Also on board were two Soldano SLO 100-watt heads (one for backup). These were two of four made with a special depth knob and covered in snakeskin-printed tolex. These heads were the primary source of searing gain and shattering crunch.

The two amp setups had signals going to a new kind of speaker cabinet made by Genz Benz. Made in Phoenix, AZ, these cabinets were designed to deliver sound in a more forward projection via internal front-to-rear speaker baffles. Just as a backline wall of them were set up onstage, the actual functioning rig was at the far left-hand side of the stage.

Switching for the two amps was done via an A/B/Y footswitch that allowed George to go from either amp or to use both in conjunction with each other. As stated during the recording of the album, George used various distortion/overdrive pedals to juice up the input of the guitar to the amps. Again, the Tube Screamer, among others, would be there to provide a push into the amp inputs.

Just like the previous tour, the rack containing signal processing was on this tour. Keeping coloration to a minimum, most of the use of these items was simply to clarify the guitar tone. The Lexicon PCM 70 or the Roland SDE3000 were on hand for delay and chorus. To clear up the signal was a BBE Sonic Maximizer 422.