GuitarDistortedSolo80% confidence
A Go Go Solo Guitar Tone Settings — John Scofield
John Scofield · 1990s · jazz
studio
Original Recording
Guitar
Ibanez AS-200
Pickups
Ibanez Super 58 humbuckers
Amp
Mesa/Boogie Mark III
Pickup Position
Neck pickup
Studio recording, 1997. Gear confirmed for 'A Go Go' album sessions. No evidence of alternate guitars or amps for the solo section. Scofield is known to use the neck pickup for solos, and the AS-200 with Super 58s is confirmed for this era and album.
Amp Settings
Mids6
Bass5.5
Gain4.5
Reverb3
Treble5
Presence5
Effects Chain
- Chorus pedal (likely Ibanez CS9 or Boss CE-3) · chorus
Ibanez AS-200 → Chorus pedal (Ibanez CS9 or Boss CE-3) → Mesa/Boogie Mark III (spring reverb on low setting)
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- warm and round
- slightly gritty edge-of-breakup
- clear note separation
- dynamic and touch-sensitive
- articulate single-note lines
- mild overdrive, not fully clean
- subtle chorus shimmer
- responsive to picking dynamics
- full-bodied midrange
- smooth sustain
Notes & Caveats
- Amp and pedal settings are based on published Scofield settings and typical Mark III jazz fusion usage; no direct studio knob photos for 'A Go Go' solo.
- Chorus effect is clearly audible in the solo but specific pedal model is not confirmed for this track; Ibanez CS9 and Boss CE-3 are both documented in Scofield's rig for this era.
- No evidence of delay, wah, or other modulation effects in the solo section.
- Presence setting is estimated based on typical Mark III usage for jazz/fusion.
- Exact guitar knob positions are inferred from Scofield's known practice of rolling back volume/tone for warmth and dynamics.
- Settings cross-referenced with genre and era conventions for accuracy. Scofield's 'A Go Go' solo tone is clean but with a touch of breakup, very mid-forward and warm, typical of his Ibanez semi-hollow through a clean tube amp (often a Fender or Mesa/Boogie) with moderate bass and restrained treble. The production is dry with just a hint of room reverb, matching late-90s jazz/funk fusion conventions.