Mentioned on Jim Dunlop website as a common user of these picks.

The amazing Gary Moore can be seen here playing a BC Rich Mockingbird, a strange choice to think for him at first but with its wood combination, set neck and very versatile electronics its easy to see where the inspiration has come from.

In this Guitar World article Gary talks about when he came across Charvel's saying "I use the Hamer guitars to the same extent, simply because I find them really good. A few years after I discovered the Charvels, it was a great experience getting acquainted with Hamer guitars. I wrote the album Run For Cover with these guitars, for example. They're based on the same principle as the old Les Paul Junior."

At around 1983 or 1984, Moore was seen with Dean Z Chicago Flame electric guitar.

According to Marshall's website, Moore also played through 1962 Bluesbreaker amplifier.

Gary Moore frequently used the Gibson Les Paul Standard 1959 Lemon Burst, known as "Greeny," throughout his career. In a 1994 interview video, you can hear him playing this iconic guitar during his rendition of "One Day."

In this video, Gary featured a selection of Boss guitar effects pedals he uses including the DS-1, CE-2, DM-2, OC-2 as well as the BF-2 Flanger.

In this video, Gary featured a selection of Boss guitar effects pedals he uses including the DS-1, CE-2, DM-2, OC-2 as well as the BF-2 Flanger.

Exactly at 0:34 can be seen the Luxury Drive before the pedal board, with the level at approx. 10 o'clock with a mark in red.

Official info on the T-Rex Luxury Drive (seems it's new equivalent is the Karma Boost): http://static1.squarespace.com/static/5241856be4b07f248a5a2804/t/5279f82de4b06a8b36f17e58/1383725101841/T-Rex+Luxury+Drive+user+manual.pdf

At 00:43 in the YouTube video titled "Gary Moore pedalboard 2010" by Valery Lunichkin, the T-Rex Twister (Chorus and Flanger) is visible on Gary Moore's pedalboard. This setup includes other effects such as the Boss Chromatic Tuner, Ibanez Tube Screamer TS808, and Line6 DL-4 Delay Modeler. The T-Rex Twister is part of the chorus, phasers, and flangers section of his effects chain.

At 0:46 in video from 2010 tour in Russia.

Full routing

Boss Chromatic Tuner T-Rex Luxury Drive booster

then the signal goes to the pedalboard, apparently to

Overdrives/distortions:
* Ibanez Tube Screamer TS808 * Digitech Bad Monkey Tube Overdrive * T-Rex Møller

Chorus/Phasers/Flangers:
* T-Rex Twister Chorus & Flange above

Reverbs/Delays:
* Boss FRV-1 '63 Fender Reverb by his side * Boss Digital Reverb RV-5 below * Electro Harmonix Holy Grail reverb by his side * Line6 DL-4 Delay Modeler outside the pedalboard

Amp switcher: * Tonebone Radial JX-2 Switchbone AB amp switcher + booster

As he seems to select which amp he goes to (there's the both option too; maybe he just uses it as a final boost for both amps), I imagine he doesn't use the effects loop of the amps, or maybe the reverb/delays part goes through the effects loop of only one of the amps?

After going crazy I found this great work by a japanese that saved me from searching the Holy Grail (don't think I'd had identified it) and the Delay:

http://garymoore.blog.fc2.com/blog-category-25.html

In 1985, Gary Moore played a light blue Hamer Vector, a model produced between 1982 and 1985, as shown in the user-uploaded photo from Garymoorefc.

0:30 Played mainly in this concert.

At the 3:18 mark in the YouTube video "Gary Moore - Purple Haze (Blues for Jimi)" by Mercury, Gary Moore can be seen using the Electro-Harmonix Graphic Fuzz XO pedal.

In Jack Bruce’s (Cream bassist) 1998 instructional film titled “The Cream of Cream” Gary appeared as a guest guitarist, and perhaps as a nod to Clapton picked up an unusual instrument for him – a Gibson SG. The film features interviews with Jack, and separate segments during which the bend composed of Jack, Moore, and Gary Husband performed some of Cream’s best known songs.

