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The Rocker Deluxe preset on Guitar Rig 7

Clapton played Harrison's red 1957 Gibson Les Paul Lucy, with a Fender Deluxe commonly identified as the amplifier, and the finished lead was treated with ADT and varispeed to make it sound more characteristically Beatles-like. The amp controls are approximated, while the modulation block represents the documented studio processing rather than a period pedal. Source: Guitar World, “Hear Eric Clapton's Isolated Guitar Track from While My Guitar Gently Weeps” (2016), and TrueFire, “While My Guitar Gently Weeps — Clapton Isolated Guitar.”

Period gear research attributes the interlocking guitars to Lennon's Rickenbacker through a Vox AC50 and Harrison's Stratocaster through a Vox AC100. The record's density comes from layered performances, so this preset combines a bright, lightly compressed Vox tone with subtle doubling; exact amplifier positions are approximated. Source: Beatles Bible Fab Forum, “The Guitars the Beatles Used per Song,” and The Beatles, “Rubber Soul.”

The studio sound is a restrained Strat-style edge-of-breakup tone with a dry, prominent midrange and considerably less gain than many cover versions use. Exact session controls are not documented, so these settings are representative rather than a transcription of Clapton's knobs. Source: Premier Guitar, “Rig Rundown: Eric Clapton” (2021), and Guitar Chalk, “Amp Settings for Cocaine.”

Clapton's overdubbed guitar parts use the established Cream recipe of Gibson humbuckers, an overdriven Marshall stack and a Vox wah for the vocal-like lead passages. Exact session guitar and knob positions are uncertain, so the values approximate the documented Cream-era setup. Source: Where's Eric, “Eric Clapton's Guitar, Amp and Equipment Set Up,” and ESSM, “White Room — Equipment.”

Clapton's celebrated live performance is linked to his 1964 Gibson ES-335 and Cream's high-volume 100-watt Marshall stacks. No pedals are needed for the core sound, and the controls below approximate a loud non-master-volume Marshall captured with strong midrange and limited bass. Source: Guitar Center, “Eric Clapton Crossroads 335,” and Where's Eric, “Eric Clapton's Guitar, Amp and Equipment Set Up.”

The early recording is associated with Hendrix's white Stratocaster and a loud Marshall JTM45/100-style rig, producing a warm clean-to-crunch response without obvious modulation. The fuzz contribution remains debated, so it is used only as subtle extra hair in the solo and the numerical settings are approximate. Source: Gear4Music, “Jimi Hendrix Guitars — What Was the Legend's Setup?” (2023), and ToneMatch, “Hey Joe Riff Tone Settings.”

Hendrix used a hollow-sounding in-between Strat pickup position and a dynamic, just-breaking-up amplifier sound, with the studio guitar treated through a rotating Leslie speaker. The amp values are practical approximations designed to retain pick sensitivity and chord detail. Source: Guitar Chalk, “Tone Settings for Little Wing,” and Gearspace, “Hendrix Clean Tone (Little Wing Cover).”

The central lead voice combines a Stratocaster and Marshall foundation with fuzz and expressive wah, while the record layers several contrasting guitar passages. Exact pedal and amplifier positions were not documented, so the settings are representative of the identified signal chain. Source: Guitar Player, “The 40 Most Important Guitar Solos of the 20th Century” (2022), and Guitar World, “11 Cover Songs That Jimi Hendrix Made His Own” (2026).

The recording builds from dark, lightly driven picked guitars into layered sustaining lead parts. Exact session equipment and knob positions are not reliably documented, so these settings approximate the sound using conservative early-Aerosmith British-style amplification rather than claiming a specific session rig. Source: Guitar World, “Joe Perry Looks Back on Aerosmith in the 1970s” (2024).

Joe Perry recorded the signature riff with a late-'50s Stratocaster, an Ampeg V-series amplifier, a Marshall 4x12 and a Maestro Fuzz-Tone adding a small amount of hair. The knob positions are approximated from that documented rig and Guitar World's recreation advice. Source: Guitar World, “The Secrets Behind Joe Perry's Guitar Tone on Aerosmith's Walk This Way” (2019).

The intro's vocalized guitar comes from Joe Perry's Kustom Electronics The Bag talk box, while the body of the song uses dry, mid-forward 1970s Aerosmith crunch. Perry has identified Ampeg V4 and Music Man amplifiers as his principal 1970s alternatives to the expected Marshall; exact song-specific control positions and guitar assignments are not firmly documented, so these settings are representative. Source: Guitar World Joe Perry Amps Through the Decades and Sweet Emotion session accounts.

The clipped rhythm was a bridge-pickup Strat recorded directly into the console and double-tracked. The solo used a P-90 Goldtop Les Paul, heavily gated and compressed into the desk, then reamped through a Mesa/Boogie, with rotating-speaker coloration prominent in the final sound; values below approximate that documented production chain. Source: Gilmourish The Wall Setups and Roland Tone Dissected.

The signature lead is much cleaner than many Gilmour presets: Strat neck pickup, Colorsound Power Boost at mild crunch and a large clean Hiwatt foundation. Delay and reverb add dimension without hiding the pick attack; numerical settings are approximated from the documented rig and tonal description. Source: Gilmourish Classic Tone — Shine On You Crazy Diamond and Kit Rae.

The first two solo sections use a Strat with the era's silicon Fuzz Face sound, feeding loud clean Hiwatt or Fender amplification with restrained Binson echo. A mild Colorsound boost is included because it appears in documented contemporary setups, although its use on the studio recording is not conclusively established; control positions are representative. Source: Gilmourish Dark Side of the Moon Setups and Kit Rae Tone Building.

The solo's bright, aggressive sustain comes from Gilmour's Strat and silicon Dallas-Arbiter Fuzz Face feeding a very loud clean amplifier. Accounts differ between a Hiwatt and a Fender Twin, so this version follows the engineer-supported Twin account; the numerical controls are approximated from the documented rig and Gilmourish guidance. Source: Gilmourish Classic Tone — Time.

May's foundation is the Red Special into a treble booster and cranked Vox AC30, extended by tape echoes that turn a single line into counterpoint. The studio recording uses a less elaborate echo arrangement than later concerts, but the approximately 800/1600 ms dry-centre/twin-delay system recreates the famous developed Brighton Rock sound. Source: Guitar Player archive interview and Brian May Live Rig.

The record combines Joe Walsh's brighter single-coil attack with Don Felder's thicker Les Paul rhythm voice. Line 6's artist template identifies a 1950s Strat and 1959 Les Paul, both in standard tuning and paired with Fender Deluxe-style amplification; knob positions below are practical approximations. Source: Line 6 Tone Templates and Guitar World.

This is a responsive Les Paul-through-vintage-tube-amp interpretation of the song's live-in-the-room blues sound, with no drive pedal obscuring Page's guitar-volume and pickup changes. The precise studio amplifier remains disputed, so the small British combo and its settings are representative rather than definitive. Source: Happy Bluesman and Led Zeppelin Forums.

Page recorded the Les Paul through a direct box into a mixing-console mic preamp driven into distortion, followed by two UREI 1176 compressors in series. The riff was triple-tracked, so this preset uses representative preamp and compressor values because the original control positions were not published. Source: Guitar Player, Behind Led Zeppelin's Black Dog Riff.

The defining ingredients are a Danelectro in DADGAD and a loud, moderately driven Marshall-style amp. Exact session control positions are not documented, so these settings approximate the broad, relatively open tone rather than adding modern high gain. Source: Kuassa How to Sound Like Jimmy Page — Kashmir and Guitar Player.

The final arrangement is driven mainly by piano and percussion, leaving Richards' two sharply contrasting guitar solos exposed against the rhythm section. Guitar World identifies a three-pickup Gibson Les Paul Custom through a Vox AC30 as the source of the brittle, bass-light lead tone; exact controls were not preserved, so the settings below are approximated from that chain. Source: Guitar World's Rolling Stones riff feature.

Richards recorded the completed intro with an open-G Telecaster, while Ronnie Wood doubled the riff with a harder electric tone and added sparse fills. Gear histories also associate a P-90 Les Paul Junior layer with the track, but the exact amplifier models and control positions were not published. Settings approximated from the documented guitars and layered arrangement. Source: Guitar World's Rolling Stones riff feature and Mixdown's Keith Richards gear rundown.

The recording's rich acoustic texture combines Keith Richards' open-tuned 12-string with Mick Taylor's six-string acoustic restrung in Nashville tuning. Richards also added a restrained electric layer, but the exact acoustic models, microphones and electric amplifier are not firmly documented. Settings approximated from the confirmed layered tunings and guitar roles. Source: Guitar World's Nashville-tuning guide, Shutup & Play and Time Is on Our Side.

Richards' opening riff is an open-G part commonly associated with a Les Paul neck-pickup sound, although the exact session guitar and amplifier are not conclusively documented. Mick Taylor's extended outro was improvised on a Gibson ES-345 and developed into the song's Latin-influenced jam. Settings approximated from the likely Richards chain and Taylor's documented instrument. Source: Premier Guitar's Sticky Fingers lesson and Guitar World's Stones guitarist history.

The rhythm is built around Richards' five-string open-G vocabulary, with suspended-fourth and sixth embellishments moving around compact chord inversions. Mick Taylor adds a second, standard-tuned guitar that darts around Richards' rhythm, but the precise Muscle Shoals guitars and amplifiers remain debated. Settings approximated from the documented tuning and two-guitar arrangement. Source: Guitar World's Rolling Stones riff feature, open-G guide and Stones guitarist history.

Richards' sparse introduction uses open-G tuning and a thumb-and-finger attack that leaves unusually large spaces around the notes. Mick Taylor supplied the cleaner country-influenced lead fills between vocal lines, but the precise session guitars and amplifiers are not firmly documented. Settings approximated from the confirmed tuning, guitar roles and Stones' late-1960s edge-of-breakup sound. Source: Guitar World's Rolling Stones riff feature and Guitar Player's 1969 tour history.

Keith Richards recorded the signature guitar with an Australian Maton EG240 Supreme, using a pulsing tremolo texture and an amplifier set just beyond clean. Accounts disagree about the precise studio tuning and amplifier, so this recreation uses standard tuning and a generic British-style tube amplifier rather than assigning unsupported hardware. Settings approximated from the confirmed guitar and audible tone. Source: Guitar World's isolated-guitar feature and MusicRadar.

Richards recorded the core sound with a Gibson Hummingbird in open D and a second high-strung acoustic, forcing both guitars into the microphone of a Philips cassette recorder until it distorted. The cassette was then played through an extension speaker, creating a compressed, electric-like grind before additional electric rhythm and lead parts were added. The recorder had no conventional calibrated controls, so its settings are representative. Source: Guitar Player's Keith Richards cassette-recorder feature.

The track's defining timbre is Brian Jones' real Indian sitar, whose sympathetic strings give the melody its sustained metallic resonance. Richards and Jones support it with tightly strummed rhythm instruments, but detailed session settings and exact guitar models have not been reliably documented. Settings approximated around the confirmed sitar-led arrangement. Source: Guitar World's Keith Richards riff retrospective and Bill Wyman recording feature.

Keith Richards treated the central guitar line as a temporary guide for a future horn arrangement, using a Maestro FZ-1 Fuzz-Tone to give it a sustained, brass-like character. Engineer Dave Hassinger reportedly applied substantial console EQ to make the primitive fuzz cut through, while the precise guitar, amplifier and settings remain disputed. Settings approximated from the documented session equipment. Source: Premier Guitar's Rolling Stones Gear excerpt and Guitar World.

Frusciante recorded the song on his 1960 Fender Custom Telecaster, using the bridge pickup and the Boss CE-1’s preamp colour for the dry, percussive main riff. An Electro-Harmonix Electric Mistress appears in the second half of the bridge, while the solo uses a Big Muff Pi; exact amplifier and pedal controls were not published, so the numerical values are representative. Source: Ground Guitar’s By the Way gear breakdown and Custom Telecaster history.

The bulk of the recording used Mayer’s original 1964 Fender Stratocaster through a vintage Deluxe Reverb, while the main overdubs used a pair of Two-Rock amplifiers. The chorus chords were recorded through a Marshall Bluesbreaker, and the lead guitars used a Dumble Steel String Singer and Marshall with extensive close and room microphone arrays; settings are approximated because the engineer documented equipment rather than knob positions. Source: MusicRadar’s Slow Dancing in a Burning Room recording feature.

The riff’s unusually broad shimmer comes from Alex Turner’s vintage Vox Starstream XII twelve-string, an instrument closely tied to both the recording and live arrangement. The exact studio amplifier and gain device are not conclusively documented, so this recreation uses the AM-era Selmer Zodiac and Magnatone pairing with conservative, representative settings. Source: Mixdown’s Alex Turner gear rundown and Equipboard’s Do I Wanna Know? gear archive.

Morello recorded the track with his Sendero Luminoso Fender Telecaster through a 50-watt Marshall JCM800 and a Peavey 4x12. The solo adds a DigiTech Whammy set two octaves up, while the entire recording remains exceptionally dry with no reverb; exact amplifier controls are approximated from the documented rig. Source: Premier Guitar’s Tom Morello Rig Rundown and Roland/BOSS’s Killing in the Name tone analysis.

Don Felder’s introduction combined a centrally miked Takamine 12-string with its DeArmond pickup routed through an Echoplex, small Orange amplifiers and Leslie-style stereo movement. The closing harmonies contrast Felder’s 1959 Les Paul through a cranked Fender Tweed Deluxe with Joe Walsh’s Telecaster, probably through a Roland Cube; exact control positions are approximated from the documented equipment. Source: Guitar World’s Hotel California gear feature and MusicRadar’s Don Felder interview.

