The Point:
During this time Audley used his first amp, a 1977 Marshall JMP 50 watt combo.

Sidewinder:
It was during Audley's tenure with Sidewinder that he first purchased a Marshall Silver Jubilee amplifier, which was released in 1987 to commemorate 25 years of Marshall. Audley was using an Olympic White Stratocaster home-build which found its way onto the Brother record (see below for more details).

The ‘Pee Wee’ Cry of Love Era:
Audley was still using, for live shows, his 1987 Silver Jubilee Marshall half-stack (most likely the 100W 2555). Audley and Peewee also used a Cherry-coloured 1959 Les Paul Junior. Audley would have it set-up for slide work and tuned to ‘Open A’, Sometimes only stringing it with 5 strings (ala Keith Richards). The Les Paul Junior had at one time belonged to Bob ‘Bobzilla’ Davies and was used on the recording of Brother but not used onstage after 1990. Audley’s White Strat was still Audley's main guitar of choice.

Additionally, Audley experimented with a Rat Distortion pedal used with the distortion way down so that it acted like a pre-amp. Eventually, Audley settled on Tubecreamers instead.

A three pickup, pale-blue Telecaster home-build was also built around 1990, possibly a Terry McInturf replica and paint job, and worked on with Audley by Asheville Guitar tech Jim Krupenbach who is said to have performed most of the tech work on Audley’s early guitars. The pale-blue tele-style guitar was a Humbucker-Single-Single configuration and used only for a short time before Audley returned to his old faithful, the White Strat.

The Brother Album
Famous amongst fans for its incredible Strat-on-steroids sounds, ‘Brother’ is a guitar-tone classic. On it, Audley used a self-assembled Stratocaster replica which he had been using as his main guitar since the late 80’s, built from parts ordered from ‘Warmoth’. In earlier days, Audley worked and taught in Harry’s Guitar Store in Raleigh, NC (Cry of Love’s original vocalist Pee Wee Watson currently works there). This may have given Audley the access and wherewithall to the parts and tools required for self-builds.

The guitar, featured in the video to ‘Peace Pipe’ appears to be an Olympic White painted strat with a left-handed pre-CBS style neck, which gives a right-handed guitar a ‘Reverse Headstock’ appearance. It also had a hard-tail bridge, a rosewood fingerboard, Red/Tortioseshell pickguard and some sort of full-size, white-bobbined Humbucker bridge pickup, in place of the usual single-coil. It has been suggested by a guitar tech from that time, that the guitar was made from Basswood. The original pickups in this guitar were Seymour Duncans, but may have been replaced by the time of the Brother recording.

Amp wise, a 73 Marshall 100W JMP Superlead was used. This amp was called ‘Ezekiel’ after a spray painted band-logo stenciled on it from the previous owner. Like most old Superleads this amp had a ferocious volume and attracted the attention of the Police on one occasion in rehearsals! It’s known that this amp suffered a blown transformer at some point in its life. The amp was tubed with 6550’s rather than EL34’s associated with Marshalls, typical of Marshall’s that were exported for the US Market in the 70’s. The 6550’s, Audley states, “stays a bit cleaner and gives me a better rhythm guitar sound”. The amp was also modified with a Post-Phase Invertor Master Volume, with the MV control being placed in a spare input jack on the amp. Mods on the amp were possibly carried out by Scott DeMattos who ran an amp shop adjacent to Harry’s Guitar shop. Photos of the amp can be found via the link at the top of the page. The Marshall was played through two old Marshall cabinets, loaded with Celestion Vintage 30’s.

Some also believe that the Silver Jubilee was used on this record but Audley has not mentioned this amp in any interviews.

What may surprise some fans is that although the Marshall and Strat were used on every track, the parts were thickened up using other guitars through a Fender Deluxe amp. It is known that Peace Pipe has the ‘59 Les Paul Junior on one channel. Other guitars on the record were a borrowed Les Paul and a ‘62 re-issue Telecaster.

The album has little in the way of effects, but a Vox WAH pedal was definitely used. Tremolo guitar on ‘Bad Thing’ is credited to Pepper Keenan from ‘Corrosion of Conformity’.

The Brother Tour
Initially, Audley used his Silver Jubilee head and cab (with some sort of JCM head as a backup) and the Warmoth Strat until a Fender endorsement led to him aquiring a Fender Tonemaster rig, and a Fender Custom Shop ‘Holoflake’ Stratocaster part-way through the tour. The Custom Shop Stratocaster was loaded with a Seymour Duncan JB JR (or a Lil ’59?) in the bridge and two Custom Shop ‘Texas Specials’ in the mid and neck. It had a modern 2-point trem and a regular rosewood-fingerboard neck. As a backup to the Fender Tonemaster, a Marshall JMP head can be seen on the ’94 Donnington footage. It is not clear if this is the famous ‘Ezekiel’. A Fiesta Red Fender Stratocaster was also aquired at this time. This may be the same guitar pictured on the Diamonds and Debris album sleeve. If it is, then this also had a Seymour Duncan single-coil sized humbucker installed.

In addition to this, Audley was seen with a 3-tone sunburst Stratocaster with regular single coil pickups. Not much is known about this guitar, other than that it was possibly a gift from a friend at that time and had a pull-up pot to give more pick-up combinations

For solo boost on stage, Audley used a TS-9 Ibanez Tubescreamer. Wah was provided in the form of a Vox unit. A tremolo unit was effect was also used for ‘Bad Thing’ intro, most likely a Boss unit.

For some Radio/TV shows and in-store appearances during this time, Audley and Kelly were using two Gibson acoustics. These were used for the unreleased songs “16 Days” and “Wash my Sins Away”, as well as the Acoustic version of “Carnival” and "Too Cold". One was a cherry sunburst Gibson ‘Hummingbird’, and the other is thought to be a black ‘Everley Brothers’ model. Kelly still possess these guitars to this day.

