Peter Steele, the towering frontman and bassist of Type O Negative, was known for his deep, resonant voice and equally profound bass tones. For enthusiasts of Peter Steele’s bass guitar sound, understanding his gear is key to unlocking the secrets behind his signature doom-laden riffs and atmospheric soundscapes. This guide delves into the extensive history of Peter Steele’s gear, tracing his evolution from his early Alembic basses to his later endorsements and amplifier choices. More than just a “gear tinkerer” as some might suggest, Steele was a practical musician who meticulously crafted his sound through a variety of instruments and equipment. Let’s explore the basses, amplifiers, effects, and techniques that defined the sound of this legendary musician.
My brother and I were fortunate enough to witness Peter Steele’s commanding stage presence and sonic power firsthand in 1995, opening for Pantera. While I was then immersed in the sounds of GN’R, Motley Crue, and Metallica, Pantera, and especially their opening act Type O Negative, presented an entirely new level of sonic intensity. That night at the Erie Civic Center on March 8, 1995, seeing Peter Steele perform left an indelible mark.
Those close to Peter Steele (born Peter Ratajczyk on January 4, 1962, and sadly passed away on April 14, 2010) often described him as a perfectionist, constantly in pursuit of the ultimate tone and always experimenting with his gear. While some paint him as a relentless “gear tinkerer,” my research suggests a more nuanced picture. Peter, who often described himself as a simple man, seemed to approach his gear with a practical mindset, particularly as his career progressed.
My personal experiences attending numerous Type O Negative concerts in Cleveland and Pittsburgh, culminating in a show at Jannus in St. Petersburg, FL on May 2, 2007, offered further glimpses into Peter’s evolving stage presence. That particular night in Florida, Peter’s physical struggles were evident as he occasionally had to sit on the drum riser. This period preceded his time in rehab, from which he emerged sober around September 2008, a state he maintained until his untimely death in 2010 at the age of 48.
INSTRUMENTS: Peter Steele’s Bass Guitar Collection
Peter Steele’s journey through various bass guitars is a fascinating aspect of his sonic identity. From custom-built instruments to endorsement models, his choices reflect a quest for the perfect tone and stage presence.
His 1983 Alembic Spoiler is often cited as Peter Steele’s most cherished bass guitar. This instrument, distinguished by its burl top, predates his formation of Repulsion (later known as New Minority, then Subzero, and finally Type O Negative). Rumors persist that Peter favored this Alembic for recording across numerous albums, and early photographs indeed show him playing it live. However, online discussions suggest that extensive modifications may have led Peter to eventually move away from the Alembic, favoring endorsed basses instead. Interestingly, photographic evidence reveals Peter playing at least three different Alembic Spoilers: one with a burl top, another without a top wood, and a third factory-finished in gloss black.
Peter’s musical journey initially began on guitar at age 12, playing left-handed. He transitioned to bass shortly after, driven by a fear of being replaced in his band by a more skilled guitarist. He reportedly traded his guitar for a right-handed bass, as a left-handed bass was beyond his trade-in’s value. Despite this, Peter remained left-handed in all other aspects of his life.
Peter Steele playing a BC Rich Warlock bass guitar.
Peter Steele with a Thunderbird bass guitar in 1991.
Peter Steele playing his Alembic Spoiler bass guitar.
Briefly, Peter used a fretless Fernandes Warlock, famously photographed before it met an untimely demise, splitting in half during a performance. A Thunderbird bass also made a fleeting appearance, notably seen live in Dossenheim, Germany in 1991, and later featured, deliberately hole-sawed, in the self-produced “Christian Woman” music video. It’s been reported that Peter acquired three Alembic basses prior to the “Bloody Kisses” tour. These gloss black Alembic Spoilers were indeed seen in photographs and live footage from that era, up until the end of 1994.
