" became the driving force behind Slash's subsequent amp-hopping journey.

The silver wall that supported the king's return

With his SIR #39 taken away, Slash was in urgent need of finding a main amplifier in preparation for Guns N' Roses' massive upcoming world tour. From among the many amplifiers available, he chose the 100W model of the "Silver Jubilee 2555," which was released in 1987 to commemorate Jim Marshall's 50th anniversary in the music industry and the 25th anniversary of the Marshall Corporation.

Clad in silver Tolex, this amplifier boasts a unique circuit design that sets it apart from traditional Plexi-style Marshalls. It incorporates a diode clipping circuit in the preamp section and features a highly effective passive EQ, resulting in a deeper, darker, and smoother distortion than conventional Marshalls.

This Jubilee guitar has long served as a towering "silver wall" behind Slash, supporting him from Guns N' Roses' heyday to the Velvet Revolver era. Its thick bass and dense midrange have fulfilled the role of delivering his Les Paul sound with full force to the back rows of the stadium, making it one of his most trusted "lifelong companions."

The complete reproduction of "Appetite Tone" has finally been revived.

"Is it possible to revive the sound of the SIR #39 using modern technology?" This project, a long-held dream of guitarists worldwide and a dream of Slash himself, came to fruition in 2010 after close collaboration with Marshall. That was the "AFD100 Slash Signature," released in a limited edition of 2300 units worldwide.

While its silver panel exterior exudes a vintage feel, it's equipped with groundbreaking features internally. With a single switch on the front panel, you can instantly switch between the thick, sweet lead tone of the legendary "#39 (AFD mode)" and the crunchy, aggressive crunch tone of another favorite, the "#34 mode," which will be discussed later.

What's even more noteworthy is the EPA (Electronic Power Attenuation) function located on the back. This allows you to steplessly reduce the power amplifier's output from 100W down to 0.1W. In other words, you can reproduce the exquisite saturation you get when fully driving the power tubes at stadium-shaking volumes, even at low volumes in your bedroom at home, without altering the sound quality at all. This is truly the ultimate "Slash tone generator," perfected after dozens of prototype tests conducted by Slash himself, who has a discerning ear.

Another secret weapon to sharpen the riff's edge

Alongside #39, another crucial amplifier that forms the core of Slash's sound system is the modified JCM800 2203, commonly known as "#34." While searching for his ideal amplifier again at SIR for the recording of 'Use Your Illusion,' he came across this particular unit.

This #34 originally had 6550 power tubes (American specification), and was further modified by Frank Levy to boost specific frequency ranges (mainly high to mid-high frequencies) and tighten the low end (later changed to EL34 tubes at Slash's request). If the #39 is the pinnacle of sweet, thick lead tones, then this #34 specializes in extremely sharp, high-resolution "aggressive crunch to overdrive."

Slash primarily used this #34 setting for rhythm guitar recordings, creating those crunchy, sharp riffs. He also frequently used it in combination with the Jubilee in live performances, playing a crucial role in adding a "sharp edge" to his drive sound. The fact that the aforementioned AFD100 specifically includes this "#34 mode" shows just how important this tone is to him.

A first in Marshall history. A pioneer of the great "signature" model.

In 1996, a landmark was set in the amplifier industry. Marshall, a company with nearly half a century of history, released its first-ever artist signature model. The honor of having that first model bestowed upon none other than Slash. That model was the "JCM 2555SL Slash Signature."

This amplifier is based on the legendary "Silver Jubilee 2555," a model he had used for many years and which had long since been out of production. While the basic circuitry faithfully follows that of the original Jubilee, more robust parts have been carefully selected and used to ensure it can withstand Slash's grueling world tours.

The exterior was changed from the silver of the Jubilee to the traditional black Tolex, and Slash's signature logo and his iconic snake motif were proudly engraved on the front panel. It was at the core of the dark, modern hard rock tone of the Velvet Revolver era, and it reigns as a legendary instrument that many enthusiasts still seek out, not just a mere reissue, but a "practical instrument imbued with Slash's will."

A wah pedal is essential to Slash's emotionally expressive lead playing. He has released his own signature model, the SW95, from Jim Dunlop and uses it regularly.

The most distinctive feature of this model is the built-in distortion circuit (with a nuance similar to fuzz) with control knobs on the side. By stepping on the kick switch on the right, you can apply a powerful gain boost simultaneously with the wah effect, instantly bringing out intense feedback and aggressive tones. Furthermore, the wah's variable frequency range has been tuned to favor the lower frequencies according to his request, resulting in a wah sound that "sings" like a vocal, without producing harsh high frequencies.

This graphic equalizer is often used by connecting it to the send/return (effects loop) of a Marshall amplifier. Slash primarily uses it as a booster to increase the volume during guitar solos, and also to accentuate specific mid-range frequencies to make the tone stand out.

