
Updated by Millie
Updated on March 16th, 2021
Updated internal links, settings photos, and made minor copy changes.
If you can’t remember your guitar’s amp settings, why not just write them down? A friend once told me this as I sat, frustrated as ever, trying to remember how I had gotten a certain tone out of my amp and my chorus pedal. I used to go about guitar tone and amp settings the same way my wife would go about cooking. She would make something amazing, forget to jot down the recipe then had no idea what was in it.
Many good meals have been lost forever.
"Why not write it down?"
I think that’s the habit of many guitar players as well, when it comes to learning and memorizing what works best with our gear. We forget our settings simply because we don’t make note of them or commit them to memory. Sometimes we find an EQ that really works. Why not write it down? This is my list of settings and sounds that I've had luck with over the course of my pursuit of good tone. It's meant to be a catalog of sorts and a quick reference where they can all be accessed.
Let's jump in.
Amp Accessories We Recommend and Use Ourselves
In this section we've listed some guitar amp accessories that we use and like to recommend to other musicians. We've also linked to our partner, Sweetwater, as a means of supporting our site at no extra cost to you. If you buy through the orange button links, it helps us out and gets you some awesome gear. Win-win. Thanks everyone.
Accessory | Title | Rated | Browse |
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![]() | Boss GA-FC GA Foot Controller | n/a | |
![]() | Orange FS-2 Dual Function Footswitch | n/a | |
![]() | Boss FS-6 Dual Footswitch | n/a | |
![]() | Pro Co EG-10 Straight to Straight Instrument cable | n/a | |
![]() | Universal Audio OX Reactive Amp Attenuator with Speaker Modeling | n/a |
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Our amp settings infographic.
1. For a Clean Sound & Shimmer
A nice, basic clean sound with a little extra shine
This EQ makes a great base for adding chorus and/or reverb. Ideal for fills or subtle arpeggios.
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: MIDDLE
- AMP: BASS: 5 / MIDS: 6 / TREBLE: 7 / GAIN:
- CHORUS: LEVEL: 4 / RATE: 4 / DEPTH: 3
- REVERB: LEVEL: 3 / TONE: 4 / TIME: 5 / TYPE: Plate / IF IN AMP: 3

Clean sound with a Fender Super-Sonic amp model
I like to call this the “5-6-7” so it’s easy to remember. Gain should be off or low and if you have a reverb option you can set it near three. If that's too bright, cut the treble back and push the bass knob up another notch. If you use a chord pedal, levels will vary slightly between pedals, but in general you’ll want to keep the rate and depth on the low side.
2. Ideal Fender Amp EQ
Also known as "the magic six"
Thought to be one of the more optimal Fender amp settings.
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: MIDDLE
- AMP: BASS: 2 / MIDS: 3 / TREBLE: 6 / GAIN: 0 / VOLUME: 6 / REVERB: OFF

Optimal Fender amp settings using the Magic Six
Since Fender amps - especially of the tube variety - like this beautiful Fender ’68 Vibrolux have a distinctly smooth and thick tone quality to them, you can usually afford to turn down the bass a little more than you might with other amplifiers.
These settings also assume a Fender guitar is being used, like a Stratocaster or Telecaster
, as they make an effort to accommodate single-coil pickups. The “Magic Six” title comes from volume (6), treble (6) and bass multiplied by mids (2 x 3 = 6).
If it sounds too much like a tin can, turn the bass back up a bit.
3. Clean Base for Delay
An EQ specifically for echo or delay
This can work with any delay pedal or with other ambient effects, like echo or reverb.
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: BRIDGE
- AMP: BASS: 8 / MIDS: 4 / TREBLE: 4 / GAIN: 2 / REVERB: 3 (or to taste)
- DELAY PEDAL: Most settings should be “to taste.” Make sure MIX favors the wet signal.

