Robert Quine

Along with his first Strat, Quine got a Tremolux amp - one of Fender's first piggy-back models. He owns several vintage Fender tube amps, including: "The greatest amp I've ever owned - a little Fender Super Champ with the stock Fender speaker, not the Electro-Voice." Quine has used - on tours and in the studio

In the "Ask Quine" section of Robert's website, he answered a fan's question about Peavey amps. Said Quine, "My friend Jody Harris turned me on to Peavey stuff in the late '70s. Incredibly inexpensive, they sounded great, and the solid-state stuff could take a LOT of abuse. Most importantly, using the master volume for good distortion was an actual possibility, compared to the Fenders at that time. The only amp I ever used on the three Lou Reed albums I was on was a Peavey Bandit, upgraded with an EV speaker."

In the "Ask Quine" section of Robert's website, he answered a fan's question about Peavey amps. Said Quine, "The Peavey Classics--they're great-sounding. I recorded with them a lot in the early '90s, especially the Classic 20. Since then, however, I've moved to the various Fender reissue amps—I love them. Obviously, there's no master volume or channel-switching, but this hasn't been a problem for me since I discovered Tube Screamers in the early '90s."

In the "Ask Quine" section of Robert's website, he answered a fan's question about amps. Said Quine, "As for the Deluxe Reverb reissue, I almost always use the left channel ('normal')—it's less trebly than the vibrato channel. When I roll off highs, I do it with the amp's tone controls—NEVER with the guitar's tone control. Also, I replaced the 12-inch ceramic magnet speaker with an alnico one—the Eminence Legend 1228K model with a Kapton voice coil. It's rated at 35 watts and is much less harsh-sounding when pushed into overdrive/distortion. By the way, my friend Marc Ribot also used this setup and he's been quite happy with it."

Blank Generation is mixed with Quine panned hard to one side and Julian to the other—a trick they learned from the Yardbirds’ album Over Under Sideways Down—with the solos right up the middle. For most of his solos, Quine played through a Fender Champ or a small Pignose amp, and sometimes had an MXR Dyna Comp out front.