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In a photo shared by Darkglass on their Facebook account, an unlabelled pedal can be seen in the bottom left corner. Based on the number of knobs and switches visible, it is identified as the Darkglass Electronics Vintage Ultra Preamplifier used by bassist Nate Mendel.

In a photograph shared by Darkglass on their Facebook account, Nate Mendel is seen using the JHS 4 Wheeler V2 pedal. The specific version can be identified by the detailed labeling of all the knob functions.

In a picture shared by Darkglass on their Facebook account, you can clearly spot Nate Mendel using the Empress ParaEq pedal.

In a photograph shared by Darkglass on their Facebook account, Nate Mendel can be seen using the MXR M87 Bass Compressor.

In a photograph shared by Darkglass on their Facebook account, the Tech 21 VT Bass DI pedal is clearly visible, confirming its use by bassist Nate Mendel.

In a live shot of his pedalboard, bassist Nate Mendel is clearly using the Ashdown Engineering James Lomenzo Hyperdrive. This pedal is identifiable by its distinctive black color, chrome handles, and red sides, as shown in the image provided.

In a picture of Nate Mendel's pedalboard, the Voodoo Lab Pedal Power 2 PLUS can be clearly seen, confirming his use of this power supply.

At 2:00 you can see McClelland using a Moog Synthesizer to play “The Mollusk” on ween’s Wah Wah performance.

In this Facebook post on The Linda Lindas official account, Mila De La Garza is seen holding a pair of ProMark Hickory Rebound 5A Activegrip drumsticks with the title reading

"We are pleased to announce that Mila is now a proud endorser of Pro Mark drum sticks!! @promarksticks Thanks to @aaron_vishria for your support!! Mila, aka “Sticks Twirlington”, is currently rocking the Hickory Rebound 5A Activegrip model."

According to Dave Hunter in Vintage Guitar® magazine, Carl Perkins is among the select few owners of The Ray Butts EchoSonic amplifier, of which fewer than 70 units were ever produced.

Scotty Moore became aware of the EchoSonic around 1955 after hearing Chet Atkins use a similar echo effect on the radio. Recognizing its potential, Moore ordered a custom-built EchoSonic amplifier from Ray Butts. This acquisition marked a significant turning point, as it allowed Moore to bring the slapback echo sound from the studio environment onto the stage. From that moment onward, the EchoSonic became a central component of his guitar rig.

Moore’s use of the EchoSonic played a crucial role in shaping the sound of Elvis Presley’s music during the mid-1950s and beyond. While Elvis’s earliest Sun Records recordings, such as “That’s All Right,” relied on studio-based echo techniques, Moore’s adoption of the EchoSonic enabled a consistent and recognizable guitar tone in both live and recorded contexts. Songs like “Mystery Train” exemplify how this slapback echo contributed to the rhythmic drive and spaciousness characteristic of early rockabilly.

Technically, the EchoSonic was groundbreaking because it integrated a tape delay mechanism directly into the amplifier, with controls for echo intensity and delay time. This allowed guitarists to manipulate echo in real time during performance—something that had previously been impossible. However, the amplifier’s relatively low output power, around 25 watts, quickly became a limitation as Elvis’s performances grew larger and louder.

To address this issue, Ray Butts developed additional high-powered booster cabinets, effectively transforming Moore’s setup into a modular amplification system. By combining the EchoSonic with these external power units, Moore achieved a much higher overall output, reportedly reaching around 125 watts. This setup can be seen as an early precursor to modern multi-amp and rack-based live guitar systems.

The influence of the EchoSonic extended far beyond Moore’s immediate use. It laid the groundwork for later echo devices such as the Echoplex and contributed to the widespread adoption of delay effects in rock and popular music. Despite its impact, the EchoSonic remained an extremely rare piece of equipment, with fewer than 70 units ever produced.

Moore continued to use the EchoSonic throughout much of his career with Elvis Presley, including into the late 1960s, before eventually retiring it due to its fragility and historical significance.

In this TikTok you can see the twin Reverb in the background connected to his weed guitar

Stephan Wunderlich, a friend of Bora Karaca, confirmed in a Reddit message that Bora Karaca used a version of IK Multimedia AmpliTube (either AmpliTube 2 or AmpliTube 3) for Cojum Dip's self-titled album's main guitar tone.

In an older listing for the gear page of Bora Karaca's studio, The Laboratory Audio, he lists the Fender Hot Rod DeVille 4x10 as an available amplifier.

In an older listing for the gear page of Bora Karaca's studio, The Laboratory Audio, he lists the Mesa-Boogie F-50 as an available amplifier.