ndever

Rock Seeker preset in Guitar Rig 7

Almost Clean Fire Seeker preset in Guitar Rig 7

Right in the Middle preset on Guitar Rig 7

Greenrocker preset on Guitar Rig 7

Preset used here is the Black Parade Preset created by Frank N (https://www.youtube.com/@FrankNmusic)

For the distorted part

For the clean tone

Main riff preset settings (fuzz sound)

Cover of This is How I Disappear by The Claws Beneath (Ray Toro's part)

Cover by Riffmarschl of Jesus of Suburbia

ClarkyGuitar's cover of My Name is Jonas

Setup used for Ndever Guitar's Rhythm guitar cover

Pierote's amp and pedal settings for cover of He Thought of Cars by Blur

Classic Fuzz Face into a cranked Marshall. Simple signal chain but you need the right fuzz character.

Angus uses a Marshall JTM45/Super Lead cranked hard. Very bright, very crunchy, almost no pedals — just the amp.

Same AC/DC formula — cranked Marshall-style amp, mid-forward, no scooping. Neural DSP Archetype Nolly gets close with a JCM800 model.

Cobain used an Electro-Harmonix Small Clone chorus into a clean amp for this iconic riff. The chorus effect is the tone.

Cobain used a Boss DS-1 into a Mesa Boogie Studio preamp. Simple but aggressive. High gain, slightly scooped.

Page used a Telecaster for the intro and a Les Paul for the solo. Supro Coronado amp for clean, Marshall for the lead.

Classic cranked Marshall Les Paul tone. Page went straight into a Super Lead with no pedals. Simple and massive.

The famous dual guitar outro solo uses two clean-to-slightly-overdriven Fender amps. Chorus adds the shimmer.

Slash used a Marshall JCM800 + Les Paul. The tone is warm, singing, and slightly dark for a lead sound.

The main piano-driven song has Slash playing a clean melodic solo. Fender Twin or any clean amp works well.

Frusciante used a clean Fender into a Mesa Boogie. This song is about the interplay between clean guitar and the vocal melody.

Clean and slightly overdriven lead tone. Frusciante uses a Strat and Tele through a Mesa Boogie Trem-o-verb.

Tom Morello uses a DigiTech Whammy + Marshall JCM800. The Whammy pedal is essential for those octave effects.

Billie Joe uses a Marshall Plexi and Les Paul Junior. Mid-forward crunch tone, relatively simple.

Played on an acoustic guitar or a clean electric. Very simple, no effects needed. Great beginner song.

Dave Grohl tunes to Drop D for this. Classic Marshall crunch tone, mid-heavy, nothing too fancy.

The verse is clean and restrained, the chorus explodes. Use a JCM800 and a Tube Screamer for the chorus boost.

Jack White runs his guitar through a DigiTech Whammy set to octave down to get that bass-like riff. Simple but iconic.

Dan Auerbach uses a Vox AC30 and vintage Silvertone into an overdriven tone. Raw and gritty.

Josh Homme uses a Mesa Boogie Dual Rectifier. Heavy, huge, and tight. The drums and guitar are locked together.

McCready uses a clean Fender amp for the main melody. The tone is wide, warm, and emotional.

Classic Marshall crunch into a 4x12. The lead solo is huge and very expressive.

Cornell uses heavy chorus on the verse riff for that dreamy, surreal sound. Flange or chorus is essential.

Jerry Cantrell tunes to Drop D and uses a heavy, dark distortion tone. Mid-heavy and aggressive.

The Edge uses dotted-eighth note delay to create that shimmer. A clean Vox amp with heavy delay is the core.

Noel uses a capo on the 2nd fret and standard chord shapes. Any clean Fender or Vox amp works well.

Clean Fender into a slight chorus. The clean intro and melodic fills are all about warmth and space.

Richards uses a fuzz pedal for the iconic guitar riff in this song. The sitar-like sound comes from the fuzz on a Strat.

Richards plays in Open G tuning with the low E string removed. Classic Stones rhythm crunch.

Lennon used a Fender Bassman for that dark, swampy, bass-heavy guitar tone. Very dark and cool.

Clapton used a Les Paul through a Fender Champ (clean) and a Marshall for crunch. The interplay between the two guitars is legendary.

Beautiful clean tone, very simple. Any clean amp will work. Ideal beginner song.

Adam Jones uses a vintage Les Paul through a Diezel VH4 or Mesa Dual Rectifier. Heavy, tight, and complex rhythms.

