~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.