Lindsey Buckingham — Rig Network

Buckingham uses various Stratocasters for electric work — his preferred configuration uses the neck pickup almost exclusively for the warmer, rounder tone that complements his fingerpicking technique. Bridge pickup for occasional brighter lead passages.

Primary acoustic guitar — the D-28's spruce top and rosewood back produce the full, projecting acoustic tone on 'Never Going Back Again', 'Landslide', and 'Big Love'. His Travis-picking technique on the D-28 produces the interlocking bass and melody patterns.

Used for specific harder-edged passages — the Les Paul appears on Tusk and Tango in the Night era material where more sustained electric guitar is required.

Buckingham's consistent amplifier choice — the Twin's clean headroom suits his fingerpicking style, where dynamics are controlled by touch rather than amp saturation. The spring reverb adds subtle dimension to the clean tone.

Smaller Deluxe Reverb for studio work requiring a slightly warmer, less pristine clean tone — the Deluxe breaks up more readily under hard picking than the Twin.

Tube Screamer for mild overdrive — Buckingham uses it at low gain settings for a warm, slightly compressed overdrive texture on electric lead passages. Not used for heavy distortion.

CE-2 for the shimmering chorus texture on several Tango in the Night recordings — adds three-dimensional quality to clean arpeggios and sustained chords.

Delay for studio layering and live lead passages — used to create the ambient, spatial quality on sustained notes in the Fleetwood Mac context.