Thurston Moore — £1,000 · Pro-Level Rig

• Custom alternate tunings are essential — Moore frequently uses open and modified tunings. CGDGBD, GGDDGG and other non-standard configurations create the resonant, clashing intervals
• The Twin Reverb runs clean but loud — the distortion comes from the amp working hard, not from pedals
• Objects on the strings: drumsticks or Allen keys placed under the strings near the nut create a sitar-like buzz and extended resonance
• Feedback is controlled by distance from and angle to the amp — small movements change the pitch and intensity of the feedback
• Bowing technique with a cello bow or drumstick creates sustained, non-standard tones — draw the bow across the strings near the saddles
• Rhythm playing is often drone-based — one or two strings ring while chord changes happen around them
• The Jazzmaster and Jaguar have floating bridges and vibrato tailpieces — retune constantly as the alternate tunings destabilize the instrument
• Studying jazz and classical harmony influenced Moore's note choice even in noise contexts — there is musical logic underneath the chaos

• ✗Placing a tuner or buffered pedal before the Big Muff — most fuzz circuits (especially germanium ones) are sensitive to the impedance of the signal feeding them. A buffered pedal before the fuzz changes how the guitar volume knob responds. Run fuzz first in the chain
• ✗Using the Big Muff into a driven amp with the sustain above 8 — at high sustain into a driven amp the signal becomes a thick, undefined wall of fuzz with no note definition. Keep the amp channel clean
• ✗Ignoring the rhythm circuit on a Jazzmaster — the rhythm circuit (bass-cut switch on the upper horn) provides a fundamentally different tone for rhythm playing. Most players leave it unused.
• ✗Not using a noise gate — self-noise at metal gain levels is continuous between notes. A gate is not stylistic; it is required for professional-sounding silence between riffs.
• ✗Using too much gain on the drive pedal — pedal-driven tone works best with the amp providing some character and the pedal adding focus and saturation, not replacing the amp entirely.
• ✗Putting fuzz after other pedals (especially wah or overdrive) — most fuzz circuits are sensitive to input impedance. Wah before fuzz is fine; overdrive into fuzz creates unpredictable gating.
• ✗Trying to stay clean under the effects — the genre requires the guitar signal to be consumed by the effects layer. A clearly audible dry signal breaks the aesthetic.
• ✗Excessive pedal board complexity that requires constant attention — shoegaze tone should loop on and then be left while you play. Too many controls breaks the immersive quality.

Multiple guitars tuned to custom open and detuned tunings through a Fender Twin Reverb or Marshall. No traditional overdrive — the distortion comes from the amp pushed hard, feedback, and prepared guitar techniques (sticks, drumsticks and other objects on the strings). The tone is deliberately raw and unpredictable.