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Blues Boys Tune Solo Guitar Tone Settings — B.B. King
B.B. King · 1990s · blues
studio
Original Recording
Guitar
Gibson ES-355TD-SV 'Lucille'
Pickups
Gibson 490R (neck) and 490T (bridge) humbuckers, with Varitone circuit
Amp
Gibson Lab Series L5 solid-state combo
Pickup Position
Both pickups engaged (Varitone position 2, stereo Y-cord)
Studio recording, late 1990s ('Blues on the Bayou' album, 1998). B.B. King used his signature Lucille ES-355 with both pickups engaged and Varitone position 2. Amp is the Lab Series L5, his main studio and live amp from the late 1970s onward.
Amp Settings
Mids7
Bass6
Gain2.5
Reverb3
Treble6.5
Presence5.5
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Tone Character
- warm and smooth
- nasal, out-of-phase midrange
- singing sustain
- touch-sensitive
- quick, percussive attack
- bright but not harsh
- round, vocal-like phrasing
- clean with edge-of-breakup
- dynamic response to picking
- minimal compression
Notes & Caveats
- No direct numeric amp settings for 'Blues Boys Tune' solo found; settings estimated based on Lab Series L5 typical usage for B.B. King and blues genre.
- No evidence of pedals or outboard effects used on this studio recording; B.B. King is known for running direct into the amp with minimal effects.
- Amp reverb is set low; most of the ambience is likely from studio room or mixing.
- Pickup and Varitone settings are confirmed from multiple sources for B.B. King's classic tone, but not explicitly stated for this exact song.
- No evidence of delay, chorus, flanger, or other modulation/time-based effects in the solo section—tone is dry and direct.
- Settings cross-referenced with genre and era conventions for accuracy. B.B. King's 'Blues Boys Tune' features his signature clean, round, and vocal-like tone, achieved with low gain, strong bass and mids, moderate treble, and subtle reverb. These settings reflect his typical Lucille/ES-355 into a clean tube amp (often a Lab Series L5 or Fender Twin), with a warm, mid-forward blues sound and just enough reverb for depth.