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Cliffs of Dover — Eric Johnson1 / 2
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Cliffs of Dover Riff Guitar Tone Settings — Eric Johnson

Eric Johnson · 1980s · rock

studio

Original Recording

Guitar
1954 Fender Stratocaster (modded, DiMarzio HS-2 bridge pickup, tone wired to bridge and middle)
Pickups
DiMarzio HS-2 single coil (bridge position, Strat wiring mod: tone control on bridge/middle)
Amp
Fender Twin Reverb (studio clean rig, Ah Via Musicom era, 1989 recording)
Pickup Position
Bridge pickup (Strat, DiMarzio HS-2, tone knob engaged)

Studio recording, 1989, clean riff section. Eric Johnson used his 1954 Stratocaster for the clean intro/riff, plugged into a Fender Twin Reverb for the clean tone. The Marshall Super Lead was used for lead/dirty tones, not for the clean riff. Effects included a Maestro EP-3 Echoplex for subtle delay and possibly a compressor for added sustain. No overdrive/distortion pedals were used for the clean part.

Amp Settings

Mids
6
Bass
6
Gain
3
Reverb
4
Treble
7
Presence
6

Effects Chain

  • Maestro EP-3 Echoplex · delay

Guitar → Maestro EP-3 Echoplex → Fender Twin Reverb (with spring reverb)

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Tone Character

  • glassy and bell-like
  • sparkling highs
  • articulate and percussive
  • warm low end
  • touch-sensitive
  • slight compression
  • no breakup
  • subtle tape delay ambience
  • studio-quality clean
  • dynamic response

Notes & Caveats

  • ⚠️Exact Fender Twin Reverb knob settings for the studio clean riff are not published; values are estimated based on typical Eric Johnson clean settings, era, and genre.
  • ⚠️Some sources mention Marshall Super Lead, but this was used for lead/dirty tones, not the clean riff.
  • ⚠️Pedal settings for the Maestro EP-3 Echoplex are not specified; delay is inferred as subtle and always on for ambience.
  • ⚠️Compressor pedal is not confirmed for this section, but slight compression is audible and referenced in forums.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Eric Johnson's 'Cliffs of Dover' riff tone is edge-of-breakup to light crunch, with a smooth, singing lead and clear note separation. He favors mid-forward, slightly bright settings with ample presence and moderate reverb for ambience, matching his typical Marshall amp setup and 1980s production style.

Sources