Gary’s guitar was most likely a 1961 Gibson SG, or more precisely a Les Paul – since the “SG” branding wasn’t introduced until 1963. It featured cherry red finish, and was most likely originally equipped with the sideways vibrola tremolo since the screw holes are still visible behind the newly fitted stop-tail bridge.

In the video please see 7:48

In this photo you can see Gary use a Leopard Skin Charvel guitar.

Designed in collaboration with Moore.

GARY MOORE: A HAMMOND C3 ORGAN, circa 1965/66, serial no. 92289, with Leslie 122 cabinet, bass pedals, Hammond bench, Leslie combo pedal and cables, with spare JBL speaker drivers, housed in three flight cases Note a piè di pagina Originally bought for the 1990 'Still Got The Blues' tour and featured on nearly every tour Gary undertook subsequently. It has been played by Don Airey, Tommy Eyre and Vic Martin and has been documented on the following VHS or DVD releases: An Evening Of The Blues, VHS, 1990, Live in London Blues For Greeny, VHS, 1995, Live at Sheperds Bush Empire Live Blues, 1993, Live in London Live At Montreux, 1995, 1999 and 2001 And the CD releases: After Hours, 1992 Blues Alive, 1993 BBM, Around The Next Dream, 1994 Blues For Greeny, 1995 Back To The Blues, 2001 Old New Ballads And Blues, 2006 Close As You Get, 2007 Bad For You Baby, 2009 Live At Bush Hall, 2007, released 2014, and countless tours across Europe since 1990.

The organ has had EP6 connectors fitted, replacing the old-style 11 pin connectors, which were not made for touring. 2 x EP6 cables are in the set up, allowing for a spare cable, or one long cable, to enable the Leslie cabinet be played in a quieter corner of a stage, or even a side room, if needed. The Leslie cabinet has had the reverb unit removed, adapted to EP6 connectors, upgraded to EL34 output valves (achieving an additional 3 to 4 watts of output) and the valve relay replaced with a solid stage unit. The original speakers have been replaced with a 15inch JBL speaker and horn unit. 2 x spare horn diaphragms are included. The conversion was undertaken by Bill Dunne of W. Dunne & Co., a company based in Islington (London) that had been servicing and repairing keyboard instruments for more than 30 years. Also included is a Bill Dunne combo pedal/preamp, which connects to and controls the Leslie speaker, so that any instrument - guitar, electric piano, synthesiser or even a vocal - can be played through the revolving speaker. The organ unit has had the original 2 pin mains replaced with the safer 3 pin version and a 1/4 inch jack socket fitted, so the organ sound can be recorded directly from the organ, without the need for a Leslie cabinet.?

he had a couple of Custom 24 builds. If you check out the Ferry Aid charity single he plays a pink PRS for the guitar solo.

Gary Moore used a lot of different Takamine models including a PT-015. He recalled on Takamine guitars: “They are really excellent guitars really. I’ve got this black 12 string which they made; there’s only two of them in the world, one built for Greg Lake and one for me. Then I’ve got another one which is the six string semi-jazz model with the electric and EQ built in.”

Gary Moore is pictured with his red Gibson Firebird III, as shown in a Google image search.

Used for the song "Need Your Love So Bad".

Gary Moore used the Marshall 1960BV cabinet, as noted on the Marshall Amps website.

"I used a German solid-body with Bare Knuckle Pickups - which are kind of out of phase to give you a Peter Green vibe. I just ran both pickups full."

According to Hamer’s records, this guitar was completed and shipped with a natural finish Standard #0731 to Gary Moore on 31/08/84. It could be assumed that the pickups were Hamer Slammers, built by DiMarzio, and since the guitar was sent to Mr. Moore, the neck pickup was probably wired with reverse polarity. Steve Matthers, an expert on Hamer says "Hamer Standards in Natural with the matching flame headstock are rare. I’d guess no more than two or three were made." You can see more photos about this guitar at www.rarestarguitars.com

"Lately I have been experimenting with guitars like Hamers. I've got a Hamer Explorer which they built for me recently. It's a great instrument. They built it out of a beautul piece of maple. It's the closest thing you can have to a tasteful Explorer shape guitar. It sounds really fantastic, so I've been playing that quite a lot..." (Gary Moore)

At about 1:28, you can see the CS9 on his pedalboard.

