Jay Noel Yuenger

Above is a photo taken of my on-stage rig by my guitar tech ( the mighty Michael Kaye ) – this would be from around the middle of the Astro-Creep : 2000 slog, which I can tell by the guitar lineup here : left to right, we’ve got my custom shop black Iceman ( in the ” straight C# ” tuning, i.e., low to high, C#, F#, B, E, G#, C# – we started using this tuning for some of the between-album stuff, like Feed The Gods and our cover of Black Sabbath’s Children Of The Grave, and then for a bunch of the Astro-Creep tracks )

Next is my blue Robin Machete ( in the ” half-step down ” tuning, low to high, D#, G#, C#, F#, A#, D# ) – we recorded the La Sexorcisto LP in the standard EADGBE tuning ( entirely with the cheap but solid Charvel 6 [ often referred to by fans as the ‘666 guitar’ ] that you see on the cover of that album ) – we were, as far as I can remember, dimly aware of tuning down at that point but hadn’t messed with it yet – then, sometime during the long, long ( long ) tour for that album, we started tuning down half a step ( it’s amazing what that relatively minor change does to expand the width and breadth of a band’s sound ) and we recorded the ” tuned-up ” tracks on Astro-Creep ( Electric Head, Part 2, Etc. ) in that tuning as well, all of which were done with the same blue Machete.

Finally, after that, we have the custom shop prototype of my signature model ( the ICJ100WZ, or ” star ” ) Ibanez Iceman in straight C# tuning.

On the Music Video Feed The Gods - White Zombie Jay is playing a Gretsch Billy Zoom Owned 1956 Silver Jet Silver Sparkle

Let’s move on to the amps in the middle. Two Mesa-Boogie Triple Rectifiers, and two Randall Century 200s, each head feeding two Mesa standard Rectifier cabs, so that’s 4 stacks, two for each side of the stage, in stereo.

Let’s move on to the amps in the middle. Two Mesa-Boogie Triple Rectifiers, and two Randall Century 200s, each head feeding two Mesa standard Rectifier cabs, so that’s 4 stacks, two for each side of the stage, in stereo.

Let’s move on to the amps in the middle. Two Mesa-Boogie Triple Rectifiers, and two Randall Century 200s, each head feeding two Mesa standard Rectifier cabs, so that’s 4 stacks, two for each side of the stage, in stereo.

so I started running the Randalls through the Mesa cabs instead of the Randall Jaguar-loaded cabs ( which I liked a lot ), which resulted in a very different but cool sound, and I started running the more-normal-sounding Triple Recs alongside the Randalls, although set to ‘silicone diode’, not ‘tube’.

I wanted to use my MXR Phase 90 ( block logo, therefore manufactured sometime between 1977 and 1984 – I bought it for ten bucks from a kid in the building WZ lived in when we first moved to L.A. ), which I managed to set so that the rate and tone of the phase-sweep ( yes, I know the Phase 90 has only one knob, but there is an internal control as well ) accented the guitar riff in a cool way

Next, there’s a bunch of Rocktron stuff : Intellifex, Guitar Silencer noise gates, Rocktron-Bradshaw switching system.

The only pedal I had out on stage was my Dunlop 535Q wah ( although later I replaced that with a Dunlop remote wah ), and my guitar tech actually operated the pedals in the drawer, and the big stereo delays from the Intellifex, and channel switching, by hand with the foot controller. If you look at live footage from the period, you’ll see me stomping around a lot.

Another backwards-ass thing I used to do is with the Tube Screamer – I did use it as my ” a little bit more ” boost pedal for solos, as is commonly done ( that’s the great thing about that pedal, is that it doesn’t actually sound like you’ve stepped on a pedal when you turn it on ), but I used a lot of controlled feedback in my playing, and I would set the Screamer to overpower the noise gates, which were necessary to make rhythm work sound tight through a massive-gain amp setup.

Okay, back to the rack. Next, there’s the MXR Flanger/ Doubler. Notice that in the top photo, which is from later than the lower one, I’ve covered up both MXR rackmount units with black tape. I did this because people were always sniffing around, trying to figure out how I got my sound – and that’s, of course, ironic, because I 100% stole the Flanger/ Doubler idea from Darryl from Pantera.

Next, there’s a bunch of Rocktron stuff : Intellifex, Guitar Silencer noise gates, Rocktron-Bradshaw switching system.

Next to that is the Astro-Surf guitar, custom made for me by Schecter — as per my instructions, a modern twin-humbucker copy of the iconic 1960s Teisco Spectrum 5 with a fantastic ” holo-flake ” finish .. you’ll notice that in the following years Schecter followed my lead and made the Teisco headstock standard on most of their guitars.

next, there’s a vintage MXR 31-band graphic EQ