A good clean amp setting to use with ambient effects
All we’re doing is dialing in a “chunkier” clean sound with some gain to give our delay that nice snap and thick resonance when the pick pushes through a note. If our clean signal is too clean or weak then we risk not having enough body to our delay.
Delay, and most other repeating effects, work best when there is some element of thickness to your tone.
4. Low Gain for Rock
Where your amplifier is the gain source
Get a subtle chunk to your tone by adding a little bit of gain and pushing mids higher than usual. Slash's amp model demonstrates:
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: MIDDLE
- AMP: BASS: 5 / MIDS: 8 / TREBLE: 5 / GAIN: 3-5 / PRESENCE: 4 / REVERB: OFF

Low gain settings on a Marshall Slash amp model
To be fair, you can use a pedal for this, but I’ve found that amps (especially tube amps) drive a low gain tone with a lot more definition, clarity and responsiveness. All we need to do is push mids up, then (depending on the amp) adjust gain somewhere in the 3-5 vicinity.
You want just a little bit of sustain and “grunge” to an otherwise clean-sounding signal.
5. The Wah Cut
The Wah-Friendly Amp EQ
Adding just enough shimmer to make the high notes pop.
- GUITAR: VOLUME: MAX / TONE: 80% / SELECTOR: BRIDGE
- AMP: BASS: 6 / MIDS: 5 / TREBLE: 6 / GAIN: 2 / REVERB: OFF

A wah-friendly amp setting using a Fender amp model
One of the mistakes I see most often made with a good wah EQ is that there isn’t enough bass in the signal. Keep low EQ controls up and use your treble to give some scratch to your pick swipes. Add a little gain if you want to get more crunch out of your right hand (picking hand) movement.
6. An Amp EQ for Metal
A low-end boost for a good metal boom
Dialing in the perfect tone to go with high-saturation gain levels and metal riffs.
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: MIDDLE OR BRIDGE
- AMP: BASS: 8 / MIDS: 4 / TREBLE: 4 / GAIN: 10 (or pedal) / REVERB: OFF
- DISTORTION PEDAL: LEVEL: AMP VOLUME / DRIVE: 75% / BASS: 6-8 / TREBLE: 3-5

Thick and heavy base tone for a metal style
In my experience, the gain from your amp isn’t going to sound metal unless you have a really solid amplifier. Something like Blackstar or Mesa Boogie would do the job. In other cases you’ll need a distortion pedal. We'd recommend something like the AmpTweaker Tight Metal Jr or the Wampler Dracarys, as the settings listed above are based off of those pedals.
As far as your amp goes, you need to get something thick and full, which is why we’re pushing the bass so high. Depending on your amp, you may need to go a little higher or lower than eight, but the principle remains the same.
If you use a pedal, make sure the on-board EQ follows the example of your amplifier.
7. Lead boost
For creating a simple signal boost
Works great for solos or when you want your guitar to “punch through” with just a little more definition.
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: BRIDGE
- AMP: BASS: 2 / MIDS: 7 / TREBLE: 5 / GAIN: 6 / REVERB: 2

Lead boost amp setting with an Orange Thunderverb amp model
This is where having two channels on your amp would be helpful, so you could switch between your “normal” setting and what we’re calling your “boost setting.” Most amps have multiple channels, so you can incorporate two different presets. To emulate a booster pedal, we push mids and gain which will give you some added bite to your signal.
You can move channel volume up slightly and adjust bass if it sounds too much like a tin can.
8. Boss DS-1 Blues
Blues EQ for Boss DS-1 distortion owners
How to set your amp for the optimal accompanying of the Boss DS-1 distortion pedal.
- GUITAR: VOLUME: MAX / TONE: 75% / SELECTOR: MIDDLE
- AMP: BASS: 4 / MIDS: 7 / TREBLE: 7 / GAIN: 6 / REVERB: OFF
- DS-1 SETTINGS: TONE: 5 / LEVEL: 5 / DIST: 5

Amp settings for pairing with a Boss DS-1 distortion pedal
The Boss DS-1 distortion is a commoner among today's pedalboards. We’ve dedicated an entire post to discussing its optimal blues settings, and what you see here is a just a sample. Small tube amps can also mesh really well with this setting, since the bass reduction balances well with the added warmth from the tubes.
For free, here’s a second variation we’d recommend trying out:

A second variation you could try with the Boss DS-1 distortion
9. The Adam Jones
For covering Tool songs
Adam Jones isn’t conventional, but his tone is easier to replicate than you might think.
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: BRIDGE
- AMP: BASS: 8 / MIDS: 9 / TREBLE: 6 / GAIN: 8 (or pedal) / REVERB: OFF

