Kurt Cobain’s In Utero Guitars and Gear

Quick Answer: To record Nirvana’s third studio album In Utero, Kurt Cobain used a 1970s Univox Hi-Flier (Phase 2), a borrowed Veleno aluminum guitar, and his 1969 Fender Competition Mustang. His main amp was a half-broken Fender Quad Reverb combo with only one power tube working. Distortion came mostly from a Tech 21 SansAmp, with occasional use of a Boss DS-2. Modulation effects were minimal, but he used an Electro-Harmonix Polychorus on a few songs.

Krist Novoselic used Gibson Ripper basses played through an Ampeg SVT head and a Hiwatt used as a preamp. Dave Grohl played his Tama kit, recorded with a live room mic setup.

Below is a full breakdown of Nirvana’s gear during the In Utero sessions, followed by song-specific notes.

Kurt’s Guitars on In Utero

Kurt Cobain’s main guitar for the In Utero album was most likely a Phase 2 1970s Univox Hi-Flier.

We say “most likely” because there are no known photos or direct quotes from Kurt about the sessions, and most of what we “know” has been determined through analysis and experimentation by people like Aaron Rash. However, one cannot with certainty conclude just based on the tone comparison which guitar was used during the recording, because there are a lot of things to factor in here – most importantly, our own confirmation bias.

So again, most likely, the In Utero album was recorded on a variety of guitars; some songs were done on the Univox, some on the Mustang, and some on the Veleno. The thing is, we will never know with certainty. We can share our opinions, but even with someone like Aaron, who clearly has an amazingly good ear and knowledge of the equipment, things constantly change, and one simply cannot tell anything for sure just by listening.

In any case, the Univox in question was a Phase 2 model from the 70s, and it remained mostly stock, featuring its original single-coil pickups.

I knew that Kurt didn’t use the Mustang to record In Utero, at least not all the ‘mean’ stuff with it, [Albini] said that Kurt mainly used a Hi-Flier to record – that and the Veleno.

I also have a different email that he wrote me as well. He said, ‘I only remember seeing one Hi-Flier. It had the original pickups with the nickel chrome surrounding. It’s possible there were others, but it was mostly that guitar, his Mustang, and the Veleno from memory.’

Aaron Rash for Guitar Player

The second guitar that Kurt had in the studio was a Veleno, which was made of aluminum and belonged to Albini. Kurt apparently liked its clean tone and used it for specific clean parts and overdubs. The guitar was restrung for left-handed playing, and it was allegedly used on tracks such as “Heart-Shaped Box” and “Very Ape.”

Kurt used his Mustang, his Jaguar, a Univox Hi-Flyer (Mosrite copy), a custom Jaguar/Mustang hybrid and a Veleno guitar of mine I re-strung for lefty.

Steve Albini Reddit AMA

Kurt also had his 1969 Competition Mustang present, though it’s unknown to what extent it was used. It may have been just on a few overdubs, or it may have been the main guitar on the album – we simply don’t know.

According to Steve Albini, the JagStang was also present, but it’s unknown whether the guitar was used, and if so, to what extent.

Finally, no acoustic guitars were used. Even songs that sound acoustic, such as “Dumb” and “All Apologies,” were recorded using clean electric guitars.

Kurt’s Amps on In Utero

The main amplifier used by Kurt for In Utero was a 1970s Fender Quad Reverb combo. The amp was in poor condition – only one power tube was functional, and one of the four 12-inch speakers was blown. Despite this, Kurt liked its sound when pushed. Producer Steve Albini noted that they chose not to repair it, instead using the broken amp as the foundational tone for the record.

The Quad featured Utah speakers and was not connected to an external cabinet; all recording was done directly from the amp’s built-in 4×12 speakers.

For clean sounds, Kurt may have utilized a 100-watt Marshall Super Lead. This Marshall had been modified by Earnie Bailey, possibly with a setup similar to the Mojotone British Style mod. Regarding this modified Marshall, Steve Albini does not recall Kurt using it during the sessions, though researchers like Aaron Rash argue that it was used on In Utero.

Kurt also brought his Mesa/Boogie Studio Preamp and Crown power amp setup – the same rig used during the Nevermind tour. However, Albini stated it “sounded like crap” in the studio, and it was quickly dismissed, so it was not used on any of the tracks.

On a song-by-song basis, Kurt would decide which amp would be the main sound and which would be the overdub sound, so the Randall, Quad, and one other amp (I forget which) would be done live, the other guitar part overdubbed. I don’t recall there being a Plexi. He did have a Mesa Boogie preamp and power amp as his live rig for touring, and we tried that out but it sounded awful and we never used it.

Steve Albini Reddit AMA

A Randall Commander II solid-state combo was also available, but it was not used as a main amp, perhaps only for a few minor parts.

He had a couple of amps, a Randall [Switchmaster] and a Fender Quad Reverb that he mostly used. The Quad had a couple of broken tubes, so its overdrive sound was really raspy and unpredictable. He liked that sound and it featured on pretty much every song.

Steve Albini for Guitar.com

Kurt’s Effects on In Utero

Kurt’s primary distortion pedals on In Utero were the Tech 21 SansAmp and, less so, the Boss DS-2 Turbo Distortion. The SansAmp, which was originally owned by Courtney Love, became his main source of gain. He ran it into the Quad Reverb amplifier, and it provided most of the album’s crunch tones.

