TonesMatch
Comedown (Remastered) — Bush1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

Comedown (Remastered) Riff Guitar Tone Settings — Bush

Bush · 1990s · rock

studio

Original Recording

Guitar
Fender Jazzmaster (likely early 90s, with Lollar pickups)
Pickups
Lollar single-coil Jazzmaster pickups
Amp
Mesa/Boogie Dual Rectifier Trem-O-Verb Combo Amp
Pickup Position
Bridge pickup

Studio recording, 1994 for 'Sixteen Stone (Remastered)'. Gavin Rossdale is confirmed to have used a Fender Jazzmaster with Lollar pickups and a Mesa/Boogie Dual Rectifier Trem-O-Verb for the main riff on 'Comedown (Remastered)'. No evidence of alternate guitars or amps for this section. Pedal use is inferred from multiple sources and the audible fuzz in the riff.

Amp Settings

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

Effects Chain

  • Electro-Harmonix Sovtek 'Green Russian' Big Muff Pi V7C · fuzz

Fender Jazzmaster → Electro-Harmonix Sovtek Green Russian Big Muff Pi → Mesa/Boogie Dual Rectifier Trem-O-Verb (spring reverb on low setting)

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Tone Character

  • fuzzy and saturated
  • thick and compressed
  • tight and percussive attack
  • aggressive, crunchy rhythm
  • punchy and articulate
  • midrange-forward
  • full-bodied
  • slightly scooped highs
  • warm but not muddy
  • studio-layered fullness

Notes & Caveats

  • ⚠️No direct amp knob settings found in sources; settings estimated based on typical Mesa/Boogie Dual Rectifier usage for 90s alternative rock and fuzz pedal stacking.
  • ⚠️Pedal model (Electro-Harmonix Sovtek 'Green Russian' Big Muff Pi V7C) is strongly associated with the album and tone, but not 100% confirmed by artist for this exact track.
  • ⚠️Pickup selector position inferred from typical Jazzmaster usage for riff clarity and attack.
  • ⚠️No evidence of modulation, delay, or chorus effects in the riff section; only fuzz/distortion and light amp reverb are present.
  • ⚠️All gear and effects are for the studio recording, not live or later performances.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Bush's 'Comedown' riff features a thick, crunchy Brit-rock tone with pronounced mids and a tight low end, typical of Marshall-style amps from the mid-90s. The gain is set for saturated crunch, with mids pushed for presence in the mix, moderate bass and treble for balance, and minimal reverb as heard in the dry, punchy production.

Sources