GuitarDistortedRiff80% confidence
Brianstorm Riff Guitar Tone Settings — Arctic Monkeys
Arctic Monkeys · 2000s · rock
studio
Original Recording
Guitar
Fender Bronco (likely 1970s, single-coil pickup)
Pickups
Single-coil (Fender Bronco stock pickup)
Amp
Selmer Zodiac Twin 30 (crocodile-skin, vintage 1960s model)
Pickup Position
Bridge pickup
Studio recording, 2006-2007 for 'Favourite Worst Nightmare'. Alex Turner played rhythm/riff parts on his Fender Bronco through the Selmer Zodiac Twin 30 amp, as confirmed by producer James Ford. No evidence of live/tour gear or alternate guitars for the studio riff section.
Amp Settings
Mids7
Bass6
Gain7
Reverb1.5
Treble7.5
Presence6.5
Effects Chain
- Coopersonic Valveslapper Dual-Valve Distortion · distortion
Fender Bronco → (possibly Coopersonic Valveslapper) → Selmer Zodiac Twin 30 (spring reverb low)
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Tone Character
- tight and percussive
- aggressive and biting
- articulate single notes
- fast attack, minimal sustain
- crisp high end
- controlled low end
- slightly scooped mids
- no modulation or ambience
- focused, punchy distortion
- British amp crunch
Notes & Caveats
- No direct amp knob settings for 'Brianstorm' found; settings estimated based on typical Selmer Zodiac Twin 30 usage for high-gain British rock in studio context.
- No explicit pedalboard photo or studio notes for 'Brianstorm' riff section; pedal use inferred from era and lack of audible effects.
- Some sources list other guitars (Les Paul, Jazzmaster) and amps (Magnatone), but producer and era-specific sources confirm Bronco and Selmer Zodiac for this album's main rhythm/riff tones.
- No evidence of time-based or modulation effects in the riff section; distortion is amp or possibly pedal-boosted, but no clear pedal model confirmed for this part.
- Settings cross-referenced with genre and era conventions for accuracy. Brianstorm's riff tone is aggressive, tight, and bright, with pronounced mids and treble typical of British rock and Alex Turner's preference for Vox/Marshall-style amps. The gain is set for a saturated crunch, but not modern metal, and the reverb is minimal, matching the dry, punchy production of the era.