Frusciante played the track on his 1957 Gretsch White Falcon, most likely through the Fender Showman used for several of the album’s spacious clean sounds. No reliable song-specific amplifier settings or distortion-pedal assignment has surfaced, so the controls below are restrained approximations based on the documented guitar and probable amplifier. Source: Ground Guitar’s Californication rig breakdown and White Falcon history.

The arrangement begins with Page’s Harmony Sovereign acoustic, adds a Fender Electric XII and culminates in a solo recorded on his 1959 Dragon Telecaster. Page has confirmed that the modified Supro Coronado associated with his early studio work was used for the solo, although no exact Stairway control sheet survives, so the amplifier settings are approximated from the documented Supro configuration. Source: Guitar World’s Jimmy Page gear guide and Supro tone feature.

Randy Rhoads recorded the track with his 1974 Gibson Les Paul Custom, an MXR Distortion+, an MXR ten-band EQ and a rented stock Marshall Super Lead driving Altec-loaded cabinets. Guitar World published the original pedal, amplifier and EQ positions, while producer Max Norman added short, detuned stereo delays during mixing. Source: Guitar World’s “Secrets Behind Randy Rhoads’ Guitar Tone on Crazy Train.”

The defining riff uses an Electro-Harmonix Small Clone to create the watery modulation Butch Vig specifically associated with the track. The exact guitar and clean amplifier have never been conclusively identified, although a Japanese Fender and the Vox AC30 from the Nevermind sessions are credible choices; settings are approximated from that documented equipment. Source: Guitar World’s Kurt Cobain gear guide and Ground Guitar’s Nevermind breakdown.

The main rhythm tone came from a Gibson Flying V plugged directly into a Mesa/Boogie Mark IIC+, with a BB/Aphex EQF-1 inserted in the amplifier’s effects loop. Flemming Rasmussen’s surviving notes provide unusually precise amplifier settings, while the external EQ curve and clean-interlude chain remain partly undocumented. Source: Mixdown’s Master of Puppets tone feature and Flemming Rasmussen’s Mark IIC++ demonstration.

The arrangement is built from clean, interlocking guitar patterns rather than a large effects chain. Greenwood's Telecaster Plus is essentially dry and uses an Akai Headrush only to record the loop that continues through the ending, while O'Brien adds sustained background tones with a Sustainer Strat. The instrument assignments follow the From the Basement recreation and settings are approximated where controls were not documented. Source: The King of Gear's Weird Fishes documentation.

Yorke's central tone is unusually simple and well documented: a hollow Gibson ES-125T in DBDGBE tuning, through a Tech 21 XXL distortion and a loud, relatively clean Vox AC30. The hollow body resonates strongly in front of the amplifier, allowing Yorke to turn sustained notes into controlled feedback. Exact knob positions were not published and are approximated below. Source: The King of Gear's There There tone analysis.

The record's defining bell-like melody is a real glockenspiel rather than a processed guitar. For a guitar-oriented recreation, Yorke's capo-three acoustic supplies the chord bed while O'Brien's capo-15 Rickenbacker and delay create a delicate high-register layer. These chains follow the documented live arrangement, with numerical settings approximated. Source: The King of Gear's No Surprises and glockenspiel documentation.

The central guitar is Yorke's dry acoustic accompaniment to the piano, while Ed O'Brien supplies the increasingly unstable electric texture near the ending. The chains below use the band's documented live recreation: Gibson B-25 acoustic, Rickenbacker 360, distortion, digital delay and Fender/Vox amplification. The precise studio acoustic, effect units and knob positions remain uncertain, so settings are approximated. Source: The King of Gear's Radiohead performance documentation and Mixdown's OK Computer gear rundown.

Greenwood uses the Telecaster Plus neck pickup, Small Stone phaser and Vox AC30 for the opening sections, then switches to the bridge pickup, ShredMaster and Fender Eighty-Five for the heavy passages. The studio's final solo was additionally processed through a Mutronics Mutator while its filter controls were manipulated in real time. Exact knob positions are approximated from the documented effects and performance setup. Source: The King of Gear's Paranoid Android documentation.

Yorke's rhythm chain used a Telecaster Thinline, Pro Co Turbo RAT and silverface Fender Twin, while Greenwood used a Telecaster Plus, ShredMaster, Fender Eighty-Five and Whammy. The final piercing lead uses the Whammy's octave-up shift over Greenwood's mid-heavy distortion. Exact settings were not published and are approximated from the documented period rig. Source: The King of Gear's The Bends gear list and Whammy spotlight.

Greenwood created the main riff with a Telecaster Plus in the unusual EGDGBEb tuning through a DigiTech Whammy WH-1 set to add an octave above the clean guitar. The heavier sections switch to his Marshall ShredMaster and Fender Eighty-Five distortion path, while Ed O'Brien adds sustained EBow texture. Exact knob positions are approximated from the documented equipment. Source: Guitar World and The King of Gear's My Iron Lung documentation.

The song begins around Yorke's restrained acoustic performance before the full arrangement introduces Greenwood's Telecaster Plus, Small Stone phaser, Space Echo, ShredMaster and Fender amplifiers. The exact acoustic used on the master is not conclusively documented, so Yorke's period Takamine EN10C is used as the representative choice. Numerical settings are approximated from the documented touring and recording-era equipment. Source: The King of Gear's The Bends gear list and Thom Yorke guitar archive.

Thom Yorke performed the song on a Takamine EN10C acoustic, while Jonny Greenwood used his Telecaster Plus, volume pedal, ShredMaster and Fender Eighty-Five during the relevant period. The record's electric lead is only lightly broken up, so the ShredMaster is set as a restrained mid-focused boost rather than Greenwood's full distortion sound. Exact studio knob positions are unavailable and have been approximated. Source: The King of Gear's The Bends gear list.

The verse combines a subdued, tremolo-treated clean guitar with Jonny Greenwood's much harsher Telecaster Plus, Marshall ShredMaster and Fender Eighty-Five chorus sound. Greenwood creates the famous pre-chorus impacts by violently striking muted strings rather than playing defined chords. The clean-chain settings are reconstructed from Ed O'Brien's early effects rig, while the distortion architecture is documented. Source: The King of Gear and Kuassa's Creep tone breakdown.

Brendan B. Brown recorded the song around a Martin acoustic, using a Tech 21 SansAmp PSA-1 preamp with carefully selected settings to create the unexpectedly huge distorted sections. The exact PSA-1 numbers were described as highly particular but were not fully published, so the values below are a representative direct-recording reconstruction based on the documented hardware. Source: Guitar.com’s Wheatus song-story interview (2026).

Justin Hawkins is closely associated with white Gibson Les Paul Customs, while Dan Hawkins built the band’s rhythm foundation around a Gibson Les Paul Standard and loud Marshall Plexi-style amplification. The exact debut-session amp settings remain undocumented, so these are representative values; the two lead sections are separated to reflect Dan’s bluesier first solo and Justin’s more flamboyant final solo. Source: Premier Guitar’s Darkness Rig Rundown and MusicRadar’s song retrospective.

Jim Adkins has identified an American Standard Telecaster into a small Fender Champ as the source of the recorded guitar solo. The rhythm settings are approximated from Jimmy Eat World’s straightforward guitar-into-tube-amp approach of the period, while the solo chain follows the documented instruments. Source: MusicRadar’s Jim Adkins retrospective (2026) and Guitar World’s Jimmy Eat World rig feature.

Patrick Stump and Joe Trohman constructed complementary guitar parts rather than relying on one continuous wall of identical power chords. Both players were associated with Mesa/Boogie Dual Rectifiers and Mesa cabinets during this period, but the exact guitars and amplifier controls for the master are not publicly documented, so these settings are approximated. Source: Song Exploder’s Fall Out Boy episode (2025) and Ultimate Guitar’s period gear archive.

Josh Farro’s early Paramore setup included a humbucker-equipped 1972 Telecaster Deluxe, Marshall JCM2000 and Mesa/Boogie amplification, with simple delay available for lead textures. The precise studio guitar and control settings for “Misery Business” have not been published, so the values below are approximated from the documented 2007-era rig. Source: Guitar World and Fender Josh Farro gear walkthroughs, with Equipboard’s period archive.

Nick Zinner’s first guitar, an 1980s Japanese Strat-style instrument, remained his principal instrument, with bright Fender Deluxe and darker Fender DeVille amplifiers forming his core sound. The precise recording chain for “Maps” is undocumented, so this preset is a live-era reconstruction that moves from spacious clean repetition to Zinner’s documented RAT-based fuzz voice. Source: Premier Guitar’s Nick Zinner Rig Rundown (2013).

The Followills’ period sound was built around semi-hollow Gibson-family guitars, chime-oriented Vox and Matchless amplifiers, reverb and restrained lead delay. A definitive song-specific studio chain has not been published, so these settings are approximated from the band’s documented live and album-era rigs. Source: Premier Guitar’s Kings of Leon rig feature and Guitar World’s Kings of Leon style guide.

The album was recorded with Albert Hammond Jr. and Nick Valensi playing through separate Fender DeVille amplifiers in the same small room, each captured with a simple microphone chain and no corrective EQ. The Stratocaster and Epiphone Riviera assignments reflect their established debut-era instruments, while the settings are approximated because no song-specific knob sheet survives. Source: Sound on Sound’s Gordon Raphael interview (2002).

Dave Keuning confirms that the recording used his Ibanez Destroyer into a Fender Hot Rod DeVille, the same basic chain heard across most of Hot Fuss. The famous riff is a Dadd9-derived voicing high on the neck with the open high-E string ringing throughout; exact amplifier controls were not published, so the settings are approximated from the documented rig. Source: Guitar Player’s Dave Keuning career retrospective (2022).

Jack White recorded all three guitar voices with an early-1960s Kay K6533 archtop through a Sears Silvertone 1485. The apparent bass riff is the guitar shifted one octave down, while the solo adds a Big Muff after the Whammy; the documented original settings are reproduced below. Source: Guitar World’s “Secrets Behind Jack White’s Guitar Tone on Seven Nation Army” (2020).

An Erlewine Automatic is strongly associated with the song’s central guitar part, alongside possible Schecter or Fender layers. Contemporary gear databases list compression and reverb while the nasal filtering may be wah or phaser based, so the generic parked-filter block below is an honest reconstruction rather than a confirmed pedal model. Source: MK-Guitar’s Love over Gold database and Erlewine Automatic tone discussion.

The recording uses Knopfler’s bright Stratocaster fingerstyle vocabulary with compression, reverb and a clean tone close to the edge of breakup. The exact pickup position and amplifier are not conclusively documented, so the bridge-and-middle selection and Fender-style settings are representative of the audible tone and period rig. Source: MK-Guitar’s Communiqué database, TonesMatch and Songsterr.

The central melodic voice is a nylon-string classical guitar, while Schecter or Fender electric layers add isolated stereo phrases, violin-like effects and the later strident chord stabs. The exact classical instrument and electric amplifier are uncertain, so the settings below preserve the documented instrumentation while approximating the processing. Source: MK-Guitar’s Love over Gold database and Equipboard’s Private Investigations gear page.

The distinctive central lead was played from a Pensa-Suhr R Custom guitar controller into a New England Digital Synclavier rather than being solely a conventional miked amplifier tone. The exact Synclavier patch parameters were not preserved publicly, so the settings approximate its bright, compressed and slightly synthetic attack. Source: MK-Guitar’s Brothers in Arms database and Ground Guitar’s Mark Knopfler gear archive.

The atmospheric introduction includes Knopfler’s National resonator, while the long arrangement later layers Schecter Strat-style electric leads, acoustic rhythm and several additional guitar voices. The individual studio amplifiers are not securely documented, so the electric settings approximate the clean, compressed and gradually overdriven Love over Gold palette. Source: MusicRadar’s National Style O history and MK-Guitar’s Love over Gold database.

Knopfler acquired a Schecter Strat-style guitar while making the album, and that instrument became closely associated with “Tunnel of Love” in subsequent performances. The precise studio amplifier and control settings remain uncertain, so this preset uses a representative high-headroom period combo with compression, reverb and restrained delay. Source: Christie’s Crossroads guitar catalogue and MK-Guitar’s Making Movies database.

The principal guitar riff is associated with Knopfler’s red Schecter Telecaster using both pickups, with compression and reverb providing its even, springy attack. The studio amplifier is not reliably documented, so the clean amplifier and numerical settings below are representative rather than attributed to a specific model. Source: Christie’s Mark Knopfler auction catalogue and MK-Guitar’s Brothers in Arms database.

The defining arpeggio was played fingerstyle on Knopfler’s National Style O resonator in Open G with a capo at the third fret. A red 1961 Fender Stratocaster and additional acoustic layers enter later; the electric pickup and amplifier controls are not documented, so those values are representative. Source: MusicRadar’s Romeo and Juliet feature and MK-Guitar’s Making Movies database.

Knopfler used his 1983 Gibson Les Paul ’59 Reissue on the neck pickup through a Marshall JTM45, producing a thick but relatively low-gain voice. Compression, reverb and spacious production extend the notes, but exact control positions were not published, so the values are approximated from the documented chain. Source: Guitar World’s Brothers in Arms retrospective and MK-Guitar’s album database.

The signature riff was recorded fingerstyle with a Gibson Les Paul through a Laney amplifier, with a wah parked in a fixed position to emphasize the nasal midrange. Sources disagree over the precise Les Paul model, while the strange texture also depended on two microphones combining partially out of phase, so the settings are representative rather than an exact knob sheet. Source: Sound on Sound Classic Tracks and Guitar World.

