| BENNY RHYNEDANCE Of Wildside |
| Benny Rhynedance:Rhythm Guitar (Wildside)
*Pics above thanks to Benny's MySpace page and the WildsideFans Myspace Page, so credit goes to them* Guitars: Kramer Strats , Charvel Strats (Custom Painted Axe In Pic Above) & Gibson M3 (White Guitar In Above Pic) Pickups: Seymour Duncan "Custom Custom" Humbuckers Paintjob: Pamelina Presnell Wood: Poplar (Body of M3 From Hang On Lucy Video), Alder (Body)...but sometimes used maple bodies, Maple (Neck), Rosewood (Fretboard) Amps: 70's Marshall Super Lead (Head) Tubes: EL34 Cabinets: Marshall 4x12 (Square Cabinets, Non-Angled) Speakers: Celestion G12M Greenbacks Effects: Roland DC-20 (For Echo) On Guitar Woods... "I preferred the alder cause it was brighter. Pickups were Seymour Duncan "Custom Custom" totally potted (Wax dunked so they wouldn't squeal, etc.) I think my strings were a custom thing...lighter on top and heavier on bottom. Original Floyd Rose floating trem. One volume knob. Typical all business rock-n-roll machines." On Amps... "I would take them to Red Rhodes in Van Nuys, who was this old dude that worked at Groove Tubes, and also did George Lynch's heads. Red would clean everything up, then bias the amp and transformer and make it really sing. On Dokken's Back For The Attack album, I saw the name "Red Rhodes - Amp God" listed under George's thank you's. I found Red through Groove Tubes. Turns out, he lived about 5 minutes away from my San Fernando Valley apt., back in the day. I think Red is no longer with us. After Red would tweak the Marshall, THEN I would take the amp over to Jose Arrendondo (he was Ed VH's guy and VERY responsible for Ed's "brown sound.") He was my secret weapon! He would add an extra preamp tube, redo ALL the wiring with bigger more efficient wire, and make the amp absolutely sizzle. It was plug and go. No distortion pedals... nothing. I had a little "brown" in that tone! I had 2 amps. One was the main, and the other for catastrophic failure onstage. A backup. I read about Jose in a 1978 EVH Guitar Magazine article when I was 13, and when I got to L.A. in '86, I found him in the phone book, right off Ventura Blvd!! Little older Mexican guy, but boy did he know his way around a Marshall amp!!! I was a real purist. I had the guitar, the wireless unit and the amp head. I used a Roland DC-20 which was an old rack mount chorus/echo thing, but I never used the chorus. The circuitry in the Roland goosed the signal into the amp and gave me an extra oomph in the lower mids. As far as cabs go, I used ONLY straight-front Marshall 4x12's. The angled cabs sounded too middy and thin for me. I would put insulation all over the inside, and put a 3" port (hole) in the backside towards the bottom. The cabs sounded tight, and wouldn't resonate or rumble like most do. I had Celestion G12M "Greenbacks" with 8 gauge oxygen-free speaker cable (Monster cable as it was back then.) Guys thought I was nuts. The monster cable made a HUGE difference in sound quality. ALL the signal would get through to the speakers, no matter what. |
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| Gibson M3 (Left):Dual Humbuckers (Duncan Custom Custom), Floyd Rose Tremolo, Maple Neck & Fretboard Charvel Strat With Custom Paintjob (Right): Alder Body, 1 Humbucker (Duncan Custom Custom), Maple Neck & Fretboard |
| Gibson M3: (Left) This is how the Hang On Lucy guitar originally looked before modifications. It originally had the long top horn, which he cut down, and had the HSH pickup configuration. |
| Gibson M3: (Left) This is the guitar Benny used in the Hang On Lucy video after modifications. He cut the top horn down, filled in the pickup holes to only have one humbucker, and got a custom paintjob done on it. The body is Poplar, and the neck and fretboard is maple. |