GuitarDistortedRiff68% confidence
A Man I'll Never Be Riff Guitar Tone Settings — Boston
Boston · 1970s · rock
studio
Original Recording
Guitar
Gibson Les Paul Goldtop (1957, with DiMarzio Super Distortion bridge pickup, modified by Tom Scholz)
Pickups
DiMarzio Super Distortion (bridge), Gibson P-90 (neck), likely bridge pickup for riff
Amp
Marshall Super Lead (1959 model, modded by Scholz), possibly with Power Soak
Pickup Position
Bridge pickup
Studio recording, 1977-1978, Don't Look Back album. Scholz is known for heavy studio layering and custom signal chains. No evidence of Rockman on this album; Rockman was developed after. Effects are likely rack or pedal-based, not amp built-in.
Amp Settings
Mids7
Bass6.5
Gain5.5
Reverb3
Treble7
Presence6
Effects Chain
- Compression pedal (model unknown) · compression
- Chorus pedal (model unknown) · chorus
Guitar → Compression pedal → Chorus pedal → Marshall Super Lead (plate reverb added in mix or via rack unit)
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Tone Character
- rich and harmonically layered
- crunchy but smooth
- clear note separation
- singing sustain
- slightly compressed attack
- midrange-focused
- tight and controlled low end
- warm but present highs
- studio-polished
- distinct stereo double-tracking
Notes & Caveats
- No direct source gives exact amp or pedal settings for this song; amp and EQ settings estimated based on era, genre, and known Scholz studio practices.
- Guitar and pickup info inferred from multiple Boston interviews and known Scholz mods; not explicitly confirmed for this exact track.
- No explicit pedal models confirmed for this riff; effects inferred from audio and Scholz's known gear at the time.
- Rockman was not used on the first two Boston albums; all effects are likely rack or pedal-based.
- Presence and reverb values are estimated based on typical Marshall Super Lead settings for classic Boston tones.
- Settings cross-referenced with genre and era conventions for accuracy. Tom Scholz's tone on 'A Man I'll Never Be' is classic Boston: mid-forward, smooth, and harmonically rich, achieved with moderate gain (edge of breakup to crunch) and Scholz's Rockman/modified Marshall setup. The bass is full but not boomy, mids are prominent for vocal sustain, treble is present but not harsh, and reverb is subtle, matching late-70s studio production.