Alembic Spoiler basses are constructed with a 24-fret ebony fingerboard over a maple neck, reinforced with walnut veneers, running through a substantial 1.50″ thick mahogany body. Exotic wood laminates often adorned the top and back of these instruments. While the standard scale length was 32″, Alembic offered custom options, and given Peter’s preferences, it’s plausible his were 34″ scale. They typically featured Alembic AXY single-coil pickups, known for being noiseless and low-impedance, utilizing ceramic magnets and requiring an onboard preamp.
The distinctive Esh Stinger basses became a staple in Peter’s rig as early as June 1995, continuing until at least June 1997, during the “October Rust” era. It’s widely believed that he used an Esh Stinger to record the “October Rust” album. The wear and tear on these basses, including noticeable wine bottle dents as seen in photos, attest to their heavy use. A unique feature of the Esh Stingers was the inclusion of a piezo bridge pickup. Various accounts circulate regarding Peter’s departure from Esh: some suggest a switch to Fernandes due to their sustainer technology, while others cite a more bizarre reason – an Esh US sales representative allegedly injuring Peter’s cat. Given that Kenny also transitioned to Fernandes around the same time, a double endorsement deal focused on sustainers seems more likely than feline-related disputes. The Esh Stingers featured a 34″ scale, ash bodies, and bolt-on maple necks, as confirmed by a technician who worked on Peter’s basses.
Peter Steele performing live in New York in November 1998 with a Fernandes Rickenbacker style bass.
A Fernandes Rickenbacker bass guitar, often referred to as a “Rickenfaker,” used by Peter Steele.
Peter Steele playing a green Fernandes Tremor bass guitar at the Tuska Festival in July 2003.
Following Esh, Peter embraced Fernandes basses, starting with a Rickenbacker 4000-series clone. This Fernandes “Rickenfaker” debuted around November 1998 at a performance in Life (New York City) and remained in use until early 2000, during the “World Coming Down” tour. Videos also show a red-accented version appearing at Birch Hill (New Jersey) in October 2001. Details about these Ricklones are scarce, but they undoubtedly featured a neck-through design and the then-rare Fernandes bass sustainer system. Reportedly, only three of these pickguard-less Rickenbacker-style basses were custom-made for Peter, designed to be 110% larger than standard Rickenbackers to better suit his imposing stature. Scale length information is unavailable, but it was likely 34″.
Next in Peter’s arsenal was the all-green Fernandes Tremor, which made its national debut on Howard Stern in May 2000 and was used until at least July 2003. Production Tremors were 34″ scale with rosewood fingerboards on maple necks and alder bodies; however, photos suggest Peter’s models were bolt-on neck versions. Three custom Tremors, accidentally painted in a “wrong shade” of green at the factory, were also equipped with bass sustainers. Rumors claim Peter only accepted two of these due to a scratch on one, which was then acquired by a friend.
The body woods of most of Peter’s live basses were reportedly ash or alder. An early interview reveals his preference for 34″ scale basses and his insistence on 24-fret models when considering endorsements. Peter frequently applied Krylon Flat Black and various Krylon Greens to his basses, often himself.
The specific shade of green may have varied based on availability, particularly in the early years, and seems to include Emerald Gloss, Fluorescent Neon, and APWA. APWA Green, an acronym for the American Public Works Association, appears particularly fitting for “The Green Man” persona. In an interview nearly a decade after Peter’s passing, Johnny Kelly mentioned Pantone 369 as the requested green for production items, though it was rarely achieved. Interestingly, searching for Pantone 369 reveals several green shades, with one closely matching APWA Green.
In the 2003 music video for “I Don’t Wanna Be Me,” Peter is seen playing a heavily worn black Alembic Spoiler, distinguished by green frets and tape covering the neck pickup cavity. This appearance suggests the video was filmed as Peter was transitioning away from his Fernandes endorsement and needed a bass for miming purposes.
To observe this Alembic Spoiler, pause the video around the 0:56 or 1:15 marks. Kenny, in contrast, is still playing a Fernandes with its Sustainer, though he would eventually switch to Schecter guitars equipped with Sustainiacs.
