Duane Allman — Rig Network

His primary guitar and the most important Les Paul in rock slide history. He used both humbucker and P-90-equipped versions — the humbucker on "Layla", a cherry-burst 1961 on many Allman Brothers recordings. The Les Paul's sustain and warmth gave his slide the vocal character that makes individual notes sing.

Unique to this artist in the database

Semi-hollow for specific Allman Brothers sessions — the 335's body resonance adds a different harmonic character compared to the Les Paul's solid body.

Unique to this artist in the database

Duane's primary amp in the Allman Brothers era — a non-master-volume 100W Marshall run at high Volume for power-amp saturation. At full Volume the Super Lead's KT66 or EL34 power stage produces the warm, compressed, sustained character that defines his Allman Brothers lead tone.

Unique to this artist in the database

Used alongside the Marshall for the Layla sessions — the Dual Showman's clean American character provided a different tonal layer. Running both simultaneously in the studio created the complex, multi-dimensional slide tone on the Derek and the Dominos sessions.

Unique to this artist in the database

Used on select Allman Brothers recordings for the swirling, rotary-speaker effect. The UniVibe's photoresistor-based circuit produces a different, slower sweep than a phaser — it sounds like a Leslie cabinet rather than a phase shifter. Associated with the "Dreams" era Allman Brothers tone.

Unique to this artist in the database

Germanium treble booster before the Marshall — pushing additional treble-frequency signal into the amp's front end to produce the compressed, singing quality of the high-register slide notes. The Rangemaster was used by many British and American blues-rock players of this era.