In the early 1990s, one guitarist helped redefine the sound of alternative rock as we know it. And he did it with little more than a handful of pedals and an unwavering commitment to raw rock music.
That guitarist was Kurt Cobain.
This article explores Kurt Cobain’s pedals. Not a pedalboard in the traditional sense but rather a collection of carefully chosen effects.
The truth is, Kurt never used a traditional pedalboard. Instead, he preferred to place (or even tape) a few select pedals directly on the stage. A method that feels strangely fitting—unpolished, direct, and distinctly Kurt.
His setup was minimalist by design. “All in all is all we are,” he sang in All Apologies, and his pedal choices reflected that philosophy. From the BOSS DS-1 that fueled Bleach’s raw aggression to the Small Clone chorus that gave Come As You Are its signature warble, Kurt was an artist of sound.
But don’t let the simplicity fool you.
Through three studio albums and countless live performances, his pedal choices evolved alongside Nirvana’s sound. What began as a basic distortion pedal and a borrowed fuzz would grow into a carefully curated collection that helped shape some of the most influential alternative rock songs ever recorded.
From the rough intensity of Bleach to the polished power of Nevermind and the unfiltered textures of In Utero, Kurt’s pedals tell the story of Nirvana’s musical and artistic evolution.
Let’s take a closer look at the pedals that helped define a generation.
Table of Contents
Drive and Distortion
At the heart of Nirvana’s sound were Kurt Cobain’s distortion pedals.
While a lot of guitarists of the 90s stacked multiple gain stages one after another, Kurt often relied on a single, well-dialed distortion pedal to get his tone.
BOSS DS-1 Distortion
The BOSS DS-1 was Kurt’s main distortion pedal during Nirvana’s early years. It featured heavily on both Bleach and Nevermind.
Introduced by BOSS in 1978, this distortion pedal became a defining part of Kurt Cobain’s pedal setup and signature sound.
What’s more interesting is that his DS-1 settings were remarkably simple and consistent. Level maxed out, tone set between 11 and 1 o’clock, and distortion typically cranked all the way up.
Kurt used an ’80s version of the DS-1, this version of the pedal is notable for its specific output chip, which likely played a key role in shaping the raw yet articulate Nirvana distortion we all love. This original circuit of the DS-1 would have helped define the aggressive, cutting guitar tone heard throughout Nevermind.
Photo from Julien’s Auctions [1].
BOSS DS-2 Turbo Distortion
In February 1992, Kurt switched to the BOSS DS-2 Turbo Distortion.
This pedal features two “turbo” modes, but apparently, Kurt only used Mode 1, which closely replicated the sound of his beloved DS-1. His settings remained nearly identical.
Interestingly, the DS-2 can be seen in footage from Nirvana’s MTV Unplugged performance (though it wasn’t used in the set) and various live shows from the In Utero era. While it might seem unusual to keep a distortion pedal onstage for an acoustic show, Kurt likely had it ready for some of the electric moments that were cut from the broadcast.
Tech 21 SansAmp Classic
During the In Utero tour, Kurt incorporated the Tech 21 SansAmp Classic. This is a versatile amp simulator that would have provided an alternative distortion flavor for Kurt Cobain’s pedalboard.
A lot of posts and reports online suggest he typically ran the SansAmp into a Fender Quad Reverb amp, a combination that many believe defined Nirvana’s later live sound.
Pro Co Rat
While not a regular part of Kurt’s setup, the Pro Co Rat distortion pedal made an appearance on “Nevermind,” specifically on the aggressive track “Territorial Pissings.”
The Rat’s particular flavor of distortion helped create the song’s raw, intense guitar tone.
It’s worth noting that while Kurt, as far as I can tell, only used the Rat specifically for Territorial Pissings, the pedal was a favorite of Nirvana’s bassist Krist Novoselic, who used it a lot.
Modulation Effects
While Kurt’s approach to distortion was relatively straightforward, his use of modulation effects revealed his slightly more experimental side.