Morello uses a clean Fender amp with a light overdrive for the melodic leads. Much more subtle than his RATM work.

Classic Tom Petty clean tone — Rickenbacker or Strat into a clean Fender. Simple and perfect.

Jack Johnson uses a very warm acoustic or clean electric tone. Fingerpicked, warm, and laid-back.

Dave Matthews uses Open E tuning for this. Fingerpick with clean Fender amp. Beautiful and relaxed.

Nails the clean fingerpicked intro. Keep the amp fully clean and let the guitar dynamics do the work. Neck pickup, tone rolled back slightly on the guitar.

Noel uses a Les Paul into a Mesa Boogie. The chorus rhythm guitar is big and crunchy — the essence of mid-90s Britpop.

Based on the T. Rex "Get It On" riff. Noel uses a Les Paul into a cranked Marshall. Raw, swaggering, and mid-forward.

Matt Bellamy uses a heavily processed, almost glitchy distortion. Whammy pedal and tight distortion define this riff.

The main riff is primarily a bass line, but the guitar fills are huge and distorted. Mesa Dual Rectifier gives the right heaviness.

Bellamy uses a Manson guitar through a clean-ish amp with subtle chorus for the verse, then full distortion for the soaring chorus.

Frank Iero and Ray Toro use Marshall JCM800s for the huge chorus guitar walls. Clean piano intro transitions to massive distortion.

Classic mid-2000s pop-punk crunch. Marshall-style amp, bridge humbucker, slightly scooped mids.

Hard-hitting power chord driven song. Marshall or Mesa into a 4x12. Tight, aggressive, and mid-forward.

Rivers Cuomo uses a clean, bright guitar tone with crunch for the chorus. Strat or Tele into a Fender amp.

Mid-90s alt-rock crunch. Clean verse, overdriven chorus with a Mesa or Marshall. One of the best beginner rock songs.

Super laid-back clean tone. Weezer uses a warm Fender clean for this sunny, relaxed track.

Frusciante plays a beautiful slide guitar melody on this. Clean Fender amp, slide on ring finger, bridge pickup.

Frusciante uses a wah pedal throughout for that funky, aggressive riff. Mesa Boogie amp with wah always on.

The iconic hammer-on intro is played clean-to-crunch on a cranked Marshall. Bridge pickup, no pedals.

Classic AC/DC rhythm crunch. Open G tuning for Malcolm, standard for Angus. Mid-forward Marshall tone.

Alex Turner uses a clean-to-slightly-overdriven Vox for the choppy, rhythmic riff. Jangly and energetic.

The verse is clean and restrained, building to a huge distorted climax. Vox clean into Marshall dirty.

Noel plays a capo 2 arrangement on electric. Clean Fender or Vox with a slight room reverb captures the anthemic feel.

The Hetfield plugin is purpose-built for this. Load the Puppets preset as a base. Heavily scooped mids, tight bass, and massive gain.

Classic JCM800 pushed hard with a Tube Screamer in front. The key is the Tube Screamer tightening the low end before the amp.

Gilmour used a Hiwatt DR103 into WEM cabs. The Big Muff fuzz is essential for that sustained, singing lead tone. Add generous delay and hall reverb.

The clean fingerpicked intro uses a Strat into a Fender clean. Keep everything pristine — no distortion, gentle reverb only.

Mayer uses a Two-Rock into a Dumble. A Fender Deluxe Reverb pushed into light breakup gets very close. Neck pickup, medium pick attack.

Load a Two-Rock Custom Reverb profile from the Rig Exchange. The tone is all about warmth and sustain — barely breaking up.

The dynamic shift from clean verse to crunchy chorus is everything in this song. Johnny Greenwood scrapes his pick to create that ugly pre-chorus scratch.

SRV ran heavy .013 strings into a Dumble and Vibroverb. Load the Dumble ODS profile from Rig Exchange. Crank the output for sag.

Pure slow blues lead tone. Fender Vibroverb or Super Reverb cranked loud. The tone comes from the guitar and your fingers — amp does very little.

Alex Turner uses a fuzz into a Vox AC30 for that gnarly indie rock riff. Stack the fuzz before a Vox-style amp.

That slow, heavy, fuzzy riff needs a dark tone. Use a fuzz or Big Muff into a slightly overdriven Vox or Marshall.

Hendrix used a Dallas Arbiter Fuzz Face into a Marshall Super Lead cranked to the max. Wah pedal is essential.