Kim Thayil — Rig Network

Thayil's primary early guitar — the semi-hollow ES-335 with humbuckers provides warmth and sustain for his de-tuned riff work. The semi-hollow resonance adds a slightly organic quality to the otherwise crushing gain.

Used through the Badmotorfinger and Superunknown periods — the SG's lighter body and comfortable neck profile suited the physically demanding de-tuned riffing. Three humbuckers give tonal flexibility.

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The Jazzmaster's slab offset body and floating tremolo were used early in Soundgarden's career — the offbeat guitar choice before the Gibson period defined the art-rock experimental phase of their sound.

Solid-body Guild used for studio recording — the S-100 with humbuckers produces a slightly brighter character than the ES-335, useful for cutting through dense, de-tuned mix.

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The Hiwatt DR103 is Thayil's defining amp — like Pete Townshend, he uses its massive clean headroom as a foundation for extreme de-tuned riff work. The Hiwatt's clean ceiling means even fully de-tuned low strings remain defined under gain, not flabby.

Used through the early Soundgarden period — the JCM800's tight gain character suits the fast, percussive riffing on Louder Than Love and Badmotorfinger.

Thayil famously used an Ampeg SVT bass amplifier for guitar — its low-frequency voicing complements the extreme de-tuning by maintaining bass extension that guitar amps filter out. An unconventional choice that contributes to Soundgarden's unusually deep low-end guitar character.

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The Super-Fuzz is Thayil's signature pedal — its two-stage octave fuzz circuit produces a thick, harmonically saturated tone with a slight octave overtone that gives de-tuned riffs extra harmonic density. Set for full fuzz with the tone knob rolled back for warmth. The Super-Fuzz's character differs from a conventional Big Muff: less mid-scoop, more chaotic harmonic content.

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Big Muff as an alternative to the Super-Fuzz — used for specific songs where a smoother, more conventional sustain is preferable to the Super-Fuzz's jagged harmonic texture.

BF-2 Flanger for the jet-engine sweep effect on several Soundgarden intros — Thayil uses the flanger at slow speeds for a dramatic, gradually evolving modulation rather than the typical rapid jet-sweep setting.

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Flanger/chorus hybrid used for additional modulation texture — the Electric Mistress's smoother, more chorus-adjacent character differs from the BF-2's metallic edge.