High gain, high mids, and really expensive amplifiers will get you close to an Adam Jones guitar tone
If you’re going to mimic Adam Jones’ sound, you need a good, raw distortion that sounds “metal” but isn’t overly saturating. That means gain (whether coming from a pedal or amp) should be high, but not so much that you get a lot of excess feedback and noise. Tool’s guitar work is rhythmic, which means you’ve got to have some shape and definition to your distortion.
We go with high bass and even higher mids to make sure you can hear the chord changes and tonal subtleties with plenty of clarity.
10. All reverb
Works especially well with Fender amps
A three-band EQ to use as a backdrop for ambient reverb.
- GUITAR: VOLUME: MAX / TONE: 90% / SELECTOR: Middle
- AMP: BASS: 4 / MIDS: 7 / TREBLE: 8 / GAIN: 0 / REVERB: 7-10

High treble and mids help bring out the reverb trails and provide a little extra "shine"
I’ve never come across an amp that handles reverb better than the mid to high range Fender models. The Deville and Vibrolux are just hands down some of the best reverb amps out there. But, regardless of what you have to work with, we’re trying to add some extra chime to our tone.
Go with high mids, higher treble and cut the reverb knob up past seven or so. Leave gain out of the picture and go with the middle pickup on your guitar to take the edge off.
11. Tom Morello's Marshall Settings
For covering Audioslave and Rage Against the Machine
An EQ that helps highlight the distorted tones and riffs that Tom Morello has been most known for over the years.
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: Middle or Bridge
- AMP: BASS: 4 / MIDS: 4 / TREBLE: 9 / GAIN: 7 / REVERB: OFF

High treble and moderate to high gain get you close to a Tom Morello tone, based largely on the Marshall JCM 800
We published a more detailed post on Morello’s settings, so this is derived from that post, serving as the groundwork for adding other effects like the MXR Phase 90 and DigiTech Whammy.
Morello uses both on his pedalboard.
The highs are high and we add a little bass to match Morello’s strong, funky punch. But the crucial element is adding gain that isn’t overly saturating and isn’t producing too much sustain. Morello’s riffs are heavy, but they’re also controlled and succinct.
Don’t over-shoot gain levels and you should be fine.
Read more: Tom Morello's Masterclass review
12. Tom Morello 2.0
For when the original sounds too much like a tin can
If you’re using an amp or guitar that emits a “brighter” tone, here’s how to cut things back and take the edge off.
- GUITAR: VOLUME: MAX / TONE: 90% / SELECTOR: Middle
- AMP: BASS: 6 / MIDS: 5 / TREBLE: 6 / GAIN: 7 / REVERB: OFF

If you think the first setting is too "brisk," just cut the treble back and move the bass up a bit.
Morello uses Marshall amps, so his sound is going to be naturally brighter. But if you find it too piercing, push the bass higher (around seven or eight) then cut back your mids and treble to five and six, respectively.
13. The minimalist
Want to just be really subtle? There's a right way.
The optimal EQ for providing subtle fills, background noise or light strumming.
- GUITAR: VOLUME: 70% / TONE: 80% / SELECTOR: Middle
- AMP: BASS: 5 / MIDS: 4 / TREBLE: 3 / GAIN: 3 / REVERB: 2 (or to preference)

Treble and mids get cut back to smooth things out. Nice and subtle.
Keeping bass at the halfway point and giving just a small gain boost will help to add some thickness after you’ve cut down volume on your guitar. This one is perfect for those verse fills were you want to blend in and help the song’s dynamics.
14. Acoustic EQ
Amplified acoustics are tricky but hang in there
We don’t want our acoustic to ring too much (feedback gets annoying) but we also don’t want a hollow sound.
- GUITAR: VOLUME: 70% / TONE: 80% (if applicable) / SELECTOR: n/a
- AMP: BASS: 6 / MIDS: 6 / TREBLE: 2 / GAIN: 0 / REVERB: 2-3

