Lincoln Brewster

The item can be seen 1:44 into this video. Possible Aztec gold finish.

"1959 was kinda the year they call 'the holy grail' it was, ah, one of the best years for Les Pauls. So they went back in the Gibson custom shop and they started designing them, or building just like they did in 1959. It has some other different specs, the joint piece here is longer. They went right back to what they were in 1959. This is a great guitar." The item can be seen 3:22 into the video.

"This little guy... crazy green guitar. This is the guitar I used in the, ah, Steve Perry days. And uh, it used to have a little '1' on it. I had three of these that were custom built by Ernie Ball, and there's still only three of them on the planet. This is a Silhouette, but it doesn't have any bevels right here, cause I wanted it to feel a little more Stratocaster like. So they built me one, they built me three without bevels on them and so, ah, I call my buddy Dudley, who he designed a lot of the guitars that Ernie Ball makes and he said 'what color do you want each one?'

And I said 'well, make them surf green, because I'm a big surf green fan.'

And he said, 'well, why do you want all three of them surf green?'

And I said, "well, I want the best sounding one to be surf green' So I just figured if he just painted them all that color, then it would be for sure. So, I ended up with three of them. So, I had number them so I could tell them apart." The item can be seen 4:00 into this video.

"As far as a collector's deal goes, it's not really worth, ah, it doesn't have a lot of value that way because somebody took the finish off of it. It's just this raw type of wood with oil rubbed on it and, ah, somebody also put, ah, this bridge on it, and see those drill holes there, they kind of took off the original bridge. So that all decreases the value of the guitar." This item can be seen 2:05 into this video.

"This is a really cool guitar. Um, I actually borrowed a friend's McPherson to, ah, to do some recording. And I called them and said 'okay, that's the most amazing guitar I've ever played.' These things are absolutely awesome. This is, ah, um, MG3.5, um, which means the back is 3 1/2 inches. They may them in 3 1/2, 4, 4 1/2, 5, and so, they're all the same shape from the front, but it gives 'em, ah, more low end deeper bass, if they a little, ah, wider back here on the end." The item can be seen 4:54 into this video.

"Live, I primarily use Fender Strats. Right now I’m using an Eric Johnson model, because both of my ’57 reissues got stolen. I actually bought the Eric Johnson Strat off the shelf on my way to a gig, and it turned out to be a totally cool God thing. I showed up at the show, and there was a guy named Gary Brawer there – he’s a guitar tech in the Bay Area who has worked for Carlos Santana and Satriani. He was at soundcheck and asked if there was anything he could do for me. I said, “Dude, I actually just bought this guitar. Would you mind giving it the once over?” He set it up and the guitar played like a dream."

At 5:49 minute mark,Brewster explains the story of the Martin D-35. He received this guitar from his mother. His mother received the guitar from "Hobo Jim", a man who owned this guitar before. However, his rough playing destroyed the top of the guitar. When his mother got the guitar, she sent it to Martin to repair it. (That was in 1980.)

"I wanted to build a guitar that was a world-class instrument that was worth every penny. A guitar that somebody could buy and it be their last guitar, and it would have all the player-mods built into it. So basically, take a ’57 Stratocaster and then do a bunch of stealth modifications to it.

Visually, it looks like what I’ve been playing forever, but it has a really unique electronics package. It has the DiMarzio Area 61 bridge, Area 58 neck and middle. Then there’s a boost built into the guitar that’s custom-made for me by Stan Cotey. The volume pot is a push/push pot that adds 10dB boost that is linear and totally flat. It doesn’t add or take away any frequencies. If you’ve ever had a Strat and wanted just a little more gain like your Les Paul, you just push that. I actually don’t use a different patch for solos now. I just use that.

And then, the center tone pot is a mid-boost, on top of the flat boost. Picture a Tube Screamer, but even fuller and with no loss of low end. I will usually leave that midrange set to about halfway, and then when I go to play a solo, I just push with the palm of my hand on the volume knob and boom! And it has the treble-bleed, just like it normally would. So you can still get the guitar to clean up even with the boost on."

LB only uses this amp for stage volume. His tone comes from his Line 6 pod x3 live.

According to Line 6 website, Brewster uses the Line 6 Amplifi 75 guitar amp.

LB is known for his amazing guitar tone and fans are shocked that he uses a processor straight to the sound board.

"I am totally blown away by HELIX. It’s has taken amp modeling, processing and user friendliness to a whole new level!"

According to Line 6 website, Brewster uses the Line 6 POD HD500X.

"It was when I was nine years old, which is when I first started playing guitar. One of the first things I did was get a stompbox, and it was a BOSS Super Overdrive. In fact, it’s the same one in the picture [above], which is why it’s missing a knob and all banged up. I’m 34 now, so I’ve had that pedal for 25 years. My second pedal was a BOSS CE-2 Chorus, and then I got a BOSS phaser and delay. I became a huge BOSS fan."

"It was when I was nine years old, which is when I first started playing guitar. One of the first things I did was get a stompbox, and it was a BOSS Super Overdrive. In fact, it’s the same one in the picture [above], which is why it’s missing a knob and all banged up. I’m 34 now, so I’ve had that pedal for 25 years. My second pedal was a BOSS CE-2 Chorus, and then I got a BOSS phaser and delay. I became a huge BOSS fan."

"I’m having a custom pedalboard developed as we speak, which will include a [BD-2] Blues Driver, a Flanger [BF-3], a DD-3 Delay, and a Reverb pedal [RV-5]."

"I’m having a custom pedalboard developed as we speak, which will include a [BD-2] Blues Driver, a Flanger [BF-3], a DD-3 Delay, and a Reverb pedal [RV-5]."

"I’m having a custom pedalboard developed as we speak, which will include a [BD-2] Blues Driver, a Flanger [BF-3], a DD-3 Delay, and a Reverb pedal [RV-5]."

"I’m having a custom pedalboard developed as we speak, which will include a [BD-2] Blues Driver, a Flanger [BF-3], a DD-3 Delay, and a Reverb pedal [RV-5]."

The item can be seen 3:02 into this video. This is how he hooked the signal from his bass into Pro Tools.

"We just matched that sound – you could not tell the difference. All I had to do was run it through an Avalon 737 mic pre, and just tweak the EQ on the front end a tiny bit. The guy who was co-producing with me couldn’t believe it. It nailed that sound."

"The model I use with the POD is a Plexi Variac Marshall with Greenback 25s, mic’ed with a SM57. And I worked very, very hard in a studio environment to hone that sound."

The item can be seen 2:22 into this video. This is Mexican Jazz Bass, and Norm Stockton used to play this bass on "Salvation Is Here", Brewster himself also used the bass on a couple of songs.