Michael Schenker — Rig Network

Schenker's defining instrument — a 1970s Gibson Flying V customised with a black and white finish that became his visual and sonic trademark. The Flying V's mahogany body and set-neck construction provide sustain and midrange warmth different from the SG or Les Paul. He has used multiple Flying Vs across his career, all in the same black-and-white livery.

Unique to this artist in the database

Dean Flying V signature built during Schenker's period away from Gibson — similar V-body construction with Schenker's specification for pickups and hardware.

Unique to this artist in the database

Various Gibson Flying V Custom models used in later career — the Custom's ebony fretboard and gold hardware alongside the same mahogany/maple construction.

Unique to this artist in the database

The Marshall Super Lead is Schenker's primary amp through the entirety of his UFO and early Schenker Group career. He runs it at the volume level where the EL34 output section begins to saturate naturally — creating the harmonic bloom and sustain characteristic of his lead tone without modern high-gain pedals.

Transitioned to JCM800 as it became available — the higher gain on tap suited the increasingly saturated tones of 1980s heavy metal without requiring the extreme volume of the Plexi.

Phase 100 for atmospheric movement on slower melodic passages — set at low speed for a gradual, breathing sweep rather than fast vibrato-like modulation. Heard on several UFO ballads and slower Phenomenon-era tracks.

Phase 90 as a lighter-touch alternative to the Phase 100 in later rigs — single-knob simplicity for subtle movement without dialing multiple parameters mid-show.