Peter’s final touring bass was a very rare Washburn, used for at least six years, first appearing live towards the end of 2003. This Washburn accompanied him through the “Life Is Killing Me,” “Dead Again,” and Carnivore tours. According to Raine of Raine Custom Basses, a fellow Peter Steele bass enthusiast and acquaintance of a former Washburn artist relations director, Peter sought to move away from Fernandes due to issues with their sustainers and perceived build quality. Peter’s Washburn M-series bass stood out from standard made-to-order M10, M12, and M13 models due to its pickup configuration, featuring a humbucker that is rumored to be the rarest variant. Only five such basses were reportedly built between 2002 and 2003 to this specification, loaded with a Seymour Duncan SMB-4D humbucker with ceramic magnets. It’s believed that Peter received three of these five. They all featured quartersawn maple necks bolted onto maple bodies, rosewood fingerboards, Original Leo Quan Badass bridges, and Grover clover leaf tuners. The Washburn M basses Peter played were confirmed to be 34″ scale. In collaboration with Raine, a dedicated page detailing the short-lived Washburn M-series has been created here. Based on available information, Peter’s instrument never officially received an M-designation, leading some to refer to it as the M14.
Peter Steele playing a Washburn bass guitar live at Rock am Ring in June 2007.
Peter Steele also acknowledged Zon basses in album liner notes, although no photographic evidence or mentions of him using them live or otherwise have surfaced. Listening to Type O Negative’s studio albums, particularly considering the use of sustainers, suggests that Peter likely utilized whichever bass he was endorsing at the time in the studio. A forum post potentially corroborates this. Claims exist that endorsement plans were in place for Peter to receive a new iteration of his Esh Stinger just weeks after his passing in April 2010.
PICKUPS & ELECTRONICS: Voicing Peter Steele’s Bass Guitar
The pickups and electronics were crucial components in shaping Peter Steele’s distinctive bass guitar sound. His basses featured a variety of pickup configurations and onboard electronics to achieve his signature tones.
Peter Steele’s Alembic Spoilers likely housed two AXY single-coil pickups, characterized by ceramic magnets and an onboard preamp. His Esh Stinger differed, featuring a single jazz pickup positioned near the bridge, complemented by piezo saddles integrated into the Esh bridge. The Esh Stinger was likely unique in Peter’s collection for incorporating a piezo system, and it’s important to note that he didn’t acquire a Stinger until after the “Bloody Kisses” album was recorded. Personal experience playing a solid-body bass equipped with a Hipshot bridge and Ghost piezo system suggests that the piezo output wasn’t dramatically different from a single active EMG SJ pickup at the bridge position, not sounding particularly “acoustic” nor significantly enhancing sustain. Peter’s Esh Stinger featured a single jazz pickup, almost certainly a Kent Armstrong (UK) given their use throughout the original Esh line. Based on current Esh specifications, the Stingers Peter toured with in the 90s would have been wired with a pickup volume pot, a piezo volume pot, and a kill switch – footage indicates the “up” position was “on.” Interestingly, Esh’s initial tribute Stingers, now known as the “Monster Green,” released around the time of Peter’s death in 2010, featured a piezo bridge but paired with an MM-style humbucker. The updated true-tribute Stinger, “The Green Man,” released in 2024, incorporates a ceramic magnet Kent Armstrong JBE-1R and a piezo bridge wired as described above.
The initial tribute Stinger, now “Monster Green,” raises questions. It’s speculated that this first run of “tribute” basses may have featured a single humbucker not as a tribute to his 90s jazz pickup Stinger, but as a continuation of his pickup preference from the Washburn basses, intended to be his new signature model. The absence of a pickup logo on the initial tribute Stinger pictured above leaves open the possibility of a Kent Armstrong MM. Variations seem to exist within these 2010s-era Stingers (identifiable by a metal piece at the headstock top), with some featuring a passive EMG MMHZ and BadAss III bridge, and others equipped with an EMG MMTW or two EMG J pickups, all with a piezo bridge. The updated Monster Green offers options for either two EMG 35DC pickups or a single MMTW. With the MMTW, Esh’s wiring allows knob-selectable functionality as either a humbucker or a stacked single coil.
