Adam Yauch

Yauch's bass tone on Sabotage manages to be huge without being so overtly driven or drenched in gain. To achieve his signature bass tone, producer Mario Caldato Jr. explains that Yauch played a 60's Fender Jazz bass through an Acoustic 270 Graphic EQ head. The amp was put into an isolated sound proofed case when recorded, with the bass running through a Black Cat Superfuzz pedal. The Black Cat Superfuzz is modeled after the highly coveted 70's Japanese made Univox Superfuzz. What was special about those Univox Superfuzzes was their "two stage octave doubling circuit." From the Black Cat site: "beneath the massive torrent of fuzz is a hint of upper octave; not quite as prominent as an Octavia, but definitely noticeable." That double octave is what helped Yauch achieve such a massive sound on the record.

In this photo, Yauch can be seen with an Ampeg AEB-1.

Used in the Gratitude music video

The official Spector site states that Yauch owned a Spector NS2 on its artist page.

Visible in this photo of Yauch. A picture of its case is visible in this photo.

Used in a few concerts in the "Check Your Head" Era.

Throughout this live performance, you can see Adam Yauch using his early 1970's Fender Musicmaster Bass.

In this photo, you can see MCA using his 1990's GK 800RB bass amp head on top of a vintage Peavey 3620 bass cabinet.

MCA playing an Arctic White P Bass while Ad-Rock plays drums (Circa: Check Your Head era)

In this photo, you can see MCA using his 1990's GK 800RB bass amp head on top of a vintage Peavey 3620 bass cabinet.

Visible in this photo of Yauch, in addition to this one.

Yauch's bass tone on Sabotage manages to be huge without being so overtly driven or drenched in gain. To achieve his signature bass tone, producer Mario Caldato Jr. explains that Yauch played a 60's Fender Jazz bass through an Acoustic 270 Graphic EQ head. The amp was put into an isolated sound proofed case when recorded, with the bass running through a Black Cat Superfuzz pedal. The Black Cat Superfuzz is modeled after the highly coveted 70's Japanese made Univox Superfuzz. What was special about those Univox Superfuzzes was their "two stage octave doubling circuit." From the Black Cat site: "beneath the massive torrent of fuzz is a hint of upper octave; not quite as prominent as an Octavia, but definitely noticeable." That double octave is what helped Yauch achieve such a massive sound on the record.

In a live performance photo, Adam Yauch is seen using a plexi Ampeg SVT-VR bass amplifier head.

In this studio pic you can see Adam using an Ampeg bass into a Univox Superfuzz, a SVT-II and an 8x10

In this pic you see Adam in a recording session using an Ampeg Bass into a superfuzz, SVT-II and an Ampeg 8x1-0

In a user-uploaded photo, an MXR M133 Micro Amp can be seen at the foot of Adam Yauch's setup, indicating its use in his gear collection.

In a user-uploaded photo, two white Boss pedals are visible at the foot of Adam Yauch's amp. One appears to be the Boss TU-2 Chromatic Tuner.

Behind the "Beastie Boys" logo, you can see his Maestro Rhythm & Sound G2, which he uses the Subbass plugin on Adam Horovitz's electric guitar for "The Maestro" (hence, the name of the song)

In this user-uploaded photo, Adam Yauch is playing Adam Horovitz's Gibson Melody Maker Double Cutaway Single Pickup guitar, paired with Gibson's "The Maestro" effect pedal, which contributed to the creation of their song "The Maestro."

Adam Yauch is confirmed to have used a Guild M85 Electric Bass Guitar during the "Get Out & Vote Tour" in 2008. This identification is supported by visual evidence which showcases Yauch playing an electric bass that matches the distinctive characteristics of the Guild M85, including its unique color and specific pickups, as seen in the provided photograph.