Equipment
Holdsworth has worked with many different guitar manufacturers in a lifelong quest to evolve his unique sound, which he feels he has never been able to perfect. From the late 1960s through to his time spent with Tony Williams in the mid-1970s, his main instrument was the Gibson SG. He then switched to playing custom Fender Stratocaster guitars that were modified with humbucker pickups, whilst also endorsing DiMarzio pickups; during this time he was pictured in a contemporary DiMarzio catalogue (around 1981) playing one of his modified Stratocasters. He continued to play this type of design in the early 1980s, developing custom models with Charvel and Jackson that feature on I.O.U. and Road Games.
In 1984 he developed his first signature guitars with Ibanez, known as the AH-10 and AH-20. These instruments have a semi-hollow body made from basswood with a hollow cavity underneath the pickguard, and can be heard on Metal Fatigue and Atavachron. His long association with Steinberger guitars began in 1987: these are made from graphite and carbon fibre, and distinctively have no headstock. With designer Ned Steinberger, he developed the GL2TA-AH signature model. He started playing customised headless guitars made by luthier Bill DeLap in the 1990s, which included an extended-range baritone model with a 38-inch scale length. However, he has since said that he only owns one of the latter instruments (with a 34-inch scale). He has also developed a line of signature guitars with Carvin, including the semi-hollow H2 in 1996 and the completely hollow HF2 Fatboy in 1999.
On Atavachron, Holdsworth first recorded with the SynthAxe; a fretted, guitar-like MIDI controller with keys and string triggers instead of a strung neck, and a tube that dynamically alters note volume and tone via breathing in a similar manner to a talk box. Sound-wise, he uses patches which are mainly Oberheim synthesizers, as he considers them to be "great sounds". Although he has used the SynthAxe on all his solo releases since Atavachron and still enjoys using his two remaining ones in the studio, he says he no longer wishes to make it such an integral part of his playing—especially live—mainly because of it being so rare (less than 100 units are said to still exist), and difficult to maintain and repair as a result.
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