Peter’s Fernandes Rickenfaker and Tremor basses were equipped with a single EMG 35 pickup. Evidence suggests Peter favored ceramic humbuckers for live performances, leading to initial speculation of a 35CS. However, the Esh Monster Green’s option for 35DC pickups casts some uncertainty. His Washburn bass featured a Seymour Duncan SMB-4D, possibly custom-wired. These Washburn basses appeared to be the simplest, featuring only a single humbucker in what seems to be the “MM sweetspot,” a killswitch, and a volume knob.
At Music Man, the “MM sweetspot” pickup placement was reportedly determined based on sonic preference for custom builds, rather than a fixed distance from the bridge or nut. A technician would test different positions to find the optimal sound for each custom instrument. For mass-produced models, this placement likely varied between designs but remained consistent within each design’s production run. Some players claim the EMG 35DC was designed to emulate the Music Man sound and also requires placement near this “sweet spot” to avoid sounding harsh.
A key element of Peter Steele’s Fernandes basses was a very rare electromagnetic bass driver at the neck position, which he considered integral to his tone. Kenny Hickey also used sustainers, and after leaving Fernandes in 2007, his Schecter guitars were equipped with Sustainiacs (likely the Stealth PRO model). However, the Fernandes bass driver was a more substantial and powerful system, briefly available on custom basses and standard on their extremely limited ASB-100 models. Peter’s Fernandes Ric-clone, as seen in 1999 Bizarre Festival footage, featured this Fernandes bass driver with a toggle killswitch (up for “on”), two knobs, and two smaller sustainer toggles. The first knob appeared to be volume, while the second knob (possibly for sustainer intensity) and the sustainer toggles (on/off; clean sustain/mix/harmonic feedback) seemed untouched in the footage. His Tremor basses appeared to have the same control layout as the Ric-clone. While Fernandes continued producing guitar sustainers (FSK-401 being their latest), their bass systems likely became unavailable in the early 2000s. Fernandes ceased operations in mid-2024.
Peter Steele’s claim that the Fernandes Sustainer was “integral to his tone” seemed specific to that period in his career. Raine mentioned that Peter tested a Sustainiac (likely the Stealth PLUS) at Washburn, but it didn’t impress him. Sustainiac themselves were unaware of this trial. While not having a sustainer doesn’t preclude achieving aspects of his tone, it’s likely sustainers contributed a unique element to his tours, through sustain and feedback, that is hard to replicate otherwise.
According to Raine, the Fernandes bass sustainers were prone to unreliability, especially the early 18v systems, causing ongoing frustration for Peter. Reportedly, this unreliability led to Peter smashing a Tremor bass in June 2003 (at the Summer Day In Hell Festival in Italy), and a Ric-clone may have suffered a broken neck due to similar intermittent issues. Fernandes discontinued their bass driver not long after this period, lending credence to these accounts.
Passive or Active Electronics: Raine, having owned two of the five humbucker-equipped Washburn basses, confirmed they were wired passively. If a battery was present, it was solely to power a killswitch LED. It’s speculated that Peter’s other prominent basses were likely active, either through active pickups or onboard preamps.
STRINGS & TUNING: Down-tuned Depth
Type O Negative’s signature low end was partly achieved through their tuning and string choices. Peter Steele’s bass guitar was typically tuned down to BEAD, a practice they adopted well before it became widely popular and string manufacturers began catering to BEAD players. A technician from the 1990s stated that Peter used Dean Markley strings, indicating stainless steel as his preference. Peter was also seen stringing his Washburn bass with DR Black Beauties, which are also stainless steel. The largest available 4-string sets for both Black Beauties and Dean Markley strings were 50-70-90-110 gauge, which an interview confirmed as Peter’s exact gauge preference.
