TonesMatch
Bent To Fly (feat. Myles Kennedy & The Conspirators) — Slash1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

Bent To Fly (feat. Myles Kennedy & The Conspirators) Guitar Tone Settings

Slash · 2010s+ · rock

studio

Original Recording

Guitar
Gibson Les Paul Standard (likely Slash signature, Appetite or Vermillion Burst, as per era and rig)
Pickups
Seymour Duncan Alnico II Pro humbuckers
Amp
Marshall Silver Jubilee 2555 100-watt head into 4x12 cabinet with Celestion Vintage 30s
Pickup Position
Bridge pickup

Studio recording, 2014 (World on Fire album sessions). No evidence of alternate guitars or amps for the riff section. No explicit mention of pedals for the riff section; Slash is known for minimal pedal use in rhythm parts. Settings estimated based on typical Silver Jubilee usage for Slash in this era.

Amp Settings

Mids
7
Bass
6
Gain
7
Reverb
2.5
Treble
6.5
Presence
6

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Tone Character

  • British crunch
  • Full-bodied midrange
  • Tight low end
  • Open and dynamic
  • Articulate pick attack
  • Warm and harmonically rich
  • Slightly compressed
  • Clear note separation
  • Classic rock drive
  • No excessive gain

Notes & Caveats

  • ⚠️No explicit numeric amp settings found for this song/section; settings estimated based on typical Marshall Silver Jubilee usage by Slash in studio rock context.
  • ⚠️No direct evidence of pedals used in the riff section; Slash is known for minimal pedal use in rhythm parts.
  • ⚠️No evidence of effects loop or amp-based effects beyond possible light reverb.
  • ⚠️Pickup choice inferred from typical Slash rhythm tone and audio analysis.
  • ⚠️Pedal/effects info is minimal due to lack of explicit sources for this specific recording/section.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Slash typically uses a Les Paul into a Marshall-style amp with moderate-high gain, prominent mids, and a balanced EQ for thick, singing rock tones. The riff in 'Bent To Fly' is crunchy but smooth, with forward mids, tight but not boomy bass, and subtle reverb for space, matching his usual post-2010 settings.

Sources