These few modulation pedals played a key role in shaping some of Nirvana’s most memorable guitar parts.
Electro-Harmonix Small Clone
The Electro-Harmonix Small Clone chorus pedal was arguably Kurt’s favorite effect. It was a constant part of Kurt Cobain’s pedalboard from 1990 until the end.
When I was a teenager (and massive Kurt Cobain fan) in the ’90s, the Small Clone was one of the first pedals I owned.
Kurt reportedly bought his Small Clone from Guitar Maniacs in Tacoma, WA. And the pedal became a huge part of Nirvana’s sound, most notably on Come As You Are and Smells Like Teen Spirit.
Unsurprisingly, Kurt used the Small Clone in a rather simple way. He would set the rate control around 12 o’clock and always kept the depth switch in the “up” position. In fact, I remember reading somewhere (or maybe saw in an interview) that his tech, Earnie Bailey, eventually hardwired the depth switch in place since Kurt never used it in any other setting.
Electro-Harmonix EchoFlanger and PolyChorus
Initially, Kurt used an Electro-Harmonix EchoFlanger, but reliability issues during the In Utero tour led his tech to replace it with a PolyChorus. I guess this is because both pedals have similar internal circuitry.
These pedals were crucial in creating some of In Utero‘s most unique sounds. Such as the swirling textures in Radio Friendly Unit Shifter, the haunting solo on Heart-Shaped Box, and the chaotic modulation on Scentless Apprentice
It’s amazing to see Kurt’s handwritten settings on the PolyChorus. In fact, this has become somewhat legendary among gear enthusiasts. To me, it proves that, despite Grunge’s reputation for raw simplicity, Kurt paid attention to detail when it came to creating his sound.
MXR Phase 100
While I can’t find any strong evidence that the MXR Phase 100 was a regular part of Kurt’s live setup, it made a notable appearance on Curmudgeon, a Nevermind-era B-side.
The Phase 100 gives us a glimpse into Kurt’s occasional ventures into more experimental territory. While he generally kept his pedal setup simple and consistent, he wasn’t afraid of trying new effects when the song called for it.
The Mysterious “Pedal X”
One of the more intriguing stories in Kurt Cobain’s pedals’ history involves a mysterious tremolo/modulation pedal he apparently borrowed from producer Steve Albini when Nirvana was recording In Utero.
Sometimes referred to as “Pedal X,” this pedal has a built-in preamp and produced what’s been described as a crazy gargling tremolo modulation.
Its most notable, and likely only, appearance was on Heart-Shaped Box, where it played a big part in creating the song’s distinctive guitar solo tone.
Sorry, I couldn’t find a picture for this one. 🙁
If you’d like to learn more about what modulation pedals are and do, check out our Guide to Modulation Pedals.
Fuzz and Heavier Effects
While Kurt is most well known for using his BOSS distortion pedals, fuzz effects also played an important part in Nirvana’s early sound.
The Univox Super-Fuzz
Before Bleach was recorded, Kurt owned a Univox Super-Fuzz.
The Super-Fuzz was known for its distinctive sounds, including an octave-up effect and a unique mid-scoop tone switch that could produce massive, bass-heavy textures.
In a twist of fate, Kurt’s original Super-Fuzz was stolen from Nirvana’s practice space. This was an unfortunate event, but it led to an interesting piece of Nirvana gear history.
The “Yung-Mann Fuzz”: A Custom Creation
Rather than simply replacing the stolen Super-Fuzz, Kurt’s tech, Earnie Bailey, built him a custom replacement.
This hand-wired recreation was housed in a silver metal box and labeled the Yung-Mann Fuzz.
This custom pedal embodied the DIY spirit of the grunge scene and reflected Kurt’s views towards guitar gear. He didn’t care about brand names or reputation, only whether a pedal delivered the sound he wanted.
Electro-Harmonix Big Muff
Another fuzz pedal that occasionally appeared on Kurt Cobain’s pedalboard, particularly during recording sessions, was the Electro-Harmonix Big Muff.