PICKS & TECHNIQUE: Articulating the Low End
Peter Steele’s playing technique and pick choice contributed significantly to his bass guitar sound. During the “October Rust” era, Peter Steele definitively used Dunlop Tortex .50mm picks. This is corroborated by personal accounts of fans who obtained these black picks with a green Hammer Gear logo and Peter’s signature, thrown into the crowd at a Cleveland show at The Odeon in September 1996. Internet claims suggesting he used Tortex .88mm picks, which are green, are likely mistaken for Kenny Hickey’s guitar pick choice. The standard color for Tortex .50mm picks is red, which has been observed on Peter’s mic stand in a 2003 photograph. In Washburn-era photos, green picks with black TON logos are visible on his mic stand. Others appear black with standard grey/silver printing, available from Dunlop. White picks were also reportedly made, thin enough to show the logo from the signature side, further indicating they were not .88mm.
A close-up of Peter Steele’s signature Dunlop Tortex .50mm bass guitar picks.
Observing live videos reveals Peter’s picking technique, characterized by frequent up-strumming. He would sometimes strum chords near the neck, then shift towards the bridge for single notes to minimize string floppiness. It’s plausible that Peter favored thinner, more flexible picks like the .50mm Tortex to more easily strum his bass’s heavy gauge strings, similar to guitar strumming. The black Tortex .50mm, while favored for feel, are notoriously easy to lose, leading to speculation that Peter may have switched to brighter colors for visibility.
Peter Steele frequently used power chords, but with a specific voicing that enhanced their definition within the distorted mix. His technique involved fretting the root note, muting the adjacent string (where the fifth would typically be), fretting the octave, and then strumming all three strings. A common method to achieve this is using the index finger to fret the root while simultaneously muting the next string, and then using the pinky finger to fret the octave.
In pursuit of replicating Peter’s warmer, deeper clean tones, thumbing the strings proved to be a closer approximation. Subsequent observation of a 1994 “Bloody Kisses” performance video revealed Peter occasionally employing this thumbing technique, even during distorted passages. In moments of drinking wine or needing to hear himself sing, he would resort to finger-tapping on the fretboard.
Analysis of Bizarre Festival footage, around the midpoint of “Too Late: Frozen,” shows Peter adjusting a knob on his Rickenfaker. While the camera angle is from the opposite side, it appears he is increasing the sustainer driver level to further intensify the sustain, using only his left hand to create infinite vibrato.
PREAMPS & AMPLIFIERS: Powering the Doom
Peter Steele’s preamp and amplifier choices, primarily determined from interviews and live performance observations, are distinct from his studio recording setup, which remains largely unknown. A 1995 interview revealed Peter’s use of approximately half a dozen Peavey MAX 800 Amplification Systems to drive a wall of cabinets. Based on photos featuring the Alembic bass, it appears that during parts of the “Bloody Kisses” tour (likely starting in January 1994), Peter utilized Peavey Bassist Preamps (solid-state) paired with TubeWorks MosValve power amps. Footage from the 1999 Bizarre Festival confirms the continued use of Peavey Bassist Preamps during the “World Coming Down” tour. Information on the Bassist preamps is limited, but a dedicated page here compiles available details.
Peter Steele’s rack setup featuring Peavey Bassist Preamps.
Peter Steele’s amplifier rack during the Bizarre Festival in August 1999.
Around the early 2000s, Peter seemingly updated his rig, transitioning to Peavey MAX Bass Preamps coupled with Peavey GPS and/or CS series power amps. Peavey MAX Preamps were observed in use as early as the Tuska Festival in July 2003. Notably, photos reveal that only the solid-state channel on these preamps had knob markings, and the blend control was set to 100% solid-state. This blend setting appears deliberate, indicating a clear preference for solid-state tone and an avoidance of any tube character. Despite differing EQs, the knob settings on the top and bottom preamp units are identical. A dedicated page further explores the MAX preamps here. Limited photographic documentation exists of Peter between 2004 and 2006, as Type O Negative was largely inactive during Peter’s personal hiatus.
Peavey MAX Bass Preamps in Peter Steele’s rig.
Peter Steele’s amplifier setup at Rock am Ring in June 2007, featuring Peavey MAX Bass Preamps.