The song grew from a bass groove, a keyboard pedal and a solid beat before its final vocal and guitar arrangement took shape. The Tonight sessions used live repeated sections, experimental mic placement and committed processing; a community transcription associates the main guitar with a Hagström P46 Deluxe, but the master’s exact chain is unconfirmed, so settings are approximated. Source: The Line of Best Fit’s Franz Ferdinand retrospective, Tape Op’s Dan Carey interview, and Songsterr’s “No You Girls” transcription.

The Tonight sessions emphasized committed sounds rather than clean DI safety tracks, with unusual room and microphone choices and songs assembled from repeated live sections. No reliable source identifies the exact guitar, amp or controls for “Ulysses,” so this preset uses a representative Telecaster, Selmer/Bassman-style blend and aggressive tracking-stage filtering. Source: Tape Op’s Dan Carey interview and Paul Savage interview on Tonight: Franz Ferdinand.

The arrangement uses Franz Ferdinand’s characteristic division between a blunt rhythmic hook and a thinner answering guitar. A community transcription confirms a distorted guitar part, but the recording’s exact guitar and amplifier assignments are not documented, so the SG, Telecaster and amp settings are approximated from the band’s established era rig. Source: Premier Guitar’s “Spanners in the Works,” The Line of Best Fit’s Franz Ferdinand retrospective, and Songsterr’s “The Fallen” transcription.

Kapranos wrote the song almost completely on acoustic guitar before he and McCarthy later added the opening electric riff. The second album extended the debut’s textures, but no definitive song-specific guitar or amp list is available, so the clean Telecaster and P-90 chorus settings are representative approximations. Source: The Line of Best Fit’s Franz Ferdinand retrospective and Premier Guitar’s “Spanners in the Works.”

The second album continued the debut’s interlocking guitar textures, and Kapranos later documented a direct-to-amp preference with Telecasters while McCarthy commonly used a P-90-equipped Gibson SG. The exact session guitars, amplifiers and controls for this track are not public, so the settings below approximate that established two-player palette. Source: Premier Guitar’s “Spanners in the Works” and The Line of Best Fit’s Franz Ferdinand retrospective.

The early single belongs to the same lean dual-guitar language later captured on the debut: sparse melodic parts, hard attack and very little low-frequency weight. No song-specific equipment log survives, so the Telecaster/Hagström assignments and controls are representative settings approximated from the documented Selmer and Bassman rig. Source: Sound on Sound’s “Recording Franz Ferdinand,” Premier Guitar’s “Spanners in the Works,” and The Skinny’s Alex Kapranos retrospective.

The song’s guitar arrangement separates a clipped dance rhythm from a more overdriven lead part, while the album sessions relied mainly on the Selmer and Fender Bassman 100. A community transcription attributes the overdriven lead to Alex Kapranos, but exact instruments and settings are not documented, so the chains below are conservative approximations. Source: Sound on Sound’s “Recording Franz Ferdinand” and Songsterr’s “Michael” transcription.

The debut’s guitars were captured through a battered Selmer and Fender Bassman 100 with substantial low-frequency roll-off, producing the wiry space between the parts. A Höfner Galaxie appears with Kapranos in the song’s visual material, but its use on the recording is unverified; settings are therefore approximated from the album rig. Source: Sound on Sound’s “Recording Franz Ferdinand,” Equipboard’s Alex Kapranos archive, and The Line of Best Fit’s Franz Ferdinand retrospective.

Nick McCarthy is visually associated with a 1959 Hagström P46 Sweetone for this song, while the debut sessions are documented around Kapranos’s Selmer and Hardy’s Fender Bassman 100. Whether that exact Hagström appears on the master is not confirmed, so the guitar assignment and knob values are a representative reconstruction from the documented era. Source: Sound on Sound’s “Recording Franz Ferdinand” and Equipboard’s Nick McCarthy gear archive.

Alex Kapranos and Nick McCarthy recorded the debut’s guitars mainly through Kapranos’s battered Selmer and Bob Hardy’s Fender Bassman 100, with bass rolled away at the microphone to create the band’s thin, interlocking attack. The tempo change was performed live, while the guitar identities and numerical controls below are representative settings approximated from the documented rig. Source: Sound on Sound’s “Recording Franz Ferdinand” and The Guardian’s “How We Made Take Me Out.”

The recording uses Rob Cavallo’s Taylor 514C for its acoustic foundation, with the acoustic in standard tuning and capoed at the first fret while the electric guitar remains uncapoed. Tremolo defines the pulsing verse texture, and the heavier sections use the American Idiot-era Les Paul and modified-amp palette; exact effect and amplifier controls are approximated. Source: Guitar World’s Taylor 514C and American Idiot features, plus GuitarLessons365’s arrangement analysis.

The track uses the American Idiot-era Les Paul and modified-amplifier palette, centred on a P-90 Les Paul Junior with the Idiot Amp and Dookie-modded Park 75. No reliable song-specific amp settings have been published, so the values below approximate the album’s large but articulate rhythm sound and slightly more focused lead voice. Source: Guitar World’s making-of-American Idiot feature and Billie Joe Armstrong guitar history.

Armstrong used a Les Paul Junior for the primary rhythm, a Les Paul Standard for the double-tracked solo, and a tweed Fender Tremolux for the deliberately smaller opening sound. The album’s heavy tones came from the extra-gain-stage Idiot Amp and a Dookie-modded Park 75; numerical settings are approximated from that documented chain. Source: Guitar World’s making-of-American Idiot feature (2024).

The song reflects Warning’s more acoustic, folk-influenced direction, opening with bright acoustic strumming before adding a compact electric-band sound. The precise studio acoustic, electric guitar and amplifier models are not credibly documented, so the signal chains deliberately use generic period-appropriate descriptions rather than assigning unsupported instruments. Source: Guitar World’s Green Day career retrospective, Equipboard’s Warning-era archive and Premier Guitar’s 2024 Rig Rundown.

The album recording used producer Rob Cavallo’s Taylor 514C, later nicknamed Excalibur, rather than the Gibson J-45 seen in the video. The exact microphones and processing are not publicly documented, so the compression and room settings below are conservative approximations intended to preserve the Taylor’s crisp attack. Source: Guitar World’s Taylor 514C recording feature (2025).

Blue is specifically associated with the song, and Armstrong has described the modified 100-watt Super Lead Pete as his main amplifier through roughly the Nimrod period. Insomniac involved testing multiple amplifiers for thicker sounds, but no song-specific chain is securely documented, so this preset centers on Pete with a small amount of additional high-gain Marshall weight. Source: Premier Guitar’s Green Day Rig Rundown and Guitar World’s Billie Joe Armstrong interview.

Blue and the Pete/Meat Marshall pairing provide the song’s alternation between narrow palm-muted verses and broad open-chord choruses. The guitar and amplifier architecture is documented, but no exact settings survive for this track, so the values below are approximated from the album’s two-amp blend. Source: Jim Dunlop’s Dookie Drive feature, Guitar World’s Billie Joe guitar history and Premier Guitar’s Green Day Rig Rundown.

The verses deliberately leave space for Mike Dirnt’s bass line before Blue and the modified Marshall blend enter with force. The documented album tone combines Pete and Meat, but exact song-specific settings are unavailable, so this reconstruction uses a slightly scooped, heavier balance for the choruses. Source: Jim Dunlop’s Dookie Drive feature, Premier Guitar’s Green Day Rig Rundown and Guitar World’s Dookie retrospective.

The recording belongs to the Blue-and-modified-Marshall sound of Dookie, combining Pete’s midrange definition with a lower amount of Meat’s scooped gain. No credible song-specific knob sheet survives, so the settings are approximated to emphasize the track’s drier, less saturated groove. Source: Jim Dunlop’s Dookie Drive feature, Premier Guitar’s Green Day Rig Rundown and Guitar World’s Billie Joe playing guide.

The core sound uses Billie Joe Armstrong’s single-humbucker Fernandes S-style guitar, Blue, in Eb standard through the two modified Marshall Super Leads nicknamed Pete and Meat. Pete supplied the defined midrange while Meat added higher-gain, scooped weight; exact song-specific blend and control positions were not published, so the settings are approximated from the documented album rig. Source: Jim Dunlop’s Dookie Drive feature and Premier Guitar’s Green Day Rig Rundown.

Frusciante returned to his 1962 Stratocaster and Marshall Major/Silver Jubilee stacks, using predominantly the neck pickup for the album’s core sound. He recorded the solo at extreme volume through all four Marshall cabinets, moving around the room to find different feedback notes, and applied a subtle stereo modular treatment to its final four bars; settings are approximated from his detailed account. Source: Guitar World’s Unlimited Love interviews with John Frusciante (2022).

The rhythm guitar uses a subtle moving-filter effect controlled by an expression pedal rather than a conventional fixed wah sweep. Klinghoffer’s Jazzmaster is associated with the song’s video, while his period rig combined a Marshall Major with a Fender Tone-Master and a large collection of filters, boosts and delays; the exact studio guitar and processor remain undocumented, so this is a live-era reconstruction. Source: Premier Guitar’s 2017 RHCP Rig Rundown and expression-pedal guide, plus Equipboard’s The Getaway page.

The rapid clean riff was probably recorded with Frusciante’s 1962 Stratocaster through his Marshall Major and Silver Jubilee setup. The outro used an Electro-Harmonix POG for an organ-like octave texture, followed by three separately recorded distorted notes forming the final arpeggio; exact controls are approximated. Source: Ground Guitar’s Stadium Arcadium song-by-song breakdown and Guitar World’s Frusciante technique feature.

Frusciante used his 1954 Stratocaster, beginning with a straight clean tone before splitting the signal into dry and Doepfer-filtered stereo paths. The chorus was doubled through a Boss DS-2, while later sections used MuRF processing, tape phasing, wah and Delta Labs Effectron delay; settings are approximated because the interview documents techniques rather than knob positions. Source: Ground Guitar’s Stadium Arcadium song-by-song breakdown, based on Frusciante’s 2006 Guitar Player interview.

The title track contrasts a tightly muted clean verse with a much broader distorted chorus. Frusciante’s album-era setup centred on his 1962 Stratocaster and large Marshall Major/Super Bass-family amplifiers, but the precise guitar, pedal and control assignments for this individual track are not fully documented, so the DS-2 chorus settings are a conservative reconstruction. Source: Ground Guitar’s By the Way gear breakdown and Marshall Major history.

The song was recorded during the Blood Sugar Sex Magik sessions with Frusciante’s late-1950s Stratocaster and the album’s split Marshall guitar-and-bass-head setup. The Boss CE-1 Chorus Ensemble is strongly associated with the song’s wide, nostalgic clean sound, but its exact studio controls were never published, so the settings below are representative. Source: Mixdown’s Blood Sugar Sex Magik gear rundown and BOSS’s Dave Lee interview.

Frusciante borrowed engineer Jim Scott’s 1966 Fender Jaguar for the recording and ran it through the Californication-era Marshall JTM45 and Super Bass combination. No reliable evidence identifies a distortion pedal or exact control positions for the master, so the change from the heavy intro to the muted verse is recreated through guitar volume, picking and amp response. Source: The Story of Your Instruments’ Fender Jaguar history and Ground Guitar’s Californication rig breakdown.

Frusciante identified the main recording chain as his Gretsch White Falcon through a Fender Showman and Marshall 4x12. A 1961 Gibson SG/Les Paul Custom was used during the heavier breakdown, but its precise amplifier and control settings were not documented, so that section is approximated from the Californication-era Marshall setup. Source: Ground Guitar’s White Falcon and 1961 Gibson SG gear histories.

Frusciante played the main track on his maple-neck 1954 Stratocaster and switched to a 1960 Fender Custom Telecaster for the solos, recording through a Fender Showman. The first solo remained clean while a later solo used a Boss FZ-3 Fuzz; exact controls are not documented, so the settings are approximated from the confirmed chain. Source: Ground Guitar’s Californication rig breakdown.

Frusciante’s Blood Sugar Sex Magik basics commonly used a late-1950s Stratocaster split between Marshall guitar and bass heads, with very little ambience or layering. The unusual solo was recorded as a sparse forward performance and reversed on tape; exact song-specific amplifier settings were not documented, so the controls below are representative. Source: Guitar Player’s 1991 John Frusciante interview, Mixdown’s Blood Sugar Sex Magik gear guide, and Far Out.

The signature riff uses the Red Special’s bridge and neck pickups with the neck out of phase, while the early Queen sound combines treble-boosted Vox AC30 drive with prominent phasing and layered lead guitars. The Foxx Foot Phaser is closely associated with recreating the track, but exact original control positions are not documented, so the values below are representative. Source: Guitar World’s Red Special pickup guide, Guitar Player’s Brian May studio interview, and Brian May’s official song demonstration.

Brian May documented the core sound as the Red Special’s bridge and middle pickups in phase through his Vox AC30 with no effects, recorded in Drop D. The opening is two guitars double-tracked, with additional layers added as the arrangement grows; the mix received unusual extra upper-mid EQ for clarity. Exact AC30 controls were not supplied, so the settings below use his established cranked Normal-channel configuration. Source: BrianMay.com’s Total Guitar interview (2011).

John Deacon—not Brian May—played the clean funk rhythm, most likely on a new Fender Stratocaster, while May later added sparse distorted punctuations to push the track toward rock. The exact clean amplifier, Strat pickup position and controls are undocumented, so that chain is deliberately generic; May’s overdubs use his established Red Special and boosted AC30 sound. Source: Guitar World’s Queen track-by-track interview (2024) and Brian May interview (2019).