His amp settings already have a strong midrange, but by using this EQ to slightly boost the sweet spot in the frequency range (roughly 800Hz to 1kHz), he achieves a piercing lead tone that never gets lost even in a thick band ensemble.

This is a signature fuzz pedal with a strong personality, jointly developed by MXR and Slash. It's not just a simple fuzz; it features versatile controls that allow you to add a sound an octave lower (sub-octave) and a fuzz sound an octave higher.
It's primarily used as a special weapon in his solo work, for heavy riffs and tricky solo phrases. While based on Marshall's classic drive tone, stepping on this pedal instantly creates a ferocious, gritty, synthesizer-like bass sound, adding a modern approach and new expressiveness to his sound palette.

Chorus effects are essential for clean-toned arpeggios, such as the dreamy intro to "Paradise City." Slash has experimented with rack equipment and various pedals over the years, but in recent years, the MXR analog chorus has become a staple on his pedalboard.
Rather than the cold, wavy sound typical of digital effects, the warm, thick modulation produced by the BBD element perfectly matches the front pickup of his Les Paul. Equipped with high and low frequency cut controls, it creates a beautifully clear arpeggio sound that doesn't muddy within an ensemble.

The DD-3, a quintessential digital delay model, is also a pedal often found on Slash's effects board.

He doesn't use delay as a tricky special effect, but rather as a very natural reverberation to add breadth and depth to the sound of his guitar solos. Instead of rhythmic delays like dotted eighth notes, he sets the delay time to short to medium, and keeps the feedback to a minimum, creating rich sustain without interfering with the direct drive tone of his Marshall amp.

This effect pedal guides the guitar sound through a vinyl tube into the mouth, changing the shape of the mouth to create the effect of "the guitar talking." It has been a long-time favorite, delivering a powerful impact at key moments in songs such as Guns N' Roses' "Anything Goes," the solo in "Rocket Queen" during live performances, and even Velvet Revolver's music.
Similar to the wah pedal, it's one approach to "making the guitar sing," but the raw, vocal-like nuances unique to the talkbox have an incredibly high affinity with Slash's bluesy phrasing. His performances of playing solos with a tube in his mouth on stage are a hidden gem of his live shows.

It's not an effect that stands out on the surface, but this noise gate is the most important "unsung hero" that quietly supports Slash's live sound.
His sound system, a combination of a high-volume Marshall amp, vintage-output pickups (Alnico II Pro) prone to feedback, and wah and EQ boosts, would generate intense noise if left as is. The Smart Gate precisely shuts out unwanted hiss and feedback the moment you lift your fingers from the strings, without unnaturally cutting off the nuances of your picking or the long sustain during playing. The contrast between that thick drive tone and the complete silence during breaks is created by this pedal.

The Phase Shifter is famous as Eddie Van Halen's signature model, but it's also frequently included in Slash's effects board.
He doesn't use this pedal for extreme modulation, but rather with the knob turned down (slower speed), to add a "slow undulation" behind guitar solos and certain arpeggios. It functions as a spice that adds a subtle psychedelic wavering and depth to the classic Les Paul and Marshall sound, giving a more profound character to what could otherwise be a monotonous, straightforward rock tone.

One of the most crucial components that defines Slash's tone is the Seymour Duncan Alnico II Pro pickup. From before his debut to the present day, it has been installed in almost every main Les Paul he owns.

Because it uses Alnico 2 magnets, it doesn't have the high output or sharp treble of typical high-gain pickups. However, it compensates for this with a very sweet midrange and rich expressiveness that captures every nuance of your picking. Later, the "APH-2 Slash" signature model was released, which reproduces the individual differences (slightly more coil windings) of his own "Chris Derig replica," making it a must-have item for guitarists who want to get closer to his tone.

Slash prefers using the Ernie Ball "11-48" set, which is a slightly thicker gauge, for both standard tuning and half-step down tuning.

What's particularly noteworthy is his use of the "RPS (Reinforced Plain Strings)" series, which features wire wrapped around the ball end for reinforcement. This ensures that the strings are less likely to break even with his powerful picking and aggressive playing style that makes frequent use of string bending, and that they maintain high tuning stability to withstand intense stage action. The tension of these thicker strings is what produces that gritty, core attack sound.

The source of Slash's thick tone can be said to be the pick he uses. For many years, he has been using Jim Dunlop's Tortex series, a teardrop-shaped 1.14mm (purple) pick.

This thick, rigid, and less flexible pick allows for a firm strumming of thicker gauge strings, effectively transferring string vibrations to the guitar body without loss. Furthermore, Tortex's unique matte texture provides a non-slip grip even when sweating, making it a crucial, albeit unsung, supporting his energetic live performances from his feet—or rather, his fingertips. Models featuring his signature print are also available.