Pat Smear Gear Guide
Pat Smear’s Foo Fighters and Germs-era guitars, practical stage rigs, Vox amplification and the supporting equipment behind his rhythm role.
A period-by-period quick reference to guitars, amplification, effects and song associations. Specific equipment varies by recording, tour and available documentation.
Guitars
| Gear / reference | Details | Era / use |
|---|---|---|
| Gibson SG | A familiar lightweight solid-body used with Foo Fighters and onstage. | Foo Fighters |
| Gibson Les Paul | A heavier humbucker guitar for thick rhythm and sustained parts. | Selected tours |
| Hagström electric guitars | Pat has used Hagström instruments in stage and recording setups. | Selected years |
| Fender Telecaster | A direct, cutting rhythm-guitar voice for live arrangements. | Selected use |
| Fender Stratocaster | A brighter single-coil guitar for clean parts and alternate tunings. | Selected use |
| Gretsch hollow/semi-hollow guitars | Added resonance and visual variety to touring guitar rotations. | Selected performances |
| Baritone guitar | Lower register parts add weight to selected Foo Fighters arrangements. | Studio/live |
| Alternate-tuned guitars | Prepared instruments reduce changeover time for songs with different tunings. | Touring |
| P-90 and humbucker pickups | Pickup choice changes the midrange and output within his direct rhythm parts. | Guitar dependent |
Amplifiers
| Gear / reference | Details | Era / use |
|---|---|---|
| Vox AC15 hand-wired combo | A hand-wired AC15 was used for Foo Fighters’ Concrete and Gold sessions. | 2017 recording |
| Vox AC30 | Larger Vox combo used for chime and louder stage coverage. | Selected rigs |
| Marshall amplifiers | British high-gain amplification suits heavier Foo Fighters passages. | Tour-dependent |
| Fender combos | Clean combo sounds provide contrast in quieter songs and studio layers. | Selected use |
| Hiwatt-style amplification | High-headroom British power is suited to loud, clear rhythm work. | Tour-dependent |
| 4x12 cabinets | Used where a larger stage sound and more low-end projection are needed. | Live |
| Small combo recording | A single combo can provide a focused, controllable studio source. | Concrete and Gold |
Effects and signal chain
| Gear / reference | Details | Era / use |
|---|---|---|
| Overdrive pedal | Adds grit while preserving the attack of compact rhythm parts. | Live/studio |
| Distortion pedal | Provides heavier saturation when the amplifier is kept cleaner. | Song dependent |
| Fuzz pedal | Used for selected noisy or thick guitar layers. | Recording dependent |
| Chorus | Adds width to clean or jangling guitar parts. | Selected songs |
| Flanger | Creates a more dramatic sweep for specific parts. | Song dependent |
| Phaser | Adds moving texture without changing the basic rhythm approach. | Selected use |
| Wah pedal | A vocal filter option for lead accents and noise textures. | Selected tracks |
| Delay | Used for ambience and repeated accents in studio or live parts. | Song dependent |
| Tuner and mute control | Fast changes and precise stops are central to a tightly arranged set. | Touring |
| Few-pedal rhythm setup | Many parts rely on guitar choice, amp sound and tight ensemble playing. | Core role |
Song and era references
| Gear / reference | Details | Era / use |
|---|---|---|
| All My Life | Dense rhythm guitar supports the song’s direct, high-energy arrangement. | One by One era |
| Best of You | Broad distorted chords and sustained sections anchor the chorus. | In Your Honor era |
| Rope | Tight, percussive rhythm parts require clear attack and controlled gain. | Wasting Light era |
| Run | Heavy rhythm layers and changing dynamics make amp response important. | Concrete and Gold era |
| No Son of Mine | A heavier, layered Foo Fighters guitar arrangement with multiple amp colors. | Medicine at Midnight era |
| Germs repertoire | Raw punk rhythm sound favors direct attack and forceful ensemble playing. | 1970s–80s |