Freddie Mercury recorded the all-downstroke rhythm on a six-string Martin acoustic captured with two microphones and processed as a stereo spread. Brian May used Roger Taylor’s old Fender Esquire/Broadcaster-type guitar for the James Burton-inspired electric lines; May’s recollections conflict between a Mesa/Boogie and a Fender amp, so this preset follows his detailed 1983 Mesa/Boogie account and labels the settings approximate. Source: Guitar Player’s Brian May studio interview, Guitar World’s Queen track-by-track interview, and Queen Songs studio documentation.

Freddie Mercury treated the song as a piano-and-vocal powerhouse and rejected most rhythm guitar, leaving May a single verse-length solo to take over the melody. The warm, slightly quacky tone is documented as neck and middle pickups in phase; exact amplifier controls were not published, so the values below are approximated from May’s standard boosted AC30 chain. Source: Guitar World’s Queen track-by-track interview (2024) and Red Special tone guide (2020).

May rebuilt much of the guitar arrangement immediately before mixing, adding answering phrases designed to fight with Freddie Mercury’s vocal rather than inserting a conventional solo. The lead pickup setting is documented as neck and middle with the middle out of phase; exact amp controls were not published, so the AC30 values are representative. Source: Guitar World’s Queen track-by-track interview (2024) and Red Special tone guide (2020).

The studio arrangement withholds melodic guitar until the final section, where May begins with controlled E feedback and expands a C power chord into open-position and octave-register lead/rhythm ideas. The precise recording controls are not documented, so this preset uses his established Red Special, treble booster and cranked AC30 chain with representative settings. Source: Guitar World’s Queen track-by-track interview (2024) and Brian May gear guide.

The original chain is unusually well documented: Red Special bridge and middle pickups in phase, Dallas Rangemaster treble booster always on, and a mid-1960s Vox AC30 Normal channel with volume at maximum and cut at zero. May set the guitar volume around halfway for the rhythm and raised it to 8–10 for the solo. Source: Guitar World’s “Secrets Behind Brian May’s Guitar Sound on Tie Your Mother Down” (2018).

Brian May constructed the solo as three independent guitar voices that enter like a peal of bells, with stereo panning enhancing the final section. His orchestral recording sound combined the Red Special and treble booster with Vox AC30 and Deacy-amp textures; the second half of the solo is documented on the neck pickup. Exact controls were not published, so settings are approximated from the documented rig. Source: Guitar World’s Queen track-by-track interview (2024), Brian May gear guide (2020), and Guitar Player’s studio interview.

Brian May used the Red Special’s unusually broad pickup palette across the track, including a neck-and-middle in-phase clean texture under the piano, an out-of-phase neck-and-middle main solo, and changing pickup combinations in the hard-rock section. The fundamental chain was treble booster into a cranked Vox AC30, but exact knob positions were not published, so the settings below are representative. Source: Guitar World’s Brian May Bohemian Rhapsody interview (2021) and Red Special tone guide (2020).

Guitar World identifies Malcolm’s Marshall Super Bass as a defining source for “For Those About to Rock,” set clean and extremely loud for power-amp grind rather than preamp fizz. Angus’s thicker SG lead is reconstructed with a Marshall 2203-family head and no conventional effects; exact song controls are not published, so the settings are approximated from the documented period rig. Source: Guitar World’s “Thunderstruck” Malcolm-tone feature, its Angus and Malcolm career interview, and Premier Guitar’s AC/DC Rig Rundown.

The title track was produced by Harry Vanda and George Young to preserve the band’s live momentum, and album documentation associates Malcolm with his stripped Gretsch and Angus with loud Marshall amplification. Evidence conflicts over whether Angus used an SG or Les Paul-family instrument on particular takes, so the guitar is labelled uncertain and all control positions are approximated from the documented era rig. Source: Equipboard’s Let There Be Rock album page and Guitar World’s Angus and Malcolm career interview.

The song comes from the Vanda and Young era, when the band was recorded for live impact with Malcolm’s Gretsch rhythm separated from Angus’s lead guitar. Album-level evidence supports Malcolm’s Jet Firebird and Marshall foundation, while the exact Angus guitar and amplifier used on the master remain uncertain; the SG and Marshall values below are therefore representative. Source: Equipboard’s Let There Be Rock album page, Guitar World’s Angus and Malcolm interview, and Guitar World’s AC/DC gear guides.

Malcolm Young’s Super Bass-based rhythm sound is specifically associated with “Dirty Deeds,” while Angus’s early lead voice came from a Gibson SG into a loud Marshall with no effects. The original producers wanted the band’s live energy rather than polished layering, but no exact control positions were recorded publicly, so the values below are approximated. Source: Guitar World’s Malcolm Young gear guide, its Angus and Malcolm career interview, and its Angus Young gear guide.

The early Vanda and Young productions aimed to capture AC/DC’s live excitement, with Angus fixed in the lead role and Malcolm providing the stripped-down rhythm foundation. No song-specific gear sheet survives, so this preset uses their established SG, Gretsch and Marshall Super Lead/Super Bass pairing with conservative settings. Source: Guitar World’s 2003 Angus and Malcolm Young interview, its Angus and Malcolm gear guides, and Premier Guitar’s AC/DC Rig Rundown.

Guitar World publishes Malcolm Young’s original Gretsch, Marshall Super Bass and cabinet settings, including extremely low bass and no effects. Angus’s single-note introduction is recreated with his SG and a brighter Marshall setup from the same no-pedal tradition, but its exact controls were not documented. Source: Guitar World’s “Secrets Behind Malcolm Young’s Guitar Sound on Thunderstruck” (2018) and its Angus Young gear guide.

The recording was built from the Back in Black album’s live basic-track approach, with Malcolm’s Gretsch rhythm and Angus’s SG recorded through carefully selected Marshall heads and paired condenser microphones. No trustworthy source assigns a specific amp or control layout to this individual song, so the settings are approximated from Tony Platt’s documented session method and the album gear pool. Source: Premier Guitar’s Tony Platt interview, SoloDallas’s recording archive, and Guitar.com’s Back in Black gear guide.

The track follows the Back in Black method of tracking Malcolm and Angus together, with Malcolm’s Gretsch-and-Super-Bass clarity separated from Angus’s SG through selected Marshall heads. Tony Platt used two condenser microphones and changed amp and mic combinations to suit individual songs; no reliable song-specific settings sheet exists, so the controls below are approximated from the documented album rig. Source: Premier Guitar’s Tony Platt interview, SoloDallas’s Platt archive, and Guitar.com’s Back in Black gear guide.

Guitar World identifies Angus Young’s hard-right primary rhythm as a 1970 Gibson SG into a Marshall 2203 half-stack. His centre overdub and solo also used the Schaffer-Vega wireless circuit for clean boost, compression and added harmonic body; the source does not publish exact knob positions, so those values are representative. Source: Guitar World’s “Secrets Behind Angus Young’s Guitar Tone on Hells Bells” (2019).

The album pairs Malcolm Young’s almost-clean Gretsch rhythm sound through a modified Marshall Super Bass with Angus Young’s dirtier Gibson SG through a Marshall 2203/Super Lead-family rig. Tony Platt also used room ambience to enlarge the guitars, while the precise control positions were not preserved, so the values below are approximated from the documented album equipment. Source: Guitar World’s greatest-guitar-albums feature, Ultimate Classic Rock’s Tony Platt account, and Guitar.com’s AC/DC gear guide.

The song’s tone is a thick, mid-forward *AM*-era sound built from vintage British-style amplifiers, overdrive and fuzz. The album sessions document Turner’s Les Paul, TS808, Cornell First Fuzz and Selmer/Magnatone pairing, but no source conclusively identifies the precise guitar or knob settings used on “Arabella.” Settings approximated from the documented album rig and published tone reconstructions. Source: Equipboard’s AM gear page, TonesMatch, and Reverb’s Arctic Monkeys Potent Pairings.

Turner recorded the song with his 1962 Gretsch Duo Jet specifically to obtain a grittier tone. The surrounding era used a Selmer Zodiac and Magnatone Custom 410 in parallel, with TS808 overdrive and Cornell fuzz available for riffs and leads; the exact control positions are not documented. Source: Equipboard’s AM, R U Mine? and Gretsch Duo Jet gear pages.

Unlike the darker Rancho de la Luna material, “Cornerstone” was recorded with James Ford in New York and uses a brighter, more spacious guitar arrangement. The reconstruction uses Turner’s Humbug-era Jazzmaster, Selmer amplifier and delay, while a community gear analysis supports additional watery modulation; none of the numerical controls are documented studio settings. Source: Equipboard’s Humbug gear page, Clash’s Humbug interview, and the Arctic Monkeys gear discussion.

The song belongs to the darker *Humbug* palette, with Turner’s Ovation Viper and TS808 associated with the era and the overdrive clearly linked to “Crying Lightning.” Jamie Cook’s Fender Starcaster appears in the song’s official visual material, although its presence on the master recording is not conclusively established. The settings below are therefore approximated from the documented song and album equipment. Source: Equipboard’s Crying Lightning and Humbug gear pages and Alex Turner archive.

The opening is dominated by Turner’s Hammond-organ figure, while Miles Kane contributed additional guitar to the recording. The electric-guitar recreation follows the album’s Fender, TS808 and Selmer setup, moving from a restrained clean texture to a heavily layered climax; exact guitar assignments and controls are not documented. Source: Radio X’s history of 505 and Equipboard’s Alex Turner equipment archive.

Turner’s TS808 and Selmer Zodiac provide the track’s clipped, mid-forward rhythm sound. The solo’s rotating-speaker character is specifically documented as a Hughes & Kettner Tube Rotosphere MKII, making it one of the band’s better-sourced song-specific effects. Exact control positions were not published, so numerical values are representative. Source: Equipboard’s Teddy Picker gear page and Alex Turner equipment archive.

The song’s bright guitar sound comes from the *Favourite Worst Nightmare* Selmer era, with the Zodiac Twin 30 and Selmer 30SS documented in the recording setup. Turner’s Fender Bronco and TS808 provide a credible clean-to-overdrive reconstruction, although the exact song-specific guitar and knob positions were not published. Settings approximated from the documented rig. Source: Equipboard’s Fluorescent Adolescent gear page and Alex Turner equipment archive.

The second-album era replaced much of Turner’s RAT-driven Orange sound with a Fender Bronco, Ibanez TS808 and Selmer Zodiac Twin 30. Jamie Cook supplied a heavier and more angular counterpart through Hiwatt amplification and Gibson or Telecaster-family guitars. Exact song settings are unavailable, so the controls below are approximated from the documented recording-era equipment. Source: Equipboard’s Alex Turner and Jamie Cook pages and the 2007 Arctic Monkeys gear guide.

The track moves from a thin, exposed clean introduction into the debut album’s characteristic Stratocaster, RAT and Orange-amplifier attack. Jamie Cook’s cleaner Hiwatt-supported guitar adds definition when the full band enters, but the exact recording assignments and knob positions are undocumented. Settings approximated from the documented debut-era rig. Source: Equipboard’s debut-album gear page, MusicStrive, and the Gearspace early-album mix discussion.

The early Arctic Monkeys sound paired Alex Turner’s white Fender Stratocaster and Orange AD30 with Jamie Cook’s brighter Telecaster-family guitar and Hiwatt combo. Turner’s period pedalboard included Pro Co RAT distortion, but no exact studio knob sheet survives, so all numerical settings are approximated from the documented early rig. Source: Equipboard’s debut-album gear page, Mixdown’s Alex Turner gear rundown, and the 2009 Arctic Monkeys gear guide.

The song combines tapping, stop-start Drop-D riffs and an extended lead whose Whammy pitch movement is synchronised to the click track through MIDI. The Drones sessions emphasized real amplifiers and performance, but exact master-track knob positions are unavailable, so the Manson, Diezel and Marshall values below are representative. Source: Sound on Sound’s Inside Track on Drones and MuseWiki’s “Reapers,” Other Gear and DigiTech Whammy pages.

The long-established live riff was finally recorded in Drop D during the analogue-focused Drones sessions with producer Mutt Lange. Exact amplifier assignments and settings for the master have not been fully published, so this recreation uses Bellamy’s documented Manson, Diezel and Marshall-style Drones palette. Source: Sound on Sound’s Inside Track on Drones, MuseWiki’s “Psycho” page and SonicScoop’s Muse tone guide.

Most of the track is built from bass, electronics and vocals, with the guitar arriving late as an intentionally harsh fuzz solo. Bellamy used custom Manson guitars and multiple amplifiers during The 2nd Law sessions, but the precise fuzz and amp settings for the song are undocumented, so the controls below are representative. Source: SonicScoop’s Muse tone guide, Electronic Musician’s The 2nd Law feature and MuseWiki’s Guitar Rig archive.

The guitar is standard-tuned and supports the song’s piano, synthesizer and vocal arrangement with restrained clean passages and a wider distorted chorus. No song-specific studio control sheet has surfaced, so these settings approximate the documented Resistance-era Manson and multi-amplifier setup. Source: MuseWiki’s “Resistance” tablature, MuseWiki’s Guitar Rig archive and Equipboard’s Resistance gear page.

The guitar uses the unusual DGDGBe tuning and compact upper-string chord voicings, leaving the central low-register hook to the synthesizer and bass. Exact studio guitar, amp and knob positions are not documented, so the settings approximate Bellamy’s Resistance-era Manson, Dickinson, Marshall and Diezel palette. Source: MuseWiki’s “Uprising” page, SonicScoop’s Muse tone guide and Equipboard’s Resistance gear page.

