John Squire

In this image of John Squire, he can be seen playing Stratocaster.

This photo shows Squire playing his Black Beauty Les Paul live.

John squire played a pink fender stratocaster and a Gretch(possibly a country gent) guitar during the early Roses period along with a Vox AC30 amp, to get the classic jangly tones.

John Squire used the Ibanez TS9 Tube Screamer as part of his pedal setup until the early 1990s, according to The Squire Files on Tripod.

John Squire uses an Ibanez CS9 Stereo Chorus, as seen in a user-uploaded photo from Pdmcauley, which captures its role in his setup during performances, including at Blackpool.

In this video of the Stone Roses' live performance of "Waterfall" on the UK television show The Other Side of Midnight, we see Squire playing his Country Gentleman.

John Squire uses the Dunlop JDF2 Fuzz Face pedal during performances, as evidenced by a user-uploaded photo on Pdmcauley.

In the music video and TOTP appearance of "Fools Gold", John uses a custom Hofner T4S with is signature Pollock-inspired paintjob.

On this site there is a photo of Squire playing his Custom Fender Jaguar.

Squire used one of the many variations of the Wah Wah pedal made by Jen in Italy. This is identified by the white skirting on the pedal. Wah wah pedals have been used since the 60's and 70's. The circuit in the Jen wah's is virtually identical to the Vox v846 wah pedal. Most people buy the dunlop crybaby these days but you can get a vintage Jen one for much the same money. What's the difference? Well, the answer is not much in my opinion. Having tried a dunlop crybaby and a vintage Jen crybaby on a recording, the only sonic difference I could tell was that the Jen wah had more bass when the wah was in the cocked back position and when playing any lines on the high E string it seemed to give more wah effect than the dunlop. Like most pedals, a lot of the reputation of a popular pedal is narrowed down to 1 component. In this case, it's the type of inductor and how many windings it has. My Jen wah has the red fasel inductor. As for windings, I'm not sure!

In this picture you can see John Squire using a Fender Twin Reverb model known as the Silverface because of it's silver controls panel.

Excerpt from http://www.pdmcauley.co.uk

"A pink 1960 Fender Stratocaster. This was the guitar that would give most of the jangle to the Stone Roses sound. The single coil pickups are suited to a more subtle brighter sound. Squire being a massive Hendrix fan would inevitably want to play some riffs on a strat. He also had a big thing for the beach boys (Another group containing exponents of the jangly strat sound). Songs on which Squire would opt for the strat would be; Standing here, She Bangs the drums, Where Angels Play, Shoot you down, I am the Resurrection, What the world is waiting for. Story has it that it was actually a guitar residing or hired in to a studio they were recording in (possibly rockfield). And after using it on some of the tracks on the album ('The Stone Roses') had taken a shine to it and wanted to buy it. Never one to be scared of bold statements, (a pink guitar was about as bold as you could ask for back then!) it was soon in his possession. Although I imagine it was the sound of the guitar that captured his heart. If Squire's choice of guitars were his way of doffing his hat to his heroes. Then the Gretsch would be George Harrison, the strat would be Hendrix/Beach Boys/Eric Clapton etc, possibly the pink fender strat could also be tied to Hank Marvin. (Although his trademark was a red strat, he did also sport a pink one occasionally. It's either that or Gary Moore!!)"

-Here are some videos of John Squire playing his pink 60's Stratocaster. (https://www.youtube.com/watch?v=tozNEbh9Pf4), (https://www.youtube.com/watch?v=pNfHoPIxhXM)

-Here is a link to another list of squires guitars which Includes the pink 60's Stratocaster. (http://www.dawsons.co.uk/blog/the-stone-roses-legend-john-squires-favoured-guitars)

Seen at the top of the pedalboard.

Another pedal in the Boss range. The BF-2 Flanger. This purple pedal is in my view the best flanger available. It was a veteran pedal in Squire's set up and served him well in the sound quality department. This pedal is commonly known for being able to emulate a jet engine type of sound.

Squire would use this pedal mostly for intense sweeping sounds over chords during various sections of tunes live.E.g End of She bangs the drums, "You're eyes are gazing back from...." middle 8 bit in Sally Cinnamon, Made of Stone chorus, spacey sounds during the instrumental of Resurrection etc.If set up for the jet engine sound, the pedal can really give a sound like you are about to take off at 1000mph!! It's certainly great fun to strum through a chord and hear the this effect full on. It can also be set up for more subtle chorus type sounds and wierd wobbly sounds, although Squire seemed to opt mainly for the sweeping swooshy sounds.

These pedals have risen in price quite recently and are probably about £80-£90 brand new. It may sound quite a lot but boss pedals are fantastic quality and well worth the money. It is a very versatile pedal and is certainly worth putting in the time to experiment with it. This will make the money spent a bit more justifiable. Personally, I feel the jet sound alone is worth the money!!! Again, from the Tokyo picture it may seem impossible to tell it's a flanger but it's the only boss pedal that has an extra trim around the control panel which can be seen from the pic if you get eagle-eyed. This pedal can also be seen from the blackpool pic at the end of Squire's pedal chain.

In this image, we see Squire playing his black Tele Custom live.

John famously used a vintage '59 Les Paul throughout the Second Coming recording sessions and the subsequent tour.

On bottom left of pedalboard

This is an Alesis Midiverb II multi-effects processor. This is the piece of kit that Cressa would operate for Squire when the Roses played live.

In this user-uploaded photo from "Top of the Pops," John Squire is seen playing a Fender Japan Contemporary Telecaster E Series SSH, showcasing a lesser-known aspect of his guitar collection.

This is a Fender Telecaster Custom (1976) in blonde with modified bridge, locking tuners and custom PAF pickup in neck

John Squire uses the Alesis Quadraverb GT as one of his two rack effects units, as detailed in his live setup on Pdmcauley. While one unit is highly versatile, the reason for having two might be to simultaneously manage vocal and guitar effects through MIDI.

During The Stone Roses' 2012 reunion, John Squire used a Mesa/Boogie Lone Star Special Amp, as evidenced by images available through Google.

You can see two jcm 900 heads around 40 seconds

Uses the Boss TU-3 Tuner from 2012-present

7:21 you can see it clealy

John using a firebird, gig unknown

In the "Love Is The Law" video, John Squire can be seen playing a Lindert Locomotive guitar, as shown in a user-uploaded photo on Bookandfeel.

Used the Dunlop Buddy Guy Wah from 2012-present

John Squire is seen using the Mesa/Boogie Mark III Guitar Combo 1x12 in his live setup, as detailed on Pdmcauley. The Mark III, a simul-class amp, allows switching between 15 watts in Class A mode and 75 watts using both EL34 and 6L6 tubes, providing a versatile range of sounds. Known for its darker tone compared to the Twin Reverb, the Mark III was integral to Squire's sound, offering overdriven clean tones at lower volumes. While it features a Rhythm 2 channel for overdrive, Squire primarily utilized the lead channel for his signature clean and powerful sound. This amp, no longer produced after the mid-90s, became a key component of his massive, dynamic live tone.

In 1989/90 Squire had firmly grounded his liking of mesa boogie amplification. This was a company who were arguably leading the field in valve amp technology. Squire had ditched the limitations of the twin reverbs and wanted to immerse himself in the more versatile mesa boogie tone. Having used a Mesa combo for the past few years. Squire decided to rack mount his set up with even more versatility. Mesa Boogie had released a rack pre-amp called the 'Quad'. This encompassed almost all the tones available from mesa amps. It had rhythm and lead channels of the Mark II and Mark III amps built into one.