Easy on the treble to prevent feedback. Add little delay or reverb to brighten things up.
Keep in mind, I’m speaking from the experience of someone who owns a Taylor 114ce acoustic, which are notoriously brighter sounding. If you wouldn’t describe your acoustic that way, try the next configuration.
15. Acoustic EQ 2.0
The strummer's acoustic setting
The previous configuration was heavy. This time we cut down the bass and give the highs an upward turn.
- GUITAR: VOLUME: MAX / TONE: 90% (if applicable) / SELECTOR: n/a
- AMP: BASS: 3 / MIDS: 7 / TREBLE: 6 / GAIN/VOLUME: 5 / REVERB: 2-3

Try this for a strumming acoustic tone, lower bass and a bit more treble
This settings will work better with Martins and similar acoustics that tend to have a naturally heavier tone and are more ideal for strumming.
16. Optimal high end
For correcting a signal with too much bass
This is a quick look at how you might want to dial in something that gives you a little more bite.
- GUITAR: VOLUME: MAX / TONE: 80% / SELECTOR: Bridge
- AMP: BASS: 3 / MIDS: 7 / TREBLE: 6 / GAIN: 0 / REVERB: off

Amp settings for correcting an EQ with too much bass
It's a fairly typical way to dial in a higher EQ. Treble gets a bump, mid stays “mid” and we cut the bass back to give the higher frequencies room to play.
17. Optimal low end
For correcting a signal that's too high or bright
If you want a little more “thud” in your clean signal or if you just need to thicken things up a bit.
- GUITAR: VOLUME: MAX / TONE: 90% / SELECTOR: Middle
- AMP: BASS: 5 / MIDS: 4 / TREBLE: 6 / GAIN: 0 / REVERB: off

Amp settings for correcting a tone that's too bright
For a thicker clean signal, we leave treble up, but cut back on the mids and push the bass to five.
18. Kurt Cobain EQ
Capturing the optimal Seattle grunge flavor
Cobain’s settings here work best with a Boss DS-2 Turbo Distortion and EHX Small Clone chorus
.
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: Bridge
- AMP: BASS: 6 / MIDS: 8 / TREBLE: 8 / GAIN: 10 (or use pedal) / REVERB:off
- DS-2 TURBO: LEVEL: 10 / TONE: 4-6 / DIST: 6-10 / TURBO: Position I

Amp settings based on Kurt Cobain's guitar tone
The grunge sound was heavy, but it wasn’t laden with thick low-end frequencies like the rock of the past couple decades has been. To really capture Kurt Cobain’s tone, it’s best to keep bass moderate (around five or six) and rely on your treble to give some definition to the high amounts of gain.
Check out our in-depth article on Kurt Cobain Amp Settings for more information on his sound and the Seattle grunge guitar tone, in general.
19. The Edge EQ
A three-band EQ to get you started on U2's tone
David Evans’ tone is far more complex than a three-band EQ, but this is a good starting point.
- GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: Middle
- AMP: BASS: 5 / MIDS: 6 / TREBLE: 7 / GAIN: 1-2 / REVERB:1-2