The opening evolved from surf guitar into a “Telstar”-inspired tremolo melody, while the finished production combines dry crunchy guitars, acoustic strumming, reverse parts, delay and heavy overdubs. Bellamy said an especially extreme distortion device was used to modernize the retro sound, but its identity and knob positions are undocumented, so the fuzz settings are representative. Source: Rich Costey’s EQ interview, Total Guitar’s 2007 Bellamy feature and MuseWiki’s song page.

Bellamy created the repeating figure by playing simple power chords while a MIDI program switched Whammy octave states in rhythm. The guitar was split into multiple paths and processed through pitch shifters and synthesizers; Drop C reflects the established live recreation because the precise studio tuning remains uncertain. Source: Premier Guitar’s Matt Bellamy interview, MuseWiki’s Tones page and Manson Holoflake documentation.

The track’s hook is primarily a layered prepared-piano melody, so the guitar functions as rhythmic support rather than the central lead instrument. The exact guitar and amplifier settings are not documented, and later performances were transposed down, so this preset uses the recorded key with a representative Manson, Vox and Marshall blend. Source: Rich Costey’s EQ interview, MuseWiki’s “Starlight” page and Equipboard’s Black Holes and Revelations gear page.

Bellamy has said that the song’s abrasive fuzz guitar was recorded direct rather than through a conventional miked amplifier, although the precise fuzz or processor remains disputed. This preset therefore uses a deliberately generic direct-injected fuzz block rather than falsely identifying a Big Muff or Fuzz Factory as certain. Source: MuseWiki’s Tones page, Mixdown’s Matt Bellamy gear rundown and Guitar World’s Bellamy fuzz report.

The guitar occupies the upper register above Chris Wolstenholme’s dominant bass riff, using the Absolution-era Diezel and Soldano cabinet. During the solo, a stereo delay carries Whammy-shifted repeats while the dry guitar retains its original pitch; exact control values are approximated from the documented rig. Source: MuseWiki’s Tones page and Total Guitar’s 2003 Matt Bellamy interview.

Bellamy confirmed Drop-D tuning and a Diezel head through a Soldano cabinet as the core Absolution guitar sound. Producer Rich Costey additionally processed the recorded guitar through modular-synth/vocoder techniques, creating the dense mechanical edge behind the riff; exact controls are approximated. Source: Total Guitar’s 2003 Matt Bellamy interview and Sound on Sound’s Rich Costey feature.

Bellamy recorded Absolution primarily through a MIDI-controlled Diezel head and Soldano cabinet, keeping the guitar-to-amplifier path clean while parallel effects were added through the loop. The song uses relatively sparse upper-register guitar voicings around its bass-led arrangement; exact control positions were not published, so settings are approximated from the documented album rig. Source: Total Guitar’s 2003 Matt Bellamy interview and Sound on Sound’s Rich Costey feature.

Bellamy has repeatedly associated the track with his first seven-string Manson, although evidence also suggests a modified six-string may have contributed to the recording. The studio tuning is documented as AADGBe, and the solo uses Fuzz Factory saturation; numerical settings are approximated from the documented equipment. Source: MuseWiki’s “Citizen Erased” song and tablature pages and its Tones archive.

Bellamy used his Manson DeLorean, whose built-in Z.Vex Fuzz Factory creates the unstable intro and saturated main riff. The verse was processed through a Roland VG-8 and GK-2 MIDI pickup to imitate pulsing strings; exact control positions were not published, so the values below are representative. Source: MuseWiki’s Tones page and Z.Vex Fuzz Factory documentation.

The recorded arrangement is driven primarily by its synthesizer arpeggio, with standard-tuned guitar adding broad distorted chords and accents. No reliable song-specific studio control sheet survives, so this preset approximates the Origin-era Manson, Fuzz Factory and Marshall setup while keeping the guitar behind the synth. Source: Abbey Road’s Origin of Symmetry retrospective, MuseWiki’s “Bliss” tablature and MuseWiki’s rig archive.

The explosive Drop-D riff is strongly associated with Bellamy’s custom Manson DeLorean and its built-in Z.Vex Fuzz Factory, feeding the early Muse Marshall rig. The solo adds DigiTech Whammy pitch shifting; exact pedal and amplifier positions were not published, so the numerical settings are representative. Source: MusicRadar’s “New Born” history, MuseWiki’s tablature and MuseWiki’s Whammy documentation.

The track centres on a softly played acoustic guitar rather than Bellamy’s high-gain electric rig. The precise studio instrument and microphone chain are not reliably documented, so this preset uses a representative steel-string acoustic with conservative compression and room ambience. Source: Equipboard’s Showbiz gear page and Mixdown’s Matt Bellamy gear rundown.

The guitar progresses from a restrained clean introduction to an increasingly saturated, tremolo-picked climax in standard tuning. The exact studio guitar and amplifier settings were not preserved, so the values below approximate Bellamy’s early Gibson, Marshall DSL and Vox AC30 setup. Source: MuseWiki’s “Showbiz” tablature and Mixdown’s Matt Bellamy gear rundown.

The main guitar is recreated from Bellamy’s Showbiz-era Gibson and British-amplifier palette, with settings approximated because no session control sheet survives. The famous outro that resembles a guitar solo was actually Bellamy singing through a Marshall amplifier, so it is deliberately not represented as a fabricated guitar chain. Source: MuseWiki’s “Muscle Museum” page and Mixdown’s Matt Bellamy gear rundown.

The song’s defining arpeggio was moved from guitar to piano during production, leaving the electric guitar to provide tense distorted accents and a pitch-shifted solo. The exact recording guitar, amplifier and knob positions are not documented, so these settings approximate Bellamy’s early Gibson, Marshall/Vox and DigiTech Whammy rig. Source: Keyboard Magazine’s “Innocence and Absolution,” MuseWiki’s Whammy documentation, and Mixdown.

Producer Jake Sinclair sourced a 1977 Mesa/Boogie Mark I described as identical to the type used on the Blue Album, helping the White Album recover the band’s classic direct, mid-forward distortion. No public song-specific knob sheet or guitar assignment exists, so the clean verse and driven chorus below are approximated from that documented album rig. Source: Weezerpedia’s Rivers Cuomo equipment history, MusicRadar’s White Album interview (2016), and the Recording Academy’s White Album feature.

Weezer’s rig tour specifically identifies the Balls Effects Black Balls as the fuzzier pedal used primarily for “Back to the Shack,” chosen because the song needed a creamier sound. The exact studio amplifier and pedal controls are not published, so the Marshall-style platform and settings below are representative while the pedal choice is documented. Source: MusicRadar’s Weezer rig tour (2018) and Equipboard’s Black Balls entry.

The Make Believe era coincided with Rivers Cuomo’s white Gibson SG and a straightforward high-gain rock setup, but no credible song-specific amplifier sheet has surfaced. The settings below therefore approximate the record’s broad rhythm guitars and sustained melodic lead without introducing undocumented specialty effects. Source: Guitar.com’s 2005 Rivers Cuomo interview and MusicRadar’s Weezer rig tour (2018).

Rivers Cuomo acquired his white Gibson SG in 2005, and he has explicitly confirmed the talk box on “Beverly Hills.” The exact studio amplifier and control settings have not been published, so the dry Marshall-style rhythm and talk-box lead below are representative of the documented guitar and effect. Source: Guitar.com’s 2005 Rivers Cuomo interview and MusicRadar’s Weezer rig tour (2018).

Cuomo said the Maladroit sessions used a plexi Marshall and a more deliberate approach to guitar tones, while period equipment histories place a Gibson Explorer and Marshall JCM2000 at the center of the record. The song-specific settings are undocumented, so this preset uses representative lower-gain rhythm and focused lead values from that rig. Source: Guitar Player’s July 2002 interview, Guitar.com’s Weezer interview, and Weezerpedia’s equipment history.

Rivers Cuomo described the Maladroit sessions as cleaner and more defined than the Green Album, using a plexi Marshall and spending more time experimenting with guitar tones; equipment histories also associate the record with a Gibson Explorer and Marshall JCM2000. Exact song controls are not available, so the settings below approximate that documented hard-rock setup. Source: Guitar Player’s July 2002 Rivers Cuomo interview and Weezerpedia’s equipment history.

The Green Album’s rhythm guitars were built from a Mesa/Boogie Dual Rectifier track and a separate 100-watt Marshall track, producing a dense but controlled power-pop sound. Exact “Photograph” settings were not published, so the values below are representative of that documented recording method. Source: Weezerpedia’s Rivers Cuomo equipment history and Equipboard’s Rivers Cuomo gear page.

The recording pairs Rivers Cuomo’s small clean triad voicings with a fuller supporting guitar part, within the Green Album’s Mesa/Marshall studio setup. Exact amplifier controls and the supporting acoustic model are not documented, so the settings below are approximated from the confirmed album rig and the published arrangement. Source: Weezerpedia’s Rivers Cuomo equipment history and GuitarLessons365’s note-for-note lesson (2024).

Weezer’s Green Album rhythm method used two principal tracks: a Mesa/Boogie Dual Rectifier for weight and a 100-watt Marshall for definition. The exact guitar and controls for “Hash Pipe” are not fully documented, so this preset uses Rivers Cuomo’s high-output Warmoth S-style guitar and representative settings from that confirmed dual-amp architecture. Source: Weezerpedia’s Rivers Cuomo equipment history and Equipboard’s Rivers Cuomo gear page.

The reconstruction uses Pinkerton’s Gibson guitar and Marshall 6100-era sound, moving from a restrained clean/crunch setting into the album’s raw, room-heavy distortion. No exact song-specific gear log or knob positions are public, so the values below are approximated from the documented album rig. Source: Weezerpedia’s Rivers Cuomo equipment history and Equipboard’s Pinkerton album page.

The song is recreated with Pinkerton’s documented Gibson-and-Marshall family of sounds and the album’s live, self-produced character. Exact guitar assignments and settings are unavailable, so the neck-pickup clean section and full-volume bridge-pickup chorus are representative. Source: Weezerpedia’s Rivers Cuomo equipment history and Equipboard’s Pinkerton album page.

The album’s raw guitar identity is associated with Gibson electrics into loud Marshall amplification, recorded with less separation and polish than the debut. Exact song controls were not published, so the dry rhythm and slightly brighter lead below are approximated from that documented Pinkerton-era setup. Source: Weezerpedia’s Rivers Cuomo equipment history, Equipboard’s Pinkerton album page, and Gearspace’s Pinkerton tone discussion.

The Pinkerton sessions favored Gibson guitars, Marshall amplification, and deliberately unpolished live energy. No credible per-song knob sheet exists, so the verse uses the guitar volume to clean up the documented rig while the chorus restores the full Marshall drive. Source: Weezerpedia’s Rivers Cuomo equipment history and Equipboard’s Pinkerton album page.

Pinkerton was self-produced for a rawer live feel and is associated with Gibson guitars and a Marshall 6100-era amplifier rather than the polished Blue Album approach. Exact song controls and any distortion-pedal use remain uncertain, so this preset relies on loud amp gain, feedback, and roomy microphone placement instead of naming an unverified pedal. Source: Weezerpedia’s Rivers Cuomo equipment history, Equipboard’s Pinkerton album page, and Gearspace’s Pinkerton tone discussion.

This recreation uses the debut’s confirmed borrowed Fender/Gibson guitars and vintage Mesa/Boogie Mark I, with no drive pedal. The song-specific guitar assignments and controls are undocumented, so the cleaner verse and P-90 chorus are approximated from the album’s established loud-quiet palette. Source: Guitar.com’s Blue Album gear guide (2023).

Rivers Cuomo says the Blue Album went straight into the amp and that its only effect was a little delay on the swells in “Only in Dreams.” Ric Ocasek encouraged the long improvised outro solo, so the preset keeps one direct Mesa/Boogie voice and adds delay only where documented; knob settings are approximated. Source: Premier Guitar’s “Rivers Cuomo’s Anti-Pedal Approach to Only in Dreams” (2023).

The Blue Album’s documented ingredients were Ocasek’s borrowed Gibson and Fender guitars into a vintage Mesa/Boogie Mark I, recorded without drive pedals. The clean neck-pickup verse and P-90 chorus below are representative assignments because exact song-specific guitar and knob records have not surfaced. Source: Guitar.com’s Blue Album gear guide (2023) and Premier Guitar’s Rivers Cuomo interview (2023).

The debut’s clean and distorted sounds were made with Ocasek’s borrowed Gibson and Fender guitars into a vintage Mesa/Boogie Mark I, with Cuomo later stressing that the record did not rely on stompbox distortion. The precise guitar assignment is not documented, so the Jaguar clean and Les Paul Special chorus are representative choices from the confirmed studio collection. Source: Guitar.com’s Blue Album gear guide (2023) and Premier Guitar’s Rivers Cuomo interview (2023).

The Blue Album was recorded primarily with Ric Ocasek’s Gibson Les Paul Special and Junior through a vintage Mesa/Boogie Mark I, without a distortion pedal. No song-specific control sheet survives, so the values below are representative settings for the documented direct-to-amp rig. Source: Guitar.com’s Blue Album gear guide (2023) and Premier Guitar’s Rivers Cuomo interview (2023).

The opening acoustic texture and the heavy electric entrance come from the Blue Album’s deliberately simple guitar palette: a borrowed Gibson acoustic, P-90-equipped Gibson electrics, and a vintage Mesa/Boogie Mark I. Rivers Cuomo has said the debut was essentially straight into the amplifier, so the settings are approximated from the documented rig rather than built around pedals. Source: Guitar.com’s Blue Album gear guide (2023).