While he also had his Boss DS-2 distortion pedal, it was used only occasionally; the SansAmp was the go-to pedal for the majority of the recording.

Modulation effects came from an Electro-Harmonix Polychorus. This pedal is prominent on “Heart-Shaped Box” (solo) and, especially, “Radio Friendly Unit Shifter.” Kurt used it for chorus, flange, and the feedback effects heard in the introduction. Although the Small Clone pedal was likely present, it saw very little use.

For the solo in “Heart-Shaped Box,” Kurt also experimented with a custom ring modulator pedal (referred to by Albini as “Pedal X”). Bassist Krist Novoselic disliked the effect, and it may have been mixed out or significantly reduced in the final track.

I only saw Kurt use regular commercial effects pedals, the ones you mentioned, and a box I brought with me that was a kind of ring modulator/overdrive called Pedal X made by a friend of mine. That might be what his tech (Ernie?) was referring to.

Steve Albini Reddit AMA

Finally, there is some unconfirmed speculation about a Big Muff being used, but if it was, it appeared on only one or two songs.

Song-by-Song Breakdown

Please note that the song-by-song gear analysis is largely speculative. It always is, whoever it is that does it, simply because there are no photos or statements from people who are actually there to prove it.

1. Serve the Servants

The main guitar was probably the Univox through the Quad Reverb. Distortion from the SansAmp. No effects. Double-tracked for width. Played live with minimal overdubs.

2. Scentless Apprentice

Thickest guitar tone on the album. Likely Univox + SansAmp + Quad. Could’ve been double-tracked. No modulation or weird effects – just raw amp tone. The solo is just feedback.

3. Heart-Shaped Box

Clean guitar in the verses was done with the Veleno + Polychorus. Chorus parts were distorted – probably Univox or Mustang with SansAmp. The solo may has a ring modulator, but the final mix tones it down. Cello overdub added at the end.

4. Rape Me

Intro is clean strumming, likely the Veleno. Chorus switches to heavy distortion. Probably Univox with SansAmp. No special effects beyond that. Albini says this one was tracked pretty quickly.

5. Frances Farmer Will Have Her Revenge on Seattle

Could be the Jaguar here, or just a darker setting on the Univox. The lead part sounds like it might’ve had some light filtering – possibly the Polychorus in filter mode. Rest is the standard setup.

6. Dumb

Clean electric guitar, probably the Jaguar or Mustang. Some say acoustic, but Albini says it was electric. Bass is subdued. Drums were recorded using a smaller kick drum for a softer sound.

7. Very Ape

Done using the Veleno. Fast punky riff, recorded quickly. Just one or two guitar tracks. Albini said the tone came from the guitar itself, no stacking or effects.

8. Milk It

Intro is feedback. Guitar switches between quiet single-note parts and full-blown distortion. Likely Univox again. The solo is just chaos – could be some Polychorus or just amp squeal.

9. Pennyroyal Tea

Cleanish guitar tone. Possibly Mustang with mild overdrive. No heavy distortion. Recorded with the smaller kick drum again. Albini said it was hard to mix because the bass was too quiet.

10. Radio Friendly Unit Shifter

Intro is Polychorus filter mode and feedback. Main riff is Univox + SansAmp. Verses have modulation. The guitar tone keeps shifting – probably intentional. One of the noisiest tracks on the record.

11. Tourette’s

Live take. Univox + SansAmp, no effects. One or two tracks max. Grohl’s drumming is intense here. Recorded raw, no polish.

12. All Apologies

Clean electric guitar in the verses. It might be the Jaguar or Veleno. Chorus adds more guitars and some light gain. No acoustic used. Cello overdubbed later. Drums recorded with room mics, giving the big open feel.

Krist Novoselic’s Gear on In Utero

Krist used his Gibson Ripper basses. He had a few of them – natural and black finishes. They went into an Ampeg SVT amp and an 8×10 cabinet. In some cases, a Hiwatt head was used as a preamp, then sent to power amps.

There’s not much info on pedals. His tone on In Utero was mostly clean. Some older sources mention a Rat pedal, but that wasn’t used in these sessions.

Bass was recorded both DI and mic’d, then blended in the mix. Albini’s original mix had the bass pretty low, but it’s been brought up in later remasters.

Krist’s bass gear:

• Gibson Ripper bass
• Ampeg SVT head + 8×10 cab
• Hiwatt head (preamp stage, in some cases)

Dave Grohl’s Drums on In Utero

Dave used his Tama kit, probably the same Granstar kit he toured with. Albini mic’d it with 30 mics, including room mics in the hallway and stairwell. Some songs used a smaller kick drum for a softer sound (“Dumb,” “Pennyroyal Tea”).

Grohl recorded most of the tracks in one or two takes. Drums were recorded in two spaces – the main live room for loud songs, and the kitchen or a smaller room for the quieter ones.

Closing Notes

Most of the gear used on In Utero was simple, cheap, or broken – and that was the point. The Quad Reverb was falling apart. The SansAmp was Courtney’s. The Univox was a pawn shop guitar. But Albini recorded everything as it actually sounded in the room, without much cleanup or layering.

There’s still some debate over which guitars were used on which tracks, especially between the Univox, Jaguar, and Veleno. But the general setup stayed the same across the whole album – one or two guitars, into one broken amp, with one or two pedals. Very few studio tricks.

If you want to learn more about Kurt’s equipment in general, check out our gear pages linked above. We go into more detail about each guitar, pedal, and amp used by him over the years.