For a British in-store appearance around this time, Audley and Kelly were seen with light-coloured ‘Takamine’ electro-acoustics for a British in-store British performance, these were hired instruments.

Diamonds and Debris
A much more diverse sounding record, with many different guitars and amps used in the recording of it. Diaries by Dave Clayton, during sessions, show that many amps were hired and tested to achieve desired tones for different songs in an exhaustive process. It is at this point that Audley seemed to gain a fondness for the Bogner Ecstasy head, and he has been pictured using both the Basket-weave and Metal-grille versions. Much of the gear used on the album was hired from Fat Sound Guitars and belonged to the, still current owner Stu.

Most of the overdrive tones on the album were from the Bogner (101b) played through a Matchless open back 412 cab loaded with Matchless modified Celestion Vintage 30's. Other amps at the sessions were Ampegs and Naylors, although it is not clear if these were guitar or bass amps or if these made the record.

Most clean tones were created using the Fender Tonemaster head.

Leslie tones were provided by a Leslie cab driven by a Matchless Chieftain head.

Main recording guitar was the same Strat as used on Brother, but also the 50's Les Paul Junior on a few pieces as well as a Telecaster (probably the same guitars as on ‘Brother’). Pictures of the sessions also show Audley with his Holoflake Custom Shop Strat but it is not known if this made any cuts on the record.

Fuzz tones are a Prescription Electronics Experience pedal.
Wah tones are a Geoffrey Teese RMC3 wah.
Univibe tones were from an early Fulltone Deja Vibe.

The Black Crowes:
By this time, Audley was “getting burned out on Strats”. And was seen mainly with Les Pauls, a Gibson Firebird and a Telecaster. He continued to use the Bogner and Fender Tonemaster live, for dirty and clean sounds respectively, using a Bradshaw switching system to select between them. A list of his gear around this time is below. Much of the Diamonds and Debris gear is in there:

Guitars:
'52 Fender Telecaster Re-issue
'57 Fender Relic Stratocaster
'56 Gibson Historic Goldtop Les Paul (P-90's)
'59 Gibson Historic Les Paul (Plaintop) (aged by Tom Murphy) Main Guitar for standard Tuning
Gibson Custom Shop Firebird
Terry C. McInturff Tarus Prototype

Amps:
Bogner Ecstacy 100 Watt Head (Live)
Fender Tone Master 100 Watt Head (Live)
Fender Dual Showman
Dr. Z KT45
2 Matchless 4x12 Cabs (Open-back with 8ohm Celestion Vintage 30 Speakers)

Effects:
Bob Bradshaw Custom Audio Electronics Switcher (for amp switching and to control stompboxes)
Vox V847 Wah
Budda Wah
Teese Real McCoy Wah
Ibanez TS-9 Tube Screamer (which he returned to after his Klon Centaur packed up)
Fulltone Soul Bender
Fulltone Deja Vibe
Prescription Electronics Clean Octave
Chandler echo
Fulltone Tonebender Fuzz
MXR Dyna Comp

Audley also revealed in an interview that he had used a Fender Blues Deville amp and a Line 6 DL4 Delay Modeler pedal and a Fender Sub-Sonic Tele for alternative tunings, on the Black Crowes Lions album.

“I have a Bogner Ecstasy and a Fender Tone Master. I mainly use the clean
channel on the Bogner and just turn it up The Tone Master is primarily for the clean stuff and it's a good substitute for my old Fender Dual Showman, which I don't bring on
the road because of reliability issues. I run the Bogner and Fender heads into
two open-back Matchless 4x12 cabs that are loaded with 8W Celestion Vintage 30s.
I had my tech wire one of the Matchless cabs for stereo operation so I can run both
heads into one cabinet when we're playing a smaller place. Another amp I might
put into the live setup is a Dr Z KT45, though it's not quite loud enough for
this band.”

During this time Audley revealed that he was given a Gibson Firebird by Chris Robinson which he used for open tunings (F#). Audley also states that he has a Gibson J-45 acoustic.

Job Cain:
Audley's pedal board during his time in this post-Crowes band was know to comprise of the following:

RMC Wah
Hughes & Kettner Rotosphere
Fulltone Deja Vibe
P.E. Experience
TS-9
Z-Vex Super Duper Hard On
Boss PN 2
Boss TU 2
some kind of volume pedal
and a one spot power supply for the 9v stuff

More recently:
Audley is more often now seen with a Blonde Fender Reissue '60s Telecaster and Crème Gibson dot-neck ES-335 and still with his trusty Bogner, as well as DR Z (route 66) amplification. For his appearance on Alvin Youngblood-Hart’s 2004 album ‘Motivational Speaker’ Audley used a Germino 55 amplifier. Audley has also been spotted with a Silvertone 1483.

In 2006, Audley was quizzed about his current gear at a one-off show by a forum member:

Boss TU-2 Tuner
MXR Dyna Comp
Fulltone Deja Vibe
BOSS PN-2 Tremolo/Pan effects pedal
Z VEX Super Duper Hard On
Voodoo Lab Sparkle Drive
Teese RMC Wah
Line 6 DL-4 Delay Modeler Pedal
Volume Pedal

"He used the Sparkle Drive for every solo. I saw him kick in the Deja Vibe a few times as well as the Line 6 delay. He had a KILLER TONE!!!

For guitars he used the Blonde Gibson ES335 Dot Neck for a few songs, but played most of the set with the Blonde Fender '60's reissue Tele. He used a Dr. Z amp, it looked like a Route 66 model."