The track belongs to the Be Here Now sessions, where Noel’s ES-355, Silver Sparkle Les Paul Florentine and 100-watt Marshall stacks formed the core electric palette. The specific acoustic guitar and exact per-song controls are undocumented, so this preset uses a representative jumbo acoustic for the quieter sections and the confirmed period electric rig for the chorus and solo. Source: Ground Guitar’s Noel Gallagher gear archive and MusicRadar’s Be Here Now Florentine history.

The album’s defining method was a huge number of guitars layered through 100-watt Marshall stacks, with Noel’s ES-355 and Silver Sparkle Les Paul Florentine both documented in the era. No reliable track sheet identifies every guitar or setting used on this nine-minute arrangement, so the values below are representative of that confirmed production approach. Source: MusicRadar’s Florentine history, Ground Guitar’s gear archive, and Noel Gallagher’s Be Here Now retrospective.

The song comes from the heavily layered Be Here Now sessions, when Noel’s ES-355 and Silver Sparkle Les Paul Florentine were used with large Marshall stacks. The exact acoustic model and song-specific amp settings were not published, so this preset uses representative period instruments and separates the intimate opening from the multi-tracked chorus. Source: Ground Guitar’s Noel Gallagher gear archive and MusicRadar’s Be Here Now Florentine history.

By the Be Here Now era Noel’s red Gibson ES-355 had become his principal rhythm electric, while the Silver Sparkle Les Paul Florentine is confirmed as an album guitar. Noel later described this period as Les Pauls and Casino-style guitars through 100-watt Marshall stacks with enormous multi-tracking; exact per-song controls are approximated from that documented setup. Source: Ground Guitar’s Noel Gallagher gear archive, MusicRadar’s Florentine history, and Oasis Recording Information.

The song was recorded at Congress House Studio in Austin on October 8, 1994 during the sessions that also produced “Half the World Away.” The precise acoustic model and microphone were not documented, so this preset uses a representative early-Oasis jumbo acoustic with restrained compression and room ambience. Source: Oasis Recording Information’s Congress House session account.

The song was recorded at Maison Rouge in September 1995 with Noel handling acoustic and electric guitars, bass and vocals alongside an orchestral arrangement. No exact guitar or amplifier sheet is available, so this recreation uses the authenticated Morning Glory-era jumbo acoustic, Riviera and British studio amp palette as representative choices. Source: Oasis Recording Information’s Masterplan studio and personnel archive.

The song was recorded at Loco Studios in February 1995 during the Some Might Say sessions and features Noel on lead and acoustic guitar with Bonehead on rhythm. Specific guitar and amplifier assignments were not preserved, so this preset uses the emerging Riviera/Marshall Morning Glory palette and labels its controls as approximations. Source: Oasis Recording Information’s Masterplan recording-studio archive.

The Morning Glory sessions included multiple Epiphone acoustics, and Noel’s EJ-200 is authenticated as a central writing and session instrument from the period. The exact acoustic used on this track and its microphone chain are not conclusively documented, so this preset uses a representative jumbo acoustic with a restrained electric halo from the album’s Riviera/Vox palette. Source: Oasis Recording Information’s session equipment list and Sotheby’s provenance reported by The Guardian (2026).

The rhythm foundation follows Noel’s documented Epiphone Riviera and Rockfield amp palette, while the album credits identify Paul Weller as lead guitarist and backing vocalist on the track. Weller’s exact guitar, amp and knob positions were not documented, so his lead chain is deliberately labelled as a representative use of the available British studio amplifiers. Source: Oasis Recording Information’s Morning Glory equipment list and original album credits.

The song belongs to the Riviera-based rhythm sound Noel documented for the entire album, recorded through a studio collection that included Marshall, Bluesbreaker, Orange and Vox amplifiers. No reliable session knob sheet or confirmed octave-device model has surfaced for the original recording, so this preset recreates the audible upper-octave edge through studio layering rather than naming an undocumented pedal. Source: Oasis Recording Information’s Morning Glory equipment list and Ground Guitar’s Riviera history.

Noel and Gem Archer have identified a sunburst Fender Stratocaster as the guitar used on the recording, and Noel associated a Vox amplifier acquired for the Morning Glory sessions specifically with the song. The precise Vox model and control positions remain uncertain, so the settings use a representative AC50/Conqueror-style clean-to-crunch platform. Source: Guitar World’s Gem Archer interview (2025) and Ground Guitar’s Noel Gallagher gear archive.

Noel stated that his 1983 Epiphone Riviera appears on all of Morning Glory’s rhythm guitar parts. This preset uses the documented Rockfield combination of a loud Marshall, Bluesbreaker and Vox AC30 as a representative blend; no exact song-specific knob positions have been published. Source: Ground Guitar’s Riviera history and Oasis Recording Information’s Morning Glory equipment list.

The track was recorded at Loco Studios immediately before the main Morning Glory sessions. Noel’s 1983 Epiphone Riviera is documented across the album’s rhythm parts, while the available studio palette included a loud Marshall stack, Bluesbreaker, Orange and early-1960s Vox AC30; exact song settings are approximated. Source: Oasis Recording Information’s Some Might Say account and Morning Glory equipment list.

The single was recorded during the July 1994 Maison Rouge sessions, when Oasis were still working from the early Les Paul, Marshall/WEM and jumbo-acoustic palette. The exact acoustic model and per-song amplifier settings are not documented, so this recreation uses representative period gear and keeps the strings as a post-guitar studio layer. Source: Oasis Recording Information’s Owen Morris session account and Noel Gallagher acoustic-gear histories.

The released track originated from an earlier demo recorded with Noel’s 1992 Epiphone Les Paul and later remixed for the album. Ground Guitar places the Marshall Valvestate, Watkins Dominator and Space Echo in that early setup; the control values below are representative because no session knob sheet survives. Source: Ground Guitar’s Definitely Maybe gear breakdown (2025).

Johnny Marr’s Gibson Flying V is confirmed in the song’s Monnow Valley sessions, although the final master’s exact guitar assignment is less certain. This preset therefore combines that documented instrument with the album’s established Valvestate/WEM rig and labels the controls as approximations. Source: Ground Guitar’s Definitely Maybe breakdown and Equipboard’s Cigarettes & Alcohol session page.

Noel wrote the song immediately after receiving Johnny Marr’s converted Les Paul and used that guitar extensively on the album, with a borrowed Gibson Flying V reportedly appearing on some overdubs. The confirmed album platform was the Valvestate 8080, Watkins Dominator and Space Echo; exact controls are approximated. Source: Ground Guitar’s Definitely Maybe gear breakdown and Equipboard’s album documentation.

Noel used Johnny Marr’s converted Les Paul through the Marshall Valvestate 8080 and Watkins Dominator, with amp distortion rather than a conventional drive pedal. The Space Echo mainly contributed preamp coloration and occasional ambience; exact knob positions are approximated from the documented rig. Source: Ground Guitar’s Definitely Maybe song-by-song gear breakdown (2025).

The electric guitars were tracked with Johnny Marr’s converted 1953 Les Paul through Noel’s Marshall Valvestate 8080 and Watkins Dominator combination, with an acoustic guitar supporting the mix. Exact settings were not documented, so the values below approximate the album’s confirmed dual-amp and Space Echo palette. Source: Ground Guitar’s Definitely Maybe gear breakdown (2025).

Noel Gallagher’s first rhythm and lead layers were recorded with his 1992 Epiphone Les Paul through a Watkins Dominator, while Bonehead added the heavier Gibson SG and Marshall JCM900 layer. The lead was thickened with room microphones and a slightly varispeeded unison double; the amp controls below are representative because the original knob positions were not published. Source: Guitar World’s “Secrets Behind the Sound” feature (2021).

Frank Iero identified an Epiphone ES-335 Dot as a major Danger Days touring guitar and said it may be the exact instrument used to record “SING.” The amplifier and effect settings are not documented song by song, so this recreation pairs that semi-hollow guitar with the era’s JCM2000 and Orange-cab palette and uses representative clean ambience. Source: Equipboard’s Danger Days gear page and Guitar World’s Danger Days interview.

Danger Days was recut with Rob Cavallo after the band abandoned a more restrained version of the album, and Ray Toro and Frank Iero returned to energetic layered guitars. A Gibson Firebird is associated with Ray’s Danger Days-era performance of the song, while JCM2000 heads and Orange cabinets were used during the era; exact studio combinations and controls are not documented, so settings are approximated from that verified palette. Source: Guitar World’s Danger Days interview and Equipboard’s Danger Days gear page.

This preset follows the album’s documented Phat Cat-equipped Les Paul into Rob Cavallo’s JCM800, emphasizing the clear upper mids needed for the song’s rapid rhythm figures. Toro’s recorded approach relied heavily on layered straight-guitar tones, but no exact song control settings are public, so the values below are approximated from the Black Parade sessions. Source: Seymour Duncan’s Ray Toro interview.

The album’s main Les Paul/JCM800 chain is combined with the two-octaves-down MIDI guitar-synth reinforcement Ray Toro said was used whenever a Black Parade riff needed extra weight. No song-specific knob sheet is available, so the amplifier, synth balance, and microphone settings are approximated from that documented studio method. Source: Seymour Duncan’s Ray Toro interview and Equipboard’s The Black Parade gear page.

The song is recreated with the Black Parade’s documented Les Paul and JCM800 foundation, and Premier Guitar’s current rig documentation still associates a late-1970s Les Paul with live performances of the track. The original studio control and microphone positions are not published, so the dry, lower-gain settings below are approximated from the album rig. Source: Seymour Duncan’s Ray Toro interview and Premier Guitar’s My Chemical Romance Rig Rundown (2025).

The song moves from a steel-string acoustic foundation into the layered Marshall sound associated with The Black Parade. The album’s main electric chain is well documented, but the exact acoustic model and song-specific controls are not, so the acoustic processing and JCM800 settings are representative approximations. Source: Seymour Duncan’s Ray Toro interview and Equipboard’s The Black Parade gear page.

Ray Toro specifically recalled using one of Rob Cavallo’s Telecasters for the song’s clean verses. The heavier passages use the album’s main Les Paul/JCM800 foundation, with the kind of lower-octave guitar-synth reinforcement Toro said was used for heavy riffs; exact settings are approximated from the documented studio palette. Source: Seymour Duncan’s Ray Toro interview.

The guitar is deliberately subordinate to the piano and vocal, so this preset uses the clean side of the documented Black Parade palette rather than a large distorted stack. My Chemical Romance used vintage Fender guitars, a Hiwatt for alternate textures, and straightforward layered tones during the sessions, but the exact guitar on this song is not documented; settings are approximated accordingly. Source: Seymour Duncan’s Ray Toro interview.

Ray Toro’s principal Black Parade setup was a Phat Cat-equipped Les Paul into a 100-watt JCM800, with heavy riffs sometimes reinforced by a Roland MIDI guitar-synth part two octaves below. The song’s layered lead vocabulary also reflects Toro’s Brian May-style arranging; exact control settings are approximated from that documented studio method. Source: Seymour Duncan’s Ray Toro interview and Premier Guitar’s 2025 Rig Rundown.

Ray Toro specifically recalled using one of Rob Cavallo’s Telecasters for the clean verses and probably one of Cavallo’s Stratocasters for the solo, while the album’s principal distorted sound came from his Les Paul into a JCM800. The signal chains below follow those documented guitar choices; exact control and microphone positions were not published, so settings are approximated. Source: Seymour Duncan’s Ray Toro interview.

Ray Toro’s Black Parade studio chain centered on his Phat Cat-equipped Les Paul and Rob Cavallo’s JCM800, and current rig documentation still associates a sunburst Les Paul with this song. The lead is treated as a focused, harmonically rich extension of the rhythm tone; exact original controls were not published, so settings are approximated from the documented rig. Source: Seymour Duncan’s Ray Toro interview and Premier Guitar’s My Chemical Romance Rig Rundown (2025).

The album’s main Les Paul-with-Phat-Cats and JCM800 setup provides the appropriate dry, mid-forward crunch for the song’s glam-rock stomp. Exact song-specific controls were not published, so the lower-gain rhythm and slightly boosted solo settings are approximated from Ray Toro’s documented Black Parade studio rig. Source: Seymour Duncan’s Ray Toro interview and Equipboard’s The Black Parade gear page.

Ray Toro recorded most of The Black Parade with his Les Paul fitted with Seymour Duncan Phat Cat pickups into Rob Cavallo’s 100-watt Marshall JCM800, layering guitars with a Brian May-inspired orchestral approach. The song’s fanfare and heavy passages use stacked parts rather than one enormous gain setting; exact knob and mic positions were not published, so settings are approximated from the documented studio rig. Source: Seymour Duncan’s Ray Toro interview and MusicRadar’s history of the song.

The Boss BF-2 is specifically documented on the song’s intro and verse, paired here with the Three Cheers-era JCM2000 TSL100. The chorus switches to a broader Marshall distortion tone; exact control positions were not recorded publicly, so all knob and microphone settings are approximated from the documented equipment. Source: Equipboard’s Three Cheers for Sweet Revenge gear page.

The song’s abrupt, theatrical rhythm changes are recreated with the documented Three Cheers-era Marshall JCM2000 TSL100 and a humbucker guitar. There is no credible song-specific settings sheet, so the moderate-gain, mid-forward values are approximated from the album rig rather than presented as exact studio controls. Source: Equipboard’s Three Cheers gear page and Pitchfork’s album retrospective.