Amp settings based Edge's guitar tone from U2
To really start digging into Edge’s tone, you almost need a guitar tech to explain some of the details. Nevertheless, we can take a simple approach by boosting treble, cutting bass and adding a little bit of gain. If you have a delay pedal, adding it near the top of your signal will be a nice fit.
Edge’s preferred pedal for complimenting this type of tone is the EHX Memory Man.
Taking Amp Settings With a Grain of Salt
Understand that all these settings should be taken with a grain of salt.
Why?
How come they aren’t guitar-gospel truth?
You can’t be an absolutist about these settings (or any, for that matter), because of the following reasons:
1. Beautiful tone is subjective and is in the eye of the beholder.
What sounds good to some, might sound terrible to others. Even within genres and styles, you’ll have people who hear things differently or prefer different degrees of equalization in their signal. We can’t say that a lot of bass, for example, is always “the right thing” nor can we say that any one type of EQ is better than another.
Because it’s largely subjective and subject to change.
2. Everyone’s rig behaves differently than the next.
This is perhaps the biggest hurdle when it comes to normalizing and generalizing an approach to your tone. No matter how you put it together, everyone’s rig is going to respond differently based on a number of factors.
To name a few:
- Humidity
- Indoor/Outdoor Location
- Aggressiveness of Playing Style
- String Age
- Room Padding
- Microphone/Amplification Methods
- PA Systems
- Amp Location
- Pedal Wiring/Configuration
And all this is before we even get to what kind of gear your own. There are just too many variables to account for. Does this mean you can’t have any pre-determined standards and presets?
Of course not.
There’s plenty you can establish as your normal. But you’ve got to be aware that not only will that “normal” not always work from rig to rig, but it might not even work for you every time, simply because there are so many variables to consider. Just know that even in the midst of conventional wisdom, your gear, and how it’s configured, is unique to you.
Thus it’s a fool’s errand to try and predict your tone based solely on what worked for someone else.
3. Tinkering is an Inherent Part of the Deal
When you get settings from a third party it’s wise to consider that the way most guitarists get their tone is simply by tinkering, experimenting and figuring out what works, largely by way of trial and error. Be careful not to assume that a guide like this abnegates you from the responsibility to do the same.
Because that’s the only way you really get a good sound from your rig. Yes, you can use these as starting points and a way to familiarize yourself with your options. However, your results will be far better if you commit to putting some work into your tone and figuring out what gets you the best results.
It’s better to be the person who knows the great settings, rather than the one who is always searching for them online.
Some Other Amp Settings Best-Practices
What are some other best practices to keep in mind? What can you do on a more practical and pragmatic level? There are a few additional things you can do to improve your tone that are worth listing.
1. Know that the volume knob on your guitar effects your tone and Gain
Most of the time, it’s smart to keep your guitar’s volume knob at 10, because turning it down doesn’t just cut down your volume, but it changes your tone and slashes your gain as well. Keep it turned all the way up, unless you want the drop in gain.
If you do just want to reduce volume, but maintain the integrity of your signal, the best option is to employ a volume pedal or simply turn down the master volume on your amplifier.
2. Don’t Overlook Pick and String Quality
Cheap or old strings are a tonal death sentence. No amount of tinkering or adjustments on even the best tube amps can do much to redeem them. We recommend a coated string, like Elixir or Ernie Ball’s coated offering. As far as picks go, just recognize that the weight and texture of a pick can impact your tone in a number of ways. For instance:
- Heavier picks produce a thicker tone
- Textured picks produce more grit or “chime”
- Lighter picks create a better strumming texture (typically work better with acoustic guitars)
3. Take Advantage of Your Channel Volume
Most amps have multiple channels, which means you’ll have a master volume (for the entire amp’s output) and additional volume controls (gain) for each channel.
To write this post I used the Line 6 Spider IV 150-Watt amp, which provides four different channels and is a good example of how this can work. Let’s say you wanted to set channel one at 80 percent volume and channel two at 60 percent volume. You would set them both, then set your master volume as a final touch.
Keep in mind that getting your volume right can be a huge part of having good tone, and your channel volume is going to be a big part of that.
Generally, it’s better to keep channel volume higher and use the master volume to control overall output.
Conclude
