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Anarchy In the U.K. — Sex Pistols1 / 2
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Anarchy In the U.K. Riff Guitar Tone Settings — Sex Pistols

Sex Pistols · 1970s · punk

studio

Original Recording

Guitar
1974 Gibson Les Paul Custom
Pickups
Gibson humbuckers (pickup covers removed, bridge pickup used)
Amp
1972 Fender Twin Reverb combo with Fender P.S. 12 (Gauss 2841) 12-inch speakers
Pickup Position
Bridge pickup

Studio recording, 1976-1977, Never Mind the Bollocks sessions. Amp was cranked to full volume for power-amp overdrive. No amp reverb or vibrato used. MXR Phase 45 or Phase 90 used for modulation. All sources confirm direct-to-amp with minimal effects for riff section.

Amp Settings

Mids
8.5
Bass
7
Gain
8
Reverb
0
Treble
8
Presence
7.5

Effects Chain

  • MXR Phase 45 · phaser

Guitar → MXR Phase 45 → Fender Twin Reverb (no reverb, vibrato, or other effects)

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Tone Character

  • violent crunch
  • slashing treble
  • roaring midrange
  • tight, twangy bass
  • aggressive attack
  • raw and powerful
  • punchy and immediate
  • minimal sustain
  • dry, uncompressed
  • in-your-face presence

Notes & Caveats

  • ⚠️Amp settings are taken directly from Guitar World and reflect the studio recording, not live settings.
  • ⚠️Some sources mention MXR Phase 90, others Phase 45; both are similar, but Equipboard and Reddit specify Phase 45 for 'Anarchy in the U.K.'
  • ⚠️No evidence of any other pedals or amp effects used on the riff section; all distortion is from cranked amp.
  • ⚠️Presence control on a 1972 Twin Reverb is actually a master volume; 'presence' here refers to the amp being fully cranked.
  • ⚠️No reverb, delay, chorus, flanger, or other effects are audible or cited for the riff section.
  • ⚠️All settings and gear are for the studio recording of the main riff, not live or other songs.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Steve Jones used a Les Paul Custom into a cranked Marshall (likely a JMP or Super Lead) with the mids pushed for that snarling, aggressive British punk sound. The tone is dry, mid-forward, and crunchy with little to no reverb, matching both the era's production and Jones's known amp preferences.

Sources