The contrast between the song’s cleaner picked passages and its broad distorted chorus is recreated with the documented Three Cheers-era JCM2000 TSL100. Exact guitar and channel settings were not published, so the values below are practical approximations from the album’s Marshall-based recording palette. Source: Equipboard’s Three Cheers for Sweet Revenge gear page.

This preset uses the documented Three Cheers-era JCM2000 TSL100 as the foundation for the song’s metallic palm-muted rhythm and Ray Toro’s layered lead work. No reliable song-specific knob sheet survives, so the guitar, amplifier, cabinet, and mic values are representative settings approximated from the album rig and Toro’s known preference for harmonized, orchestral guitar parts. Source: Equipboard’s Three Cheers gear page and Seymour Duncan’s Ray Toro interview.

Ray Toro’s Boss BF-2 is specifically documented on the intro and verse, feeding the Three Cheers-era Marshall JCM2000 platform. The song then expands into a denser distorted chorus, with the final arrangement shaped during the Howard Benson sessions. Exact control and microphone positions were not published, so settings are approximated from the documented rig. Source: Equipboard’s Three Cheers gear page and Pitchfork’s recording retrospective.

The song’s guitar arrangement is built around chunky power chords and a separately tracked harmonized lead. The core tone uses the documented Three Cheers-era Marshall JCM2000 TSL100; exact guitar, harmony voicing, EQ, and microphone positions are not published, so settings are approximated from the album rig. Source: Equipboard’s Three Cheers gear page and Songsterr’s multi-guitar transcription.

Ray Toro’s Three Cheers recording rig is documented around a Marshall JCM2000 TSL100, while the Boss BF-2 can be heard in the transition between the song’s chorus and verse. The restrained opening and full-band impact are recreated as separate parts; exact amp, microphone, and BF-2 control positions were not published, so settings are approximated from the documented album rig. Source: Equipboard’s Three Cheers for Sweet Revenge gear page and Pitchfork’s album retrospective.

Randy Bachman described recording the signature riff and middle solo with a Les Paul through his Herzog system: two Garnet amplifiers, with one overdriven amplifier used as a preamp for the other. He performed the melody and middle solo in one pass, but no complete knob sheet survives, so the values below approximate the documented cascading-amp method. Source: Guitar Player’s Randy Bachman “American Woman” interview (2023).

Andy Summers has said the shimmering modulation on the riff came from an Electro-Harmonix Electric Mistress rather than the chorus effect it is often mistaken for. Period rig references pair his Telecaster with compression, the Electric Mistress and a Marshall-style amplifier; exact recording controls were not published, so the settings below are representative. Source: Guitar Player’s Andy Summers “Message in a Bottle” feature (2026) and Line 6’s Summers tone template.

Josh Homme has identified the small Peavey Decade as a secret ingredient in recognizable Queens of the Stone Age tones, including “No One Knows,” while later analysis emphasizes the importance of boosted low-mid frequencies rather than a conventional scooped rock sound. The record used layered and unconventional equipment, so the values below are representative rather than a claim that one amp produced the entire finished guitar. Source: Guitar World’s Peavey Decade reports and Josh Homme tone interview.

Tom Morello retained his familiar Marshall-and-Peavey core while using a more spacious, chord-based palette for Audioslave. The solo depends on a DigiTech Whammy-style pitch sweep and Morello’s vibrato-equipped guitar; exact song-specific amp controls were not published, so settings are approximated from his documented rig. Source: Premier Guitar’s Tom Morello Rig Rundown, Guitar Gear Finder’s Audioslave rig guide, and Guitar World’s Morello interview.

Jim Adkins has identified an American Standard Telecaster into a Fender Champ as the simple recording chain behind the song’s memorable solo. The rhythm guitars are broader and more layered, and their exact session controls are less clearly documented, so those settings are approximated from the band’s early-2000s guitar rigs. Source: MusicRadar’s Jim Adkins “The Middle” interview (2026) and Equipboard’s Jim Adkins gear page.

The early Strokes rig centered on Fender Hot Rod DeVille amplifiers, a Visual Sound Jekyll & Hyde and an MXR Micro Amp, with Nick Valensi’s semi-hollow and Albert Hammond Jr.’s Strat-style guitar providing contrasting voices. Exact song-session knob positions were not documented, so the settings below are representative of the sparse Is This It setup. Source: Mixdown’s Strokes rig rundown and Gearnews’ “Last Nite” tone investigation.

Producer Tore Johansson recorded the debut album with deliberately limited analog equipment, while song-specific documentation identifies Alex Kapranos’ Telecaster Custom into a Selmer Zodiac Twin 30 captured with a Neumann U67. Exact knob positions were not published, so the amp values below are approximated from that bright, dry recording. Source: Sound on Sound’s “Recording Franz Ferdinand” and ToneDB’s song-specific entry.

Dean DeLeo’s broader 1990s architecture used humbucker guitars with a Demeter preamp, VHT stereo power amp, cabinets and a clean Vox component. Song-specific reconstructions describe the intro as a rolled-back neck-pickup tone before the fuller bridge-pickup sections; exact Purple-session controls remain undocumented, so the values below approximate the supported rig. Source: Premier Guitar’s DeLeo brothers interview and ToneMirror’s song reconstruction.

Stone Gossard supplied the foundational rhythm architecture, while Mike McCready described the lead as an overt Stevie Ray Vaughan-inspired performance. Ten-era documentation supports a Les Paul-based rhythm voice and a Stratocaster-based lead approach, but the exact song-session amp controls are not archived, so the values below are representative. Source: Guitar World’s Mike McCready track-by-track and making-of-Ten features, plus Equipboard’s Ten session page.

Billy Corgan’s Siamese Dream method placed an Electro-Harmonix Big Muff into the low-sensitivity input of a KT88-equipped Marshall JCM800, with the master high and preamp low. The record’s scale came from numerous tightly aligned guitar layers, while the solo’s modulation was created by running copies on two tape machines at slightly different speeds. Settings are approximated around Corgan’s documented operating method. Source: Andertons’ Smashing Pumpkins rig guide, Mixdown’s gear rundown, and Guitar World’s Corgan guitar interview.

Current tone research points to John Frusciante’s 1962 Stratocaster and his By the Way-era high-headroom amplifier setup, with a lightly driven, bright sound rather than obvious distortion. The exact studio amp combination and control positions remain uncertain, so the settings below approximate the documented Strat-and-vintage-amp character. Source: Gearnews’ “Can’t Stop” tone investigation (2026) and ToneMirror’s song-specific reconstruction.

Engineer Jimmy Johnson recalled the Stones bringing Fender Twin amplifiers to the Muscle Shoals sessions, while gear documentation also places a Fender Bassman in the session setup. Keith Richards’ defining part is the five-string open-G rhythm approach; exact guitar and control positions for the master take are not fully settled, so the values below are representative. Source: Tape Op’s Jimmy Johnson interview and Equipboard’s song-session documentation.

Dave Davies created the track’s distortion by cutting the speaker cone of his small Elpico “Little Green” amplifier and feeding that damaged amp into a Vox AC30. The setup predates fuzz pedals, and no reliable knob sheet survives, so the controls below are practical approximations of the documented two-amp chain. Source: The Guardian’s “How We Made You Really Got Me” and MusicRadar’s Dave Davies speaker demonstration.

Steve Lukather played the released rhythm guitars through a small Fender Deluxe after Quincy Jones rejected the larger Marshall sound as too heavy. Eddie Van Halen then added the solo with his own high-gain Marshall-style setup; the exact guitar and control positions for both chains are incompletely documented, so the settings below are representative. Source: Guitar World’s oral history of “Beat It” and its isolated-guitar analysis.

Gary Rossington played the signature slide fills on an SG using an improvised slide setup, while Allen Collins recorded the entire studio outro solo on a Gibson Explorer. The exact 1973 studio amp controls are not documented in the cited interviews, so the Marshall-style settings below are representative of the band’s early no-frills rig. Source: Guitar Player’s Gary Rossington “Free Bird” interview and Guitar World’s Allen Collins isolated-solo feature.

Buck Dharma recorded the clean riff with a Gibson ES-175 into a Music Man 410-65, then switched to his modified 1969 SG and drove the same amp harder for the solo. Guitar World publishes the original control settings, including the brighter clean rhythm and power-amp-heavy solo arrangement. Source: Guitar World’s “Secrets Behind the Sound” feature (2019).

Tom Scholz’s early Boston sound used a Les Paul into a fully driven Marshall, load-box attenuation, fixed-wah-style midrange filtering, EQ and extensive layered recording. Barry Goudreau recalled turning the Marshall all the way up and finding the sound with the wah and midrange setting; exact song controls were not preserved, so the values below are approximated from that documented method. Source: Guitar Player’s Barry Goudreau interview (2025) and Premier Guitar’s Tom Scholz feature.

Ritchie Blackmore recorded the riff on a Fender Stratocaster, while Ian Gillan later recalled a Vox AC30 and/or Marshall amplifier in the mobile-studio setup. The precise studio amp and cabinet remain disputed, so this preset uses a representative bright British blend rather than claiming a single confirmed model. Source: Guitar World’s greatest-riffs history and its Ritchie Blackmore Stratocaster feature.

Eric Clapton played Brownie, his 1956 Fender Stratocaster, while Duane Allman used a 1957 Les Paul Goldtop for the interlocking lead and slide parts. Producer Tom Dowd remembered a small Fender Champ in the studio, although accounts of the complete amplifier setup conflict, so the control positions below are representative rather than documented. Source: Guitar Player’s Layla gear feature and oral history, plus Sound on Sound’s Classic Tracks.

Eric Clapton recorded the song with his 1964 “The Fool” SG into a 1966 Marshall JTM45/100 and one Greenback-loaded 4x12, with no effects. Guitar World documents the amp controls at 10 and both guitar tone controls at 1; the backing track uses the bridge pickup and the solo switches to the neck pickup. Source: Guitar World’s “Secrets Behind the Sound” feature (2022).

Eddie Van Halen’s early chain centered on his bridge-humbucker Frankenstrat, a variac-controlled late-1960s Marshall Super Lead and a Greenback-loaded 4x12, with Echoplex ambience around the recorded guitar. Eddie and later effects histories identify the MXR Phase 90 on the song, including the solo, which was doubled with an electric sitar. Exact album-session control positions remain disputed, so settings are approximated from the documented early rig and Eddie’s reported slow Phase 90 setting. Source: Guitar World’s Eddie Van Halen effects interview and its greatest-effects feature.

Published rig reconstructions identify a Vox Starstream XII 12-string feeding a Coopersonic Valveslapper and a blend of Selmer Zodiac Twin 30 and Magnatone Custom 410 amplifiers. That unusual combination accounts for the riff’s thick octave texture, sag and subtle modulation. The listed amplifier values follow the published reconstruction, while microphone details are representative. Source: TonesMatch’s song-specific tone breakdown and the documented AM-era rig references it compiles.

The recorded verse’s signature pulse is a Boss TR-2 tremolo, followed by Green Day’s established modified-Marshall rhythm sound when the chorus opens up. Contemporary gear documentation confirms the tremolo effect, while the exact studio guitar and complete control positions are not firmly logged. The guitar and amplifier settings below are therefore approximated from Billie Joe Armstrong’s American Idiot-era Gibson and Marshall setup. Source: Equipboard’s song-specific gear page, Premier Guitar’s Green Day Rig Rundown, and Traveling Guitarist’s tremolo analysis.

Caleb Followill’s defining guitar of the era was his 1972 Gibson ES-325, and producer Jacquire King has specifically identified a Selmer TruVoice Treble-N-Bass Fifty on “Sex on Fire.” The sessions used up to two amplifiers per performance, typically captured with an SM57 and U67, with short slap delay and additional EchoBoy delay added selectively. Exact amplifier controls were not published, so settings are approximated from that documented recording chain. Source: Sound on Sound’s “Inside Track,” Equipboard’s sourced Caleb Followill entries, and Guitar World.

Dave Keuning recalls recording the defining part with an Ibanez Destroyer through a Fender Hot Rod DeVille, using the open high E as a continuous drone across the moving shapes. The basic sound is amp-driven and relatively direct rather than dependent on a complex pedalboard. Exact control and microphone positions were not published, so settings are approximated from Keuning’s documented chain. Source: Guitar Player’s Dave Keuning career-defining tracks interview and Sound on Sound’s Mark Needham feature.

Graham Coxon’s late-1990s distortion palette included Pro Co Rat pedals and the DOD FX76 Punkifier, with the Punkifier widely linked to the studio’s abrasive “Song 2” burst. The verse is comparatively small and clean before the chorus expands into layered, deliberately ragged distortion. Exact session guitar, amp and knob positions were not fully documented, so settings are approximated from Coxon’s era rig. Source: Ultimate Guitar’s “Song 2” gear page, Guitar Player’s 1999 Graham Coxon interview transcript, and Guitar World.

John Frusciante is documented as using a 1957 Gretsch White Falcon throughout the title track, with song-specific research pointing most strongly to a Fender Showman-style recording amp rather than his usual live Marshall pair. The exact amplifier and control positions are not conclusively logged, so the settings below are approximated from that documented guitar and likely amp while keeping the sound deliberately clean and dry. Source: GroundGuitar’s Californication rig breakdown and Mixdown’s Red Hot Chili Peppers rig rundown.

Noel Hogan has described the song’s heavy sound as a combination of cranked Marshalls and Vox AC30s, layered with Gibson ES-335, Les Paul and Fender single-coil guitars. That multi-guitar approach explains why the chorus remains broad and articulate instead of sounding like one extremely saturated amp. Exact control positions and layer assignments were not documented, so settings are approximated from Hogan’s account. Source: Guitar World’s Noel Hogan interview (2024) and MusicRadar’s history of Zombie.