Featured in this video at 0:46.

"This Strat is '60/'61. It's right on the cusp. It's seen some use and Gary's had it since the Greg Lake Band. A chap showed up with it for Greg, who said it was too tatty, but Gary tried it and said it's the one for me. It had been owned by Tommy Steele's guitarist." (Graham Lilley - Guitarist, Issue 187, October 1999)

At exactly 0:33 you can see clearly the Boss Chromatic Tuner as his first pedal, right before the T-Rex Luxury Drive booster, and then the signal goes to the pedalboard, apparently to

Overdrives/distortions: Tube Screamer TS808, Digitech Bad Monkey Tube Overdrive, T-Rex Møller,

Chorus/Phasers/Flangers; T-Rex - Twister Chorus & Flange above it,

Reverbs/Delays: the Boss - FRV-1 '63 Fender Reverb by his side, the Boss Digital Reverb RV-5 below, Electro Harmonix - Holy Grail reverb by his side, Line6 - DL-4 Delay Modeler delay outside the pedalboard,

Amp switcher: Tonebone Radial JX-2 Switchbone AB amp switcher + booster

As he seems to select which amp he goes to (there's the both option too; maybe he just uses it as a final boost for both amps), I imagine he doesn't use the effects loop of the amps, or maybe the reverb/delays part goes through the effects loop of only one of the amps?

After going crazy I found this great work by a japanese that saved me from searching the Holy Grail (don't think I'd had identified it) and the Delay: http://garymoore.blog.fc2.com/blog-category-25.html

Clearly at 00:47, rig of 2010 Tour in Russia.

Full routing

Boss Chromatic Tuner T-Rex Luxury Drive booster

then the signal goes to the pedalboard, apparently to

Overdrives/distortions:
* Ibanez Tube Screamer TS808 * Digitech Bad Monkey Tube Overdrive * T-Rex Møller

Chorus/Phasers/Flangers:
* T-Rex Twister Chorus & Flange above

Reverbs/Delays:
* Boss FRV-1 '63 Fender Reverb by his side * Boss Digital Reverb RV-5 below * Electro Harmonix Holy Grail reverb by his side * Line6 DL-4 Delay Modeler outside the pedalboard

Amp switcher: * Tonebone Radial JX-2 Switchbone AB amp switcher + booster

As he seems to select which amp he goes to (there's the both option too; maybe he just uses it as a final boost for both amps), I imagine he doesn't use the effects loop of the amps, or maybe the reverb/delays part goes through the effects loop of only one of the amps?

After going crazy I found this great work by a japanese that saved me from searching the Holy Grail (don't think I'd had identified it) and the Delay:

http://garymoore.blog.fc2.com/blog-category-25.html

00:23, 2010 Tour in Russia.

Full routing

• Boss Chromatic Tuner,
• T-Rex Luxury Drive booster

then the signal goes to the pedalboard, apparently to

Overdrives/distortions:
* Ibanez Tube Screamer TS808, * Digitech Bad Monkey Tube Overdrive, * T-Rex Møller.

Chorus/Phasers/Flangers:
* T-Rex Twister Chorus & Flange above

Reverbs/Delays:
* Boss FRV-1 '63 Fender Reverb by his side, * Boss Digital Reverb RV-5 below, * Electro Harmonix Holy Grail reverb by his side, * Line6 DL-4 Delay Modeler outside the pedalboard.

Amp switcher: * Tonebone Radial JX-2 Switchbone AB amp switcher + booster.

As he seems to select which amp he goes to (there's the both option too; maybe he just uses it as a final boost for both amps), I imagine he doesn't use the effects loop of the amps, or maybe the reverb/delays part goes through the effects loop of only one of the amps?

After going crazy I found this great work by a japanese that saved me from searching the Holy Grail (don't think I'd had identified it) and the Delay:

http://garymoore.blog.fc2.com/blog-category-25.html