Bob Mould

This Gibson Flying V knockoff was Bob's main guitar throughout much of his Husker Du career.

Bob Mould uses an MXR Distortion + pedal, according to ACL's website.

Two of Bob Mould's Strat Pluses can be seen in this photo, on ACL's website.

According to Guitar Geek's rig diagram, Bob Mould plays through a 2x12 Fender Concert combo amp.

In the video "30 Years of Dinosaur Jr. - 'Freak Scene' Featuring Bob Mould," presented by DC Shoes, Bob Mould is seen playing a Fender Jazzmaster.

In this photo of Bob Mould's pedalboard, on ACL's website, his Aphex Punch Factory can be seen.

By 1985 he was also using an Ibanez Stereo Chorus pedal and an Electo-Harmonix Small Clone Mini-Chorus. For the recording of Metal Circus (and subsequent recordings) a harmonizer was fed directly into the recording desk. Later on a rack mounted harmonizer was used on stage. By 1987 a Roland SDE-1000 digital delay had also been added to Bob's stage gear.

Bob Mould uses an Electro-Harmonix Nano Freeze pedal, according to ACL's website.

Sometime after the release of Metal Circus in the Fall of 1983 Bob converted to a Stereo Setup. A Fender Silverface Twin can be seen on top of Bob's Yamaha G100 head in this video. An earlier video from 1983 shows just the G100 stack. A silverface twin also shows up in a video from a set at 7th Street Entry in 1981.

Husker Du - Live Camden Palace 1985

By 1985 he was also using an Ibanez Stereo Chorus pedal and an Electo-Harmonix Small Clone Mini-Chorus. For the recording of Metal Circus (and subsequent recordings) a harmonizer was fed directly into the recording desk. Later on a rack mounted harmonizer was used on stage. By 1987 a Roland SDE-1000 digital delay had also been added to Bob's stage gear.

Bob Mould uses a Marshall JMP 100 watt amp, according to ACL's website.

According to this interview with Premier Guitar magazine, Bob indicates that he uses NYXL 10-46 strings.

The signal from the compressor was fed to two Yamaha G-100 solid-state heads running Marshall and Sonic 4 X 12 cabs - equiped with Celestion speakers. These in turn were slaved into a pair of Fender Concert valve amplifiers with stock JBL 12" speakers.

Quoted from the interview, Bob said:

But really, I can do almost everything inside of Reason now because they've got every sound that has ever been made with a drum machine.

Pictured here is Bob Mould's Blackstar 100, posted to ACL's website.

in this NPR Tiny Desk Concert video, Bob is playing through a Blues Custom combo amp. The first good view of it occurs at the 0:55 second mark.

This article from Premier Guitar magazine looks at Bob's gear. It states, "Mould became just as recognizable for his ’88 powder blue Stratocaster Plus, which he bought right after the breakup of Hüsker Dü." He's been playing a series of late 80s Strat Pluses ever since, as the original guitar has been rehabbed and retired.

Bob Mould uses Roland JC-120 amp heads, according to Guitar Geek.

According to this interview with Premier Guitar magazine, Bob has been using a signature distortion pedal made for him by Tym Guitars of Australia.

According to this interview with Premier Guitar magazine, Bob indicates that he uses Wampler's Ego Compressor.

Quoted from the interview, Bob said:

If people haven't had any experience with a package like Live they should really take a look at it and see how deep they can go with manipulating sounds. It's really mind-boggling. It's really hard to get out of it once you gotten in it.

In this photo, on ACL's website, Bob Mould's Flashback Delay pedal can be seen.

Bob Mould uses a TC Electronic Line Booster pedal, according to Guitar Geek's rig diagram.

But back to those layers of guitar—can you take us through the song “Hold On?” I used a number of small variations with the amps, and that’s where I really got into the layering. I had three different half-stacks out there—two Blackstars and an old Hiwatt, with each head going to the same cabinet. So I had six different rhythm guitars essentially doing the same thing. I’d get three different tones with each guitar, miked close with a [Neumann] U 67 and a Coles [ribbon mic] about 10 feet out from the cabinet. And then each tone was spread across three tracks, so I had 18 tracks of guitar.

But back to those layers of guitar—can you take us through the song “Hold On?” I used a number of small variations with the amps, and that’s where I really got into the layering. I had three different half-stacks out there—two Blackstars and an old Hiwatt, with each head going to the same cabinet. So I had six different rhythm guitars essentially doing the same thing. I’d get three different tones with each guitar, miked close with a [Neumann] U 67 and a Coles [ribbon mic] about 10 feet out from the cabinet. And then each tone was spread across three tracks, so I had 18 tracks of guitar.

Well, speaking of that evolution, “Losing Sleep” goes through some pretty interesting changes in dynamics, which makes it stand out from the rest of the album. The guitar is just a clean Strat with some direct signal, and we may have switched to a Fender Champ. I can’t remember exactly, but sometimes I get that sound by going direct into a Drawmer 1960 [mic pre/compressor]. The stereo tube compression just slams it, and it’s got the EQ on the front end so you can brighten it up. I remember the day we put it up to mix. Beau was like, “What do we do with this?” I was still trying to write words for the last song, so I told him to have some fun for five hours and went in the other room. The demo had that same sparseness and structure, but it was nowhere near as colorful as what Beau came up with. That one’s the outlier on the album for sure, so everybody’s talking about it.

According to this interview with Premier Guitar magazine, Bob indicates that he uses Dunlop .46 mm picks.

A Yamaha G100 Head can be seen running a single Ampeg V4 cab for this entire set.

One guitar that I bought, I bought when I was in Boston producing the Zulus' album. It was a Yamaha APX-12. It's one of those plastic-backed 12-strings with a stereo pickup in it. And that's the acoustic that you've heard on all these records for years.