Mick Ronson Gear Guide
A quick-reference table guide to Mick Ronson's guitars, amplifiers and effects across key recording and touring periods.
A stripped Les Paul Custom into loud Marshall amplification, with Tone Bender fuzz and a wah often left at a chosen position, defines Ronson's best-known sound.
Quick overview
| Category | Details | Era / use |
|---|---|---|
| 1968 Gibson Les Paul Custom | Black finish was stripped from the top, exposing the wood; became Ronson's signature guitar. | Signature guitar |
| Marshall Major 200W | High-powered head associated with Ronson's loud glam-rock sound. | Main amplifier reference |
| Sola Sound Tone Bender Mk I | Fuzz pedal used for saturated, harmonically dense lead tone. | Key effect / technique |
Guitars
| Gear / reference | Details | Era / use |
|---|---|---|
| 1968 Gibson Les Paul Custom | Black finish was stripped from the top, exposing the wood; became Ronson's signature guitar. | David Bowie / Ziggy Stardust era |
| Gibson Les Paul models | Other Les Pauls used after and alongside the Custom. | Later solo work |
| Fender Telecaster | A lighter, brighter instrument used in later years. | Post-Bowie period |
| Acoustic guitars | Used for songwriting and selected arrangements. | Studio work |
| Tone and volume controls | Ronson often rolled guitar tone down to soften the top end. | Signature midrange sound |
Amplifiers
| Gear / reference | Details | Era / use |
|---|---|---|
| Marshall Major 200W | High-powered head associated with Ronson's loud glam-rock sound. | Bowie-era stage rig |
| Marshall 100W heads | Other Marshall heads used in studio and touring contexts. | Recording dependent |
| Marshall cabinets | Large cabinets for stage volume and sustain. | Live performance |
| Amp overdrive | Powerful amp drive contributed to the thick lead sound. | “Moonage Daydream” and live solos |
Effects
| Gear / reference | Details | Era / use |
|---|---|---|
| Sola Sound Tone Bender Mk I | Fuzz pedal used for saturated, harmonically dense lead tone. | “Moonage Daydream” |
| Cry Baby wah | Filter sweep; Ronson often used a fixed “cocked” position for a vocal midrange peak. | Bowie-era guitar tone |
| Echoplex tape echo | Tape repeats add space and sustain around lead parts. | Selected recordings |
| Marshall Supa Fuzz / related fuzz | Fuzz alternatives in contemporary gear histories; specific unit attribution can differ. | Period-dependent |
| Fixed-wah tone shaping | Leaving the wah partly open emphasizes a narrow band of midrange frequencies. | Signature “honk” tone |
| Volume / guitar controls | Controls amp breakup and pickup response. | Performance dynamics |
Era and song guide
| Gear / reference | Details | Era / use |
|---|---|---|
| The Man Who Sold the World (1970) | Les Paul Custom and Marshall drive in early Bowie collaborations. | “The Width of a Circle” |
| Hunky Dory (1971) | Les Paul and studio layering. | “Queen Bitch” |
| The Rise and Fall of Ziggy Stardust (1972) | Les Paul, Marshall Major, Tone Bender and cocked wah. | “Moonage Daydream,” “Ziggy Stardust” |
| “Moonage Daydream” | Tone Bender fuzz and mid-focused wah tone. | Studio lead arrangement |
| Aladdin Sane (1973) | Les Paul and wah / fuzz colors in glam-rock arrangements. | “The Jean Genie” |
| Live Ziggy shows | Loud Marshall stacks and guitar switching. | Concert versions add extended solos |
| Later solo work | Les Paul-centered setup gives way to other guitars and amps. | Later recording years |