Mickey Melchiondo

"That Carbon Copy is the best delay I've ever used, hands down, no contest... The Cry Baby wah-wah pedal is more than just another piece of gear on my pedalboard. I purchased one the day I bought my first guitar and have never played a show without in the last 25 years. The same goes for the MXR Phase 90, and the mustard yellow Distortion+. It's at core of my personal sound, I use it as lead channel, I use it in a set position as much as I use it in an up and down motion. I couldn't live without it!"

And for bar gigs I use my Fender DeVille combo. I have two or three of them.

"I use either one or two mesa boogie dual rectifier tremor-verb heads into two 4×12 cabinets"

"My pedal board has a crybaby wah, Electro-Harmonix micro synthesizer, mu-tron III envelope filter, mxr phase 90 pedal, digitech whammy pedal, mxr blue box, and a boss digital delay stomp box."

"In the studio though I use my old mesa mark IV head with a 2×10 cabinet."

"and then I use the Seymour Duncan Hot Rails in the lead position on all of them. Fender built me an exact replica of my ‘61, exactly the same with the wear marks on the guitar and they put in the same pickups for me. It was awesome.

But the Seymour Duncan Hot Rails is the loudest pickup made known to man, and that’s why I like it. It just really, really, really cranks – it gives you a lot more overdrive then a regular stock Fender pickup."

I use a Fender Super-Sonic 100, and I use a 4x12 Fender cab.

Dean’s 2000 Gibson Les Paul Standard sports Lindy Fralin pickups. Fralin also modded the electronics so that both pickups are controlled by just one volume knob. Photo by Jenny Baniszewski

"Then my dad bought me my first real guitar, which was a Squier Strat—one of the early ones. It’s a great guitar, made in Japan. He hid it, but I knew the day it entered the house."

"If I want a Tele sound, I have an old ’65 Twin and a bunch of Teles"

In this photo you can see a yellow tortex pick under his pickgaurd.

Thoughout this video we can see Deaner playing this bass.

At 1:02 Deaners seen playing this fender music master a lot of Pure Guava I believe was written on this as well

"That Carbon Copy is the best delay I've ever used, hands down, no contest... The Cry Baby wah-wah pedal is more than just another piece of gear on my pedalboard. I purchased one the day I bought my first guitar and have never played a show without in the last 25 years. The same goes for the MXR Phase 90, and the mustard yellow Distortion+. It's at core of my personal sound, I use it as lead channel, I use it in a set position as much as I use it in an up and down motion. I couldn't live without it!"

"But onstage I use the Boss RE-20 Space Echo pedal, which has a tap function."

"Lindy Fralin pickups changed my life. As I cut my volume for rhythm guitar, like to 3, say, Lindy Fralin pickups help the high end stay there. You know what I mean? It adjusts naturally."

"If I want a Tele sound, I have an old ’65 Twin and a bunch of Teles"

In his video he used both of the DD-3 pedals, the original one and the Keeley Modded one.

In the March 2017 edition of Premier Guitar, Mickey Melchiondo is shown using the DigiTech WH-5 Whammy V, highlighting its role in his effects setup.

In this video you can see him use a Cry baby mini wah.

In this video you can see the Boss TU-3 on his "pedalboard".

Mickey Melchiondo—a,k,a, Dean Ween and one half of Pennsylvania experimental rock outfit Ween—has been a Stratocaster guy for a long time, dating back to a Squier Strat his father bought him as a teenager.

And even though he’s admittedly bought and sold “hundreds of Strats” over the years, Melchiondo is ubiquitously known for playing a heavily modified Dakota Red Stratocaster that is truly unique.

It all started back in the early 1990s, when Melchiondo stumbled into a Santa Monica, Calif., guitar store midway through a Ween tour. He was immediately drawn to what would become his signature instrument for years to come.

“I can’t really even describe to you the moment I found that guitar,” he told Fender.com. “I was leaving with that guitar. Whether it cost $50,000, it was going out the door with me. I knew that I had found the instrument that I had been looking for my entire life. It was really magical.”

According to the shop owner, the guitar was actually used on the recording of Tina Turner’s 1984 hit “Private Dancer,” and Melchiondo immediately noticed its pristine setup and uncommon jumbo frets. Interestingly enough, the Strat’s pre-CBS body also had a 1961 rosewood slab fingerboard neck bolted to it.

Considering its excellent playability, Melchiondo didn’t fuss with the guitar for a while. But the self-described tinkerer couldn’t hold off for long.

The first things he addressed were the pickups. As he does with all of his guitars, Melchiondo put Lace Sensor pickups in the middle and neck position and a roaring Seymour Duncan Hot Rails humbucker in the lead position.

“The Seymour Duncan Hot Rails is the loudest pickup made known to man, and that’s why I like it,” he said. "It just really, really, really cranks – it gives you a lot more overdrive then a regular stock Fender pickup.

"The Lace Sensors are pretty quiet. A Strat is a notorious buzzing guitar–makes that telltale buzz on stage. They are noisy pickups because they are single coil pickups and they pickup AM radio and God knows what else, but the Lace Sensors are dead quiet. It takes that vintage sound of a Strat and just improves upon it."

The other changes to Melchiondo's Strat go beyond what he estimates are five or six refrets, four sets of tuners, and multiple tailpieces and saddles.

One time when Ween was on the road, the Strat’s saddles were too rusted to adjust the height of the strings, so he stuck tiny pieces of brass under them to get the action where he liked it. Melchiondo also stabilized the tremolo by hammering a piece of wood between the spring block and body to help maintain proper tuning.

Accoding to Melciondo, "all that's left on the '61 Strat is the wood, which makes it all his own and a trusted partner on stage and in the studio for more than two decades.

Funny thing is ... as many mods as Melchiondo has done on the guitar, he might not be finished.

“I believe that guitars are meant to be played," said Melchiondo. "My guitar is more than 50 years old and it would probably be more valuable in its original condition, but I need it to work to the best of its ability every night so I enjoy tinkering with it to make it the way I like it.”

In episode 6 of Noisy.com's Guitar Moves, Matt Sweeney visits Dean Ween at his shack in New Hope Pensylvania where they talk and jam. At 0:42 into the video, they brandish a shot of Nickel Wound EXL110 d'Adario strings stacked on top of each other.

"My pedal board has a crybaby wah, Electro-Harmonix micro synthesizer, mu-tron III envelope filter, mxr phase 90 pedal, digitech whammy pedal, mxr blue box, and a boss digital delay stomp box."

"My pedal board has a crybaby wah, Electro-Harmonix micro synthesizer, mu-tron III envelope filter, mxr phase 90 pedal, digitech whammy pedal, mxr blue box, and a boss digital delay stomp box."

"That Carbon Copy is the best delay I've ever used, hands down, no contest... The Cry Baby wah-wah pedal is more than just another piece of gear on my pedalboard. I purchased one the day I bought my first guitar and have never played a show without in the last 25 years. The same goes for the MXR Phase 90, and the mustard yellow Distortion+. It's at core of my personal sound, I use it as lead channel, I use it in a set position as much as I use it in an up and down motion. I couldn't live without it!"

In his video he used both of the DD-3 pedals, the original one and the Keeley Modded one.

In the March 2017 edition of Premier Guitar, Mickey Melchiondo is listed as using the Rocktron Banshee Talk Box among his gear.

You can see the bass hanging up on the wall throughout the video which was filmed at Deans 'Shack'

Mickey Melchiondo used a 1966 Fender Jazzmaster to record "Freedom of '76," as confirmed in the YouTube video "Freedom of '76 Master Class with Dean Ween" by BTFishing.