Towards the end of his career, Peter switched from the Peavey MAX Bass Preamp to the Peavey Tour 700 head for his core tone. The Tour series amplifiers debuted at NAMM in July 2006. While Peavey MAX Bass Preamps were still in use during European tours in 2007, videos from the Ogden Theatre in Denver (June 10, 2008), Times Square (October 22, 2009), and Harpos in Detroit (Halloween 2009, Type O Negative’s final show) show two Peavey Tour 700 heads replacing the MAX Preamps in his rack. At Harpos 2009, two additional power amps near the rack’s bottom are believed to be Peavey CS 1400 or Peavey CS 2000 models. However, photos of later racks also show Peavey CS 800×4 and/or Peavey DPC 1400X power amps.
Peter Steele’s final amplifier setup at Harpos in October 2009, featuring Peavey Tour Series 700 amps.
Peter Steele’s rack configurations frequently changed, sometimes including three preamps and varying power amp combinations, possibly for each tour. It’s worth noting that Josh Silver was absent from Peter’s final shows in October 2009 due to paramedic school commitments.
CABINETS: Building the Wall of Sound
Peter Steele’s live cabinet choices appeared to vary, likely influenced by equipment availability at different venues. Early on, Peter may have used TubeWorks cabinets with his MosValve power amps. During his use of Peavey MAX 800 amplifiers, he typically paired them with Peavey 3620 cabinets. These substantial cabinets housed two 18” and two 10” speakers, and Peter claimed to personally add a piezo tweeter to each for the “sizzle” he sought.
From the mid-1990s onward, Peter favored stacks consisting of Peavey 210 and 118 cabinets, the latter loaded with a custom 18″ JBL speaker to handle his low-end frequencies. A 1996 interview revealed that Peter was blowing speakers frequently while touring due to the extreme demands he placed on them, requiring Peavey to constantly ship replacements – a testament to his powerful sound, not a fault of Peavey’s equipment. Peavey catalogs listed him as endorsing TVX 410 EX and TVX 115 EX cabinets, run at 8 ohms, noting the stock TVX 10” cabs already included piezo tweeters. The black and white photo in the amp section likely shows TVX 810 cabinets – he was seen with multiple Peavey “refrigerator” style 8×10 cabinets, and occasionally Ampeg 8x10s. Peter briefly played through Hartke cabinets on a French television appearance in May 1995, but these were likely provided as house or rental equipment.
Footage from the October 2009 tour shows several Peavey cabinets positioned along Johnny Kelly’s drum riser. The flag-draped stack from the 2007 era is absent from Peter’s side of the stage, but a stack draped with the Vinland flag appears on Kenny’s side. This suggests the cabinets in front of the riser belonged to Peter, providing ample speaker capacity for the tour. These cabinets are identifiable as Peavey Tour bass series, a mix of 410 and 115 models (as seen in the Heavy MTL Fest photo at the page bottom).
Peavey Tour series bass cabinets used by Peter Steele, photographed at Times Square in 2009.
EFFECTS: Shaping the Sonic Landscape
Peter Steele’s effects usage is perhaps the most debated and least documented aspect of his gear. Conflicting accounts and limited visual evidence contribute to the mystery surrounding his pedalboard. A member of a band that played with Type O Negative early in their career claimed to have seen dual Tube Screamers in Peter’s rig. Another recollection mentions what appeared to be a Metal Zone pedal, which, surprisingly, can effectively replicate aspects of his tone. Some accounts suggest Peter heavily relied on equalization and reverb, alongside pre and post compression. However, none of this equipment is visibly present in live photos or footage, raising questions whether these effects were primarily for studio recordings, concealed within his rack, or perhaps misattributed to his vocal processing. Peter’s tone indeed varies significantly between studio recordings, particularly “October Rust,” and his live performances.
It’s worth noting that the Peavey Bassist Preamp did incorporate a built-in compression effect, and this preamp was in use during the “Bloody Kisses,” “October Rust,” and “World Coming Down” tours.
