Originally purchased from Paul Garvey Music in Newcastle Upon Tyne in 1980, financed by my father. Initially wine red like KK's Gibson, resprayed Silverburst with added black metal head. Modified with a DiMarzio Super Distortion bridge pickup.
Previously owned by Eric Cook, later Venom's manager. Modified at Spenders Guitars by Jim Tearse with a shaved-down neck and Floyd Rose tremolo system.
One of the few endorsed guitars in my early years. Picked up from Newcastle Central Station's freight train. Served well for many years with several cosmetic modifications.
Received alongside Cronos through Neat Records. We chose matching red models for stage presence. The later black Phil Collen model was visually striking but the red model remained my preference.
A high-performance model known for its unique angular design and aggressive tone. Used extensively for live performances and recording, delivering the intense sound needed for extreme metal.
My first Marshall JCM 800, financed by my father from Paul Garvey Music. Came with a 4x12 angled cabinet and defined the iconic sound of early Venom albums. Currently specify a Marshall JCM 900 with both angled and straight 4x12s for live performances.
My first distortion pedal, purchased from Jeavons of Newcastle. Essential to the early Venom sound and used throughout the recording of the first two albums.
First digital processor, linked through external soundcard for recording. Used on the Zero Tolerance album and through Marshall amp effects loops.
Acquired for the Scooter world tour, used direct to PA. Continued use through DRYLL and M:Pire of Evil shows, powered by Marshall 800 or 900.
Provided by Roland representatives during Scooter tours. This became my primary studio tool for all DRYLL demos.
Live rig includes Digital Delay, Super Chorus, Overdrive, Chromatic Tuner, and Cry Baby Mini Wah into a Marshall JCM 900. For festival appearances, the setup is streamlined to just Overdrive and Chorus for a more organic sound.
A staple overdrive pedal known for its smooth, creamy distortion. Essential for achieving the signature tone on many classic tracks.
Internal circuitry of the CSL Super Fuzz pedal that helped define the early Venom sound. The circuit design contributed to its unique, aggressive distortion characteristics.