Joey Santiago’s core early-Pixies setup paired a 50-watt Marshall JCM800 on its high-gain channel with a mid-1960s Fender Vibrolux for cleans. Song-specific documentation attributes the distorted hook primarily to the JCM800 and finds no firm evidence of a pedal creating the drive. The exact session guitar and knob positions are not logged, so settings are approximated from Santiago’s documented rig. Source: Vintage Guitar’s Joey Santiago interview, Guitar World, and TonesMatch.

Andy Summers built the song around a compressed clean guitar, with the bright arpeggio widened by Roland chorus and subtle Echoplex-style ambience. Contemporary reconstructions cite a Stratocaster-family guitar, MXR Dyna Comp and Roland JC-120, while the precise studio guitar and control positions remain debated. Settings are approximated from the documented Police-era rig and the recording’s restrained modulation. Source: Sound on Sound’s Classic Tracks feature, Line 6’s Andy Summers tone template, and Premier Guitar.

The song’s attack comes from two complementary humbucker-equipped guitars into loud Marshall amplification, with moderate gain and pronounced upper mids rather than modern scooped saturation. Period interviews and later tone guides consistently place the early-1980s Maiden sound in the Marshall 100-watt/JCM800 family, but exact song-session settings are not published. The controls below are therefore representative of the documented era rig and established reconstruction settings. Source: Guitar World’s 1983 Adrian Smith and Dave Murray interview, Ultimate Guitar’s Complete Guide, and ToneMirror.

Craig Ross tracked the defining riff live after switching from a Stratocaster to Lenny Kravitz’s converted 1953 Goldtop Les Paul, whose humbuckers supplied the required weight. Reports associate the raw guitar with a small vintage Gibson amplifier, while a flanger appears in the solo. The exact amplifier model and control positions are not fully documented, so settings are approximated from the reported Gibson GA-5T-style setup and the isolated tone character. Source: MusicRadar’s song history and TonesMatch’s recording-rig summary.

Tom Morello’s Drop-D Telecaster ran into a Marshall JCM800 2205 and Peavey 4x12, with the song kept strikingly dry. The original intro used an Ibanez DFL flanger, while the solo uses the DigiTech Whammy’s two-octaves-up mode; later live versions sometimes substitute a Phase 90 for the intro modulation. Published amp positions vary by rig era, so the values below follow Morello’s documented core settings and are adjusted slightly for the recording. Source: Neural DSP’s Tom Morello rig guide and Roland’s Killing in the Name Tone Dissected feature.

Billie Joe Armstrong’s Fernandes Strat-style guitar “Blue,” fitted with a bridge humbucker, fed a modified Marshall 1959 Super Lead known as “Pete” for the Dookie sound. The amp’s modification supplied the tight extra gain without a conventional distortion-pedal chain. Exact session control positions were not published, so settings are approximated from the documented guitar, modified Marshall and Vintage 30 cabinet. Source: Premier Guitar’s Green Day Rig Rundown and MusicStrive’s Green Day tone guide.

The Texas Flood sessions were recorded largely through Jackson Browne’s high-headroom Dumbleland 300 bass amplifier, giving Stevie Ray Vaughan a huge clean foundation that breaks up under a hard attack. Vaughan’s Stratocaster, heavy strings and Eb tuning are central; a Tube Screamer was important to his wider rig but is not securely documented as the source of this particular studio take. Exact Dumbleland controls were not published, so settings are approximated from the documented session rig. Source: Guitar World’s guide to Vaughan’s amplifier arsenal and Roland’s Pride and Joy Tone Dissected feature.

Ed King recalled recording the signature part with a 1972 Fender Stratocaster into a 50-watt Marshall turned fully up, with no effects and only possible studio reverb. The Strat’s relatively weak pickups kept the result cleaner than the amplifier setting suggests. Only the volume position is directly described, so the EQ and microphone settings are approximated from the documented rig. Source: Guitar-Muse’s Ed King interview and the archived Fractal Audio discussion quoting King.

Don Felder’s arrangement combined a processed 12-string introduction with contrasting electric voices: his humbucker-equipped Les Paul through a cranked tweed Fender Deluxe and Joe Walsh’s brighter Telecaster sound. Felder’s intro chain is documented with a Takamine 12-string, DeArmond pickup, Echoplex and Leslie, while Walsh later recalled a small Roland combo but was not fully certain of the model. Exact control positions were not published, so settings are approximated from those documented rigs. Source: Guitar World’s Hotel California gear history (2026), Don Felder’s Guitar World interview, and Roland’s tone analysis.

The famous nasal tone came from Mark Knopfler’s Les Paul-family guitar through a Laney amplifier, captured with an unusual multi-microphone arrangement that engineer Neil Dorfsman described as a happy accident. Sources disagree on the exact Les Paul variant, and the sound proved difficult for the team to reproduce later. The controls below are therefore a practical approximation of the documented guitar, Laney and misaligned-microphone combination. Source: Sound on Sound’s Classic Tracks interview and Guitar World.

Jonny Greenwood’s explosive pre-chorus stabs are strongly associated with a Marshall ShredMaster driving the clean channel of a Fender Eighty-Five, while the verses rely on a much cleaner, wider guitar texture. The exact clean-layer guitar and control positions were not published, so those settings are approximated from the band’s early-1990s rigs. Source: Kuassa’s “Creep Guitar Tone Breakdown,” Mixdown’s Jonny Greenwood gear rundown, and The King of Gear.

Jack White created the bass-like riff by sending his Kay hollowbody through a DigiTech Whammy set one octave down into a mid-1960s Silvertone 1485. The solo adds Big Muff fuzz and slide while retaining the octave effect. The Silvertone controls follow Guitar World’s published reconstruction; pedal levels are representative where exact positions were not documented. Source: Guitar World’s “Secrets Behind the Sound” feature and Guitar.com’s Elephant gear guide.

Billy Gibbons has identified a 1955 hardtail Stratocaster for the cleaner introduction and his 1959 “Pearly Gates” Les Paul for the overdriven riff. Both guitars ran straight into a 100-watt 1968 Marshall Super Lead, with no pedal required for the central drive sound. Pickup and amplifier control positions were not published, so settings are approximated from the documented guitar-and-amp pairing. Source: Guitar Player’s “How Billy Gibbons Wrote La Grange” feature (2021) and Line 6’s Billy Gibbons tone template.

Tony Iommi’s early Sabbath sound came from his Gibson SG, a uniquely modified Dallas Rangemaster treble booster and a loud Laney Supergroup amplifier. For the solo, the dry guitar was placed on one side and a studio ring-modulated version on the other; the unit was studio equipment rather than a later stompbox. Exact amp and booster positions were not documented, so settings are approximated from Iommi’s descriptions of the rig. Source: MusicRadar’s Tony Iommi interview/history (2026), Equipboard’s Paranoid album documentation, and Stompbox Book.

Chris Cornell used a Gretsch Duo Jet with a bright Marshall JMP 50 and darker Mesa/Boogie Dual Rectifier blended for the record’s heavy sections. The verse’s Beatlesque movement came from a Leslie Model 16, while the published amplifier settings keep both amps at moderate rather than extreme gain. Guitar-control and microphone values are representative, but the amp controls follow Guitar World’s published reconstruction. Source: Guitar World’s “Secrets Behind the Sound” feature (2019) and Produce Like A Pro.

John Frusciante stated that the album’s basic tracks used a Fender Stratocaster into two Marshalls: a guitar head for edge and a bass head for punch, split with a DOD stereo chorus. The Jaguar seen in the video is not securely documented as the studio guitar, so this recreation follows the better-supported Strat basic-track account. Exact pickup choice, model numbers and control positions for this song were not published, so settings are approximated from the documented album rig. Source: Guitar.com’s Blood Sugar Sex Magik gear guide (2024), Equipboard’s archived Frusciante interview quotations, and GroundGuitar.

Dean DeLeo described his Core-era sound as a 1978 Les Paul feeding a Demeter TGP-3 preamp and VHT stereo power amp, with a clean Vox AC30 adding chord clarity. The spacious modulation associated with “Plush” came from a Rocktron Intelliverb, and DeLeo varied gain largely from the guitar controls. Exact session knob positions were not documented, so settings are approximated from this documented wet/dry-style rig. Source: MusicRadar’s Core track-by-track interview (2022), MusicRadar’s STP rig tour (2019), and Premier Guitar.

Mark Knopfler described the signature sound as a 1961 Stratocaster with its three-way selector jammed between positions, played through a Fender Twin. Later session reporting notes that the precise studio amp is not conclusively logged, but confirms a sparse treatment of compression and reverb. The Twin controls below are therefore representative settings based on Knopfler’s own account. Source: Guitar World’s Mark Knopfler interview (2016), Fender, and MusicRadar’s recording history (2026).

The foundation is Hendrix’s early fuzz sound into a loud Marshall-style stack, while Roger Mayer’s Octavia supplies the octave-rich solo and outro overdubs. Mayer recalled that Hendrix used a borrowed Telecaster for the Octavia overdub after damaging his Stratocaster, although the exact guitar used for every underlying take remains uncertain. Exact control positions were not documented, so settings are approximated from the documented effects and period rig. Source: Premier Guitar’s Roger Mayer interview, Guitar.com’s Are You Experienced gear guide, and Reverb’s Roger Mayer interview.

Jimmy Page has specifically identified Vox Super Beatle heads and Rickenbacker Transonic cabinets as the amplifier system heard on the track. A Les Paul is widely associated with the session-era sound, while the lead tone is commonly recreated with a wah held toward the treble side and a short tape-style delay. The exact guitar take and control positions are not fully documented, so settings are approximated from the confirmed amp rig and published tone analysis. Source: Jimmy Page’s Guitar World/Guitar Player interview (2020) and Roland’s “Whole Lotta Love Tone Dissected.”

David Gilmour recorded the solos with his black 1969 Stratocaster into a high-headroom Hiwatt system, with a Yamaha RA-200 rotating-speaker rig blended in parallel. Compression, a Ram’s Head-style Big Muff and a long, low-mix delay create the sustained voice without sacrificing pick definition. Exact knob positions were not published, so settings are approximated from the documented rig and contemporary tone analyses. Source: Guitar World’s “Secrets Behind the Sound” feature (2020), Gilmourish, and Kit Rae.

The record pairs Malcolm Young’s dry, percussive Gretsch-and-Marshall rhythm sound with Angus Young’s brighter Gibson SG lead voice. Engineer Tony Platt used Neumann U67 and U87 microphones on different speakers, while Angus’s Schaffer-Vega wireless system also pushed and coloured his amp input. Exact control positions were not documented, so settings are approximated from the documented rig. Source: Premier Guitar’s Tony Platt interview (2010), Guitar.com’s Back in Black gear guide, and Reverb.

Engineer Bradley Cook documents Dave Grohl’s Gibson RD Standard through a Fender Tone Master head and Mesa/Boogie 4x12, captured with an SM57 and Neumann U87; the filtered opening used an Astatic JT40 for its intentionally dull bandwidth. Pat Smear supplied a complementary, middier layer through a Mesa/Boogie Studio .22 preamp, Crest power amp, and Marshall cabinet. Exact amp positions were not recalled, so the knob values below are practical approximations from those documented rigs. Source: Produce Like A Pro’s “Everlong: Inside the Song,” Equipboard, and MusicRadar (2026).

Engineer Nick Brine identifies Noel Gallagher’s Takamine FP-460SC as the acoustic used for “Wonderwall,” although surviving studio footage has led some gear researchers to question whether an Epiphone Frontier also played a role. The part is in E standard with a capo at the second fret; no guitar amp is central to this recreation, and the compression values below are representative of the record’s dense, brickwalled presentation rather than documented hardware positions. Source: MusicRadar, Sound on Sound’s Owen Morris interview, and GroundGuitar.

Slash’s core Appetite for Destruction chain was the Kris Derrig 1959 Les Paul replica with Seymour Duncan Alnico II Pro pickups into SIR Stock #36, a modified 100-watt Marshall. A Roland SRV-2000 supplied the spacious digital reverb, while the final solo section switches from the warm neck-pickup voice to bridge pickup and stock Cry Baby wah. Exact amplifier controls and mic placement were not published, so those values are representative. Source: Guitar.com, Seymour Duncan, Vintage Digital, and Guitar World.

Guitar World documents an early-1990s Japanese Fender Stratocaster with a Seymour Duncan JB, a Mesa/Boogie Studio preamp into a Crown power amp and Marshall 4x12, plus a Boss DS-1 and Electro-Harmonix Small Clone. It also publishes control positions for that reconstruction: the Small Clone is clean on the verses, the DS-1 supplies the dirty channel, and both effects are combined for the pre-choruses and solo. The values below follow those published settings rather than inventing a Bassman-only approximation. Source: Guitar World’s “Secrets Behind the Sound” feature (2021).

The album rhythm sound was built around James Hetfield’s Mesa/Boogie core, then enlarged with additional amps, nine to eleven cabinets, distant microphones, and multiple rhythm passes. The clean intro is represented with Metallica’s established Roland JC-120-style clean platform, while Kirk Hammett’s solo uses wah into a Boogie/modified-Marshall blend. Exact control positions were not published, so the values below are practical approximations from the documented rigs. Source: Mix Classic Tracks, Guitar.com’s Black Album gear guide, and Guitar World.

Garageband used as DAW

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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.

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