Peter Steele owned an Aria APE multi-effects unit early in his career, available in the 1980s, which likely influenced his approach to effects. Footage of this unit in live use exists, dating back to a performance in Buffalo in March 1994. While video resolution is limiting, YouTube videos from Stockholm (October 1994) and a 1994 “Halloween TV Show Special” (possibly on VH1, sometimes incorrectly dated 1993) appear to show him using individual pedals. This period may mark a shift where the touring band and crew prioritized easily replaceable gear, leading to the adoption of individual Boss pedals, readily available in any city. The frequently circulated photo of four Boss pedals next to his stage monitor – TU-2 > DS-1 > CH-1 > DD-3 – is often presented as the definitive answer to Peter’s tone.
Peter Steele’s Boss pedal setup: TU-2 Tuner, DS-1 Distortion, CH-1 Chorus, DD-3 Delay. Credit: Lars Westerhausen (November 2007).
In January 2021, the origin of this ubiquitous four-pedal photo was clarified. In the comments section of InvisibleFace Bass’s video, Lars Westerhausen claimed credit for the image. Lars stated he took the photo backstage during a Carnivore show in Essen, Germany in 2007, not a Type O Negative performance, after being invited backstage. Tour archives suggest this show was likely at Weststadthalle on November 30, 2007. Lars, who had been backstage at several Type O Negative shows since 1994, insisted Peter’s rig differed between Type O Negative and Carnivore performances – possibly referring to pedals, the road case, or off-stage equipment. Lars also implied Peter’s Carnivore rig was tailored for smaller venues, perhaps with a capacity around 500 people. However…
Peter Steele’s pedalboard at the Bizarre Festival in August 1999.
Peter Steele’s Boss pedal setup at Rock am Ring in June 2007. Source: David Rajkovic (2007).
In March 2022, David Rajkovic shared photos taken by a promoter at a July 2007 show in Belgrade, Serbia, revealing the same four Boss pedals in use for a Type O Negative performance. David pointed out that the DD-3 and CH-1 positions were swapped in this photo. Further investigation of a drone video from the large-scale Rock am Ring 2007 festival, and closer inspection of fuzzy views from Bizarre 1999 and Tuska 2003 footage, suggests the DD-3 was typically placed before the CH-1, and no TU-2 tuner was present (Peter’s rack included a rack tuner when using Bassist Preamps). Evidence suggests Peter consistently used these pedals for both bands and across venues of all sizes throughout much of his professional career.
Unverified and potentially unreliable information adds further complexity. A repost from a 1996 Livewire magazine interview quotes Peter describing the pictured pedal configuration with the addition of a volume pedal (for feedback control?) positioned between the CH-1 and DD-3. Furthermore, a repost from the November 1998 Bass Player Magazine quotes Peter stating he ran his bass “…through a series of Boss pedals: distortion, chorus, and delay for his normal heavy tone. When he wants a clean sound, a Marshall Y-box re-routes the signal through Boss tremolo and reverb pedals. ‘For a clean song I get something that’s a bit ambient, instead of just a straight clean. But when I switch over to distortion, it’s like an avalanche of diarrhea,’ he deadpans.” The existence of a Marshall-produced AB or ABY box is unconfirmed, raising the possibility of a Morley ABY, common after their early 1980s release. However, listening to Type O Negative albums, tremolo doesn’t seem to be a prominent effect throughout his career – chorus appears more dominant. Additionally, the Boss TR-2 tremolo pedal wasn’t available until 1997, four years after “Bloody Kisses,” while tremolo itself is one of the oldest effects. This conflicting information may represent brief experimentation, unreliable reporting, or even a humorous red herring joke from Peter, explaining the “Marshall Y-box” mix-up.
Regarding reverb, if Peter used it (unless it was a joke about masking band errors), rackmount reverb would be expected, as no reverb pedal is visible and it would likely be an always-on effect. Placing a reverb pedal loosely in the rack seems inconsistent with his rack setup. Off-stage control of a reverb pedal is possible, but doesn’t align with his rack-within-reach approach. It’s more likely reverb was not part of his tour rig and was handled by venue sound systems. However, reverb is certainly present in his recorded album tones.