What’s the moral of the story?
Use best practices and be willing to do some major tinkering.
The goal is to find your tone, which takes a lot of time and a lot of customization. But, today’s guitar gear is made well, and will accommodate a lot of creativity.
My advice, is to employ that creativity.
Best of luck.
Related Articles
Written by Bobby on Amp Settings
Written by Bobby on Amplifiers and Roundups
Great suggestions, thanks.
But would appreciate some examples for neck pickup, neck-and-mid and bridge-and-mid settings. Or do you use EQ to get the warm blues and ‘mouthy’ out-of-phase tones?
Hey Ashley – thanks for getting in touch. So I assume you’re talking about a Strat? Or just guitar-specific settings in general?
Hi Bobby,
I guess I’m thinking more about genre and styles, rather than specific guitars. Almost all of the settings given here seem to be focused on bridge or middle PUs. To my ear these are great for rock and metal but lack warmth for other genres like blues and folk, where I would have thought neck PUs might be more appropriate. Any specific suggestions for neck (LP/strat) and neck-and-middle (strat) settings? Thanks.
Great job.
Need some Progressive Rock amp settings. e.g Pink Floyd, Porcupine tree.
For some time now, I’ve been chasing the tone most commonly associated with The Chameleons’ Reg Smithies and Dave Fielding. Been playing around with various settings, but still not quite getting it. Thoughts?
Sorry, Karl – not too familiar with either of those groups. Example song?
I liked the content, great job! Thanks.
I own a peavey bandit 112 transtube the latest one (not the silver or red stripe version). I’m having a hard time to use the eq of clean and lead channel. I also did follow the factory settings with the manual but still it sounds meh. Do you have any recommendations for the eq settings i also don’t use mic for the amp. Thank you
How does it sound with everything set to 12 o’clock. I assume you’re looking for a clean tone, primarily?
yes, I’m looking for a clean tone when everything is at 12 o’clock it’s like a hollow sound for my ears.
What do you get with bass at 8, mids at 6, and treble at 4?
I don’t know
Because, when it’s safe to go back to guitar stores I would probably be using Marshall amplifiers for a lot of the distorted tones
It’s safe now. Go for it.
Can you send me what amplifier models you used for the amp settings?
You mean the settings in the article? I think I used Amplitube 4 amp models.
Yeah that’s what I meant
Those amps that are shown under the amp settings don’t have amp models in them so I was just wondering. I meant what presets did you use?
Yeah, they’re all based on a brand and a particular model. The JCM 800 on the Marshalls, just for one example.
You know those links that you have to other amp settings articles? What amp models did you use for them. Slash Eric johnson etc?
Way back in preset #5, which guitar do you think I should use? I have that telecaster that I talked about and I have a flying v with humbuckers
Definitely the Telecaster.
Way back in amp setting number 2 you said that you should use a fender guitar. I have a tele but it’s not a fender tele. Oh by the way I’m getting an amp with 3 band EQ for my birthday
Actually I will be using the mustang gtx 50 for all of those settings
Hi Bobby, how can I dial up those settings if my amp doesn’t have 3 band EQ? Thanks, Gavin
Hey Gavin – what do you have on there? Bass and treble, I would assume?
Yep that’s what I have
What else is on the amp? What amp is it? Also, what type of sound are you going for?
Do you mean like what other amplifier models are on the amp? So I have tweed bassman, tweed deluxe, tweed champ, 65 twin amp, 65 deluxe and 65 Princeton. Those are the clean tones. Oh and it’s a fender champion 20 amplifier
There’s also 60s British (60s rock) 70s British (70s rock)
80s British (80s Rock)
Supersonic 90s metal 2000s metal. Do you want me to tell you what effects are in the amp also?
80s rock 70s rock 60s rock supersonic metal 90s metal and 2000s metal
For the heavier stuff and metal, and with that amp, I’d consider getting an external distortion source (a distortion pedal). I’d start with treble at 4 or so so and bump bass up to around 8. But to be honest, I think you’re going to have trouble getting much a heavy tone from that particular amplifier.
Do you think Marshall amplifiers are solid amps that can handle a high gain tone?
Yep. Some of the best. They’re a little more on the vintage side, compared to something like Mesa or Diezel.
What does scooped mids mean?
It just means to turn them down.
What distortion pedal would you recommend?
So I have a telecaster that has a phase shifter hidden in the tone knob. When I’m in the 90s metal mode on my amp and on both pickups and I pull up the tone knob it sounds like the bridge pickup maybe better
That’s kinda different. Are there humbuckers on the Tele? Could be some kind of coil splitting.
These are all my distortion pedal recommendations. I’ve tested all six in the list: https://medium.com/@guitar_chalk/6-best-distortion-pedals-bought-tested-rated-7534cadd8584
