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I use the old 200- watt amps, which you can’t get anymore because they don’t make them.It gives me an echo when it’s played back. So I went back to the factory because I knew Jim and I said, “Look, I want this changed and I want that changed.” And I used to play in front of all the people that were there working – there would be women there assembling things, and I had the amp boosted to 400 watts. I usually go trough two, sometimes more, every two weeks. (Hornby Skewes Treble Booster).As preamp,he used an old,vintage tape recorder as an echo and to warm his tone.As any other effects,he used many various things,an octave,phase shifter,even a keyboard bass pedals! In 1980 Ritchie beheaded this axe in a wild fit of rage.Therefore it seems to be obvious that Blackmore played live with an unpainted maple fretboard during the years 71 and 72. Some Majors have these in them, I see them on eBay. The tape recorder doesn’t interfere with the note you’re playing.Mics for the PA were usually Senn 421 or Shure 57s.No, I use Schallers. He decided to only overwound them slightly. There’re an extra two valves [tubes] built into the output stage so there’s more output. The nadliest of nads. The amount of gain could not overdrive the AIWA’s preamp. He’d been talking about how awesome it was for a while, and even though I know he has good ears, wasn’t too motivated to go try it. This twin-blade L-450 guitar along with the F500T axe were Ritchie’s main guitars for a long time. The neck pickup together with the dummy-coil sounded awesome and was almost hum-free, but using a fatter dummy-coil together with the bridge pickup was over the top, the sound was very dull, loosing all the top-end and bite, and Ritchie was unhappy again. Driver tube was a GE 5-Star 6201 which added a little bit more output to the power section. It was the then all-new Alembic Stratoblaster, a small 9 volts powered booster for a Stratocaster, having the electronics built inside the small space underneath the jack-plate and mounted on such a square plate, that can be seen on Ritchie’s L-250 guitar. A few years later in his Rainbow days he began to use it regularly.On July, 17th 2016 Ritchie returned to play Rock on the Loreley open air stage for the first of a limited series of 3 concerts (also Stuttgart and Birmingham) with a new incarnation of Rainbow. Ritchie was very glad about the sound of this Strat now, but this procedure also created an unwanted side-effect. The value of the tonecap was stock 0.1uF.The Schulte "Compact Phasing A", available in black, orange or yellow, the guts of the Schulte "Compact Phasing A" and the original manual:The numerous pickguards with the different electronics moved from guitar to guitar, eg. Those are the same as what was in RB’s amps. He was eating breakfest and with a serrated knife was carving out the wood between the frets, I looked on with interest and said “Why don’t you let me do my thing on this because you are making a mess”. His trusty 1977 stratocaster but instead of the long time used Lace sensor gold pickups he had his pickguard fitted with double blade humbuckers in single coil size by OBL/Bill Lawrence. For his studio work Ritchie also started to use the AIWA machine as a booster accompanied by lots of other gear, including his treble boosters. The new 71 Strat had a more airy and pearly attack, something that Ritchie really liked and fell in love with more and more. So as to retain the crisp sound when rolling back the volume pot Ritchie´s tech installed a “treble bleed” capacitor into this guitar. This time a bud’s Bogner Shiva, EL34 version. I have the action on my guitar fairly high so there’s more control, but it’s within reason. Echoes always thin the sound. For some time, Ritchie used a mixed “Frankenstein”-Stratocaster.