SIGNAL ROUTING: Stereo Secrets or Simple Setup?
Online discussions speculate about Peter Steele potentially using a stereo setup, running clean and distorted signals into separate power amps and cabinets. Some even suggest a three-signal configuration, based on photos showing stacks of 8×10 cabinets: one clean, one dirty, and a combined signal. Personal experiments with running dual signals into separate amps and cabinets yielded less desirable results compared to combining them. While a clean signal can add subtle definition when blended with a distorted signal into a single output, separating the two active signals can result in an overpowering high-frequency presence from the clean channel.
Many of Peter’s rack preamps and amps have tape labels, some legible, indicating “4X10” and “wedge” for his personal monitor. Andrew Marrapese suggested that the EQ settings on the top Peavey 700 head make sense for a wedge/monitor amp, as Peter would need a mids-focused curve to hear himself over the band, and that his EQ settings may have contributed to monitor feedback.
Photos show both MAX preamps in his rig with cables plugged into their front inputs. While both have effects returns, neither the Bassist nor MAX preamps have rear-panel auxiliary inputs (unlike the Peavey Tour series). Initially, it was thought one preamp might be a backup. However, the “wedge” and “4X10” labels on Peter’s Tour 700 heads suggest the tape on earlier MAX and Bassist preamps served the same purpose. If Peter used two signals, it seems it was solely for a dedicated monitor signal, reinforcing the idea that he didn’t run separate clean and distortion signals in tandem. The presence of three cabinets likely relates to Peter’s admission of frequently blowing speakers – allowing a tech to quickly swap or disconnect speaker cables and address individual speaker replacements between venues. The more research conducted, the more Peter’s “I’m a simpleton” remark resonates. While some point to his early addition of tweeters to cabinets as evidence of a “tinkerer” mentality, Peter likely adhered to the K.I.S.S. (Keep It Simple, Stupid) principle beyond that.
March 2024 Update: A high-resolution daylight photo revealed both MAX units with instrument cables plugged in, validating the “wedge” and “4X10” labels on the Tour amps. This indicates a signal split somewhere in the chain. Revisiting Bizarre Festival 1999 footage shows tape in the same locations on his Bassist preamps. While only one cable appears visible, going to the top unit, a cluster of wires (possibly a splitter) is visible beneath it. Experimenting with a DS-1 in 2024 revealed that bypassing the pre-gain stage by routing the pedal chain into the MAX’s effects return reduced distortion clipping. The MAX’s effects return appears to be post-EQ, while the Bassist’s return is pre-EQ, potentially explaining why one Bassist Preamp input jack appears empty (the other signal may be inputting at the back). Like the MAX, the Tour 700’s effects return also bypasses the crucial graphic EQ.
In the Starland Ballroom photo: the top MAX has a 90° plug, while the bottom MAX has a straight plug. Gods of Metal: two straight plugs. Wacken: two straight plugs. Terminal 5: a straight plug into each Tour unit.
Peter Steele’s rack setup at the Starland Ballroom in March 2007.
Peter Steele’s dual Peavey Tour 700 amplifier setup at Terminal 5 in June 2008.
PETER’S FINAL RIG IN ONE PIC
The following photo, taken by Diana Gee (flicker) at Heavy MTL Festival in June 2008, captures Peter Steele’s final rig in detail. The image reveals numerous cables, but no obvious splitter. A cable with green tape and white/black stripes seems to originate from the pedalboard area and connects to what should be the Auxiliary Input on a Tour 700 head. The Effects Send of the lower Tour head also appears to have a plug inserted. No other effects units like reverb or compression are visibly present in the rack.
Peter Steele: None More Negative 1962 – 2010.
Recreating Peter Steele’s bass guitar tones has become a personal pursuit, and my current setup for achieving his sound is detailed here.
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If you have any further insights, discoveries, or corrections regarding Peter Steele’s gear, please feel free to reach out via email. Your contributions are greatly appreciated.