I didn’t really mean like high gain distortion pedals because I would already have the gain at 7 on my amp but I would just need some punch for solos
Is there a way for me to send you a recording of what my amplifier sounds like?
Hey Gavin – I would do Soundcloud or YouTube.
I don’t know how to post on YouTube or SoundCloud
You could try emailing a clip if you have one recorded: bobby@guitarchalk.com
Would it work?
It should. Give it a try. Just include it as an attachment.
I don’t have any other ideas
I couldn’t upload the file that has the audio of what my amplifier sounds like
How did I get to Eric Johnson’s amp settings before?
No it has single coils
Ok I was just wondering because I will be using the fender mustang gtx 100 for those settings
Bonjour ! J ai une Gibson Pearly Gates et un ampli 2 corps Orange Rockerverb 100 mk3 . Pouvez vous m aider a trouver les reglages du son au plus pres de BILLY GIBBONS first period et le son du live en 80 au Rockpalast ! merci d avance ! Phil
Hi! I’m using the metal eq that you suggested (very good by the way) and I want to use that pedal setting that comes on the metal setting. The thing is that the distortion pedal that comes on my multi fx pedal board has drive, level but only the tone control. How do you suggest me to set that distortion pedal with only tone?
Hey man. A linear tone knob is basically a single band EQ, with bass, mids and treb all combined into one. It’s not as flexible, so it’s really just a matter of having your tone brighter or thicker. I’d opt to keep things on the heavier end, but that’s just my preference.
If you use the “metal” tone with max gain and scooped mids your guitar and band will sound like garbage. Facts.
Get a tube amp, cut back on the gain, put an OD in front of the amp. Dimebag didn’t know jack about tone, you rarely need your gain above 6, no matter how heavy your band is.
Wow, well-researched summary of many classic amplified guitar tones. My only difference of opinion is your recommendation on setting the guitar volume at max. This might be true for taking a solo, but riding the guitar volume in that 70% to 90% range for most of the set makes more sense to me. Great cleaner tones and rhythm tones live in that space while still giving you the option to slide the volume up to drive the amp/effects harder and punch through the band during your solo. Volume pedals are a legitimate option, but placement in the effects chain gets tricky especially if you’re using a fuzz or envelope filter pedal at the front of your chain. Oh well, that’s why they call us “tone chasers”, no? 🙂
I can’t thank you enough for this list! I have been playing for 53 years, and that is a LOT of settings. Your advice to write these down is the best of them all. I am also familiar with that problem you mentioned about meals – whip up something good, then forget how it was done.
So, in comparison, these settings can be likened to a recipe. One that gets the right ingredients into the mix, and improves the flavor!
Very true, Edward. Glad these were helpful.
I have a Crate CA15 amplifier with only gain buttons no volume buttons. What is best way to set up for my acoustic guitar?
I used to use one these actually. If I understand correctly, each channel has its own gain and there’s no master volume?
That’s a poor design on Crate’s part, but in that situation you would just treat the gain knobs as master volume for each individual channel. Just set the volume of each channel to your desired output and then test it out.
Pretty straightforward when there’s only one volume control. Gain=volume.
Hi Bobby. I’m an acoustic player and new to electrics & amps. I recently saw Brad Paisley & Keith Urban play which was awesome and has tempted me into electrics and I now have a spanking American Standard Tele and a beginner amp. I’m starting to understand how the knobs & switches on the amp work but I can’t understand how those on the guitar relate to those on the amp. None of the articles on amp tone I’ve read so far actually mention the guitar’s controls so I’m lost. Can you explain how they need to work together? Thanks. Mike
Hey Mike – thanks for commenting.
I’m pretty sure this piece addresses exactly what you’re asking. https://www.guitarchalk.com/understanding-guitar-volume-amp-settings/
If I’ve misunderstood and that doesn’t answer your question, let me know.
Thanks for this information. I just subscribed to the site so I will be printing this out to keep in the woodshed. I am going to try to fit these into my Line 6 Firehawk FX .
Thanks Braulio. Good to hear.
Hope they work out well for ya.
Hi, very useful info. I wonder if you could create a printer-friendly page so it can be printed. It would be really helpful to use as a memory jogger. It’s ironic since you suggested we write it down
Hey Mike – I just setup an optin box with a link to the PDF (it’s near the top of this page). If you’d prefer not to optin, just shoot me an email and I’ll send you the raw link: bobby@guitarchalk.com.
This is great. Used the acoustic 2.0 setting on my Peavey Backstage Plus and FINALLY got the acoustic amplification I’ve been looking for, so thanks for that.
Awesome! Glad to hear it and thanks for sharing.