The Big Muff played a small but important role in Nirvana’s recording history. Most notably during the Nevermind sessions.
Kurt used it sparingly but effectively. You can hear it on the song Lithium, where it was apparently paired with a Fender Bassman amp to create the song’s powerful, dynamic, and layered guitar tone.
The Big Muff also resurfaced during the In Utero tour. By that time, Kurt had mostly moved away from fuzz as his main distortion effect, but he still used it in certain songs or when the moment called for it.
If you’d like to read more about fuzz, check out our article on the history of fuzz.
Time-Based Effects
Kurt isn’t exactly widely known for his use of time-based effects, but he did use a delay pedal at times.
BOSS DM-2 Delay
The BOSS DM-2 Delay made some appearances in both the studio and live settings on Kurt Cobain’s pedalboard.
This analog delay, known for its warm, organic repeats, is most obviously heard on the early track If You Must. It also played a role in some of Kurt’s home demos, adding subtle echoes to his raw recordings.
The DM-2’s simple three-knob layout (Repeat Rate, Intensity, and Echo) gives a simple approach to delay. I think this is something that would have aligned well with Kurt’s liking for simplicity.
The Impact of Kurt Cobain’s Pedals on Music
Kurt Cobain’s pedalboard, or his approach to guitar effects, left an unforgettable mark on rock history. He proved that innovation doesn’t always require complexity.
Through three albums and countless performances, Kurt’s pedal choices tell a story of evolution. One that never strayed from his core focus.
From the DS-1, which was a huge part of Nirvana’s early sound, to the Small Clone, which became legendary in some of their biggest hits, each pedal had a clear purpose. Even as his setup expanded in the In Utero era to include pedals like the SansAmp and PolyChorus, Kurt remained committed to using effects only as a means of achieving the sounds he wanted.
To me, what makes Kurt Cobain’s pedalboard so special is the way it balances practicality with creativity. The same DS-1 settings that shaped Bleach helped define Nevermind. The Small Clone that gave Come As You Are its signature sound remained a staple through years of touring.
Perhaps the most important lesson from Kurt Cobain’s pedals and setup is that impact comes from intention.
At a time when many guitarists were building ridiculously complex rigs, Kurt showed that a handful of carefully chosen pedals, thoughtfully used and roughly taped to the floor, could help create some of the most influential music of a generation.
This philosophy continues to inspire me and many other guitarists today. It’s a reminder to us all that sometimes, the most powerful sounds come from the simplest setups.
FAQs
Which pedals did Kurt Cobain use?
Kurt Cobain mostly used a BOSS DS-1, BOSS DS-2, Electro-Harmonix Small Clone chorus, Tech 21 SansAmp Classic, Electro-Harmonix EchoFlanger/PolyChorus, ProCo Rat, Univox Super-Fuzz, and Electro-Harmonix Big Muff.
Did Kurt Cobain use a wah pedal?
Yes, Kurt Cobain used a wah pedal during the Bleach era, though the specific model is unknown. Unlike other effects in his setup, the wah wasn’t a regular part of his pedalboard and was only used briefly during this early period.
What were Kurt Cobain’s pedal settings?
Kurt Cobain’s main DS-1/DS-2 settings were:
Level: Max
Tone: 11-1 o’clock
Distortion: Maximum (sometimes 1-2 o’clock in-studio)
DS-2 Turbo Mode: Position 1 (non-turbo)
His EHX Small Clone chorus was typically set to the up position and hardwired that way.
What pedal did Kurt use on in utero?
On In Utero, Kurt Cobain primarily used the Tech 21 SansAmp Classic as his main distortion. He also used the Electro-Harmonix PolyChorus for specific songs, notably on “Heart-Shaped Box” solo and “Radio Friendly Unit Shifter.” A mysterious “Pedal X” borrowed from Steve Albini was used on “Heart-Shaped Box.”
