Though Cameron is best known for his use of California-based Drum Workshop during his initial time with Soundgarden, he used his own Yamaha kit before 1990 when he started using DW, which he later admittedly approached after Yamaha first turned down his endorsement. Most early Soundgarden records up until "Badmotorfinger" including the Temple of the Dog record were done with an 8000 series kit in a "real wood" finish. By the autumn of 1991, however, Cameron started copper gloss finished DW's with 12 and 13-inch rack toms, a 15-inch floor tom, and a 22-inch bass drum with black gloss hoops and a 14-inch knurled steel snare. By 1993 his "Superunknown" era kit arrived, a black gloss kit with 12, 13, and a 14-inch hanging tom, which Cameron would mount in a snare stand, a 16-inch floor tom and a 24x16 inch bass drum. Cameron revealed in a 1994 interview with "Modern Drummer" magazine that to greater emphasize the dynamic shift on the song "Like Suicide", both kits were used, the latter having shells both larger in depth and diameter. "Superunknown" is well known for its huge drum sound and practices such as this brought attention in the drumming world. Other examples include the use of all ride cymbals on "Black Hole Sun" and 3 drummers playing at the same time at the end of "Head Down", being Cameron, Soundgarden bassist Ben Shepherd and drum craftsman and tech Gregg Keplinger. Cameron, along with fellow Northwesterner William Goldsmith (Sunny Day Real Estate and Foo Fighters), was an early user of Keplinger's snares, famous for perhaps being the heaviest and most characteristic stainless steel snare drum available.