GuitarDistortedSolo80% confidence
Comedown (Remastered) Solo Guitar Tone Settings — Bush
Bush · 1990s · rock
studio
Original Recording
Guitar
Fender Jazzmaster (likely 1990s MIJ/CIJ, as used by Gavin Rossdale on Sixteen Stone era, confirmed for 'Comedown')
Pickups
Lollar Jazzmaster single-coil pickups (as per 2023 rig rundown, but likely stock or similar single-coils in 1994 studio recording)
Amp
Mesa/Boogie Dual Rectifier Trem-O-Verb Combo Amp
Pickup Position
Bridge pickup
Studio recording, 1994 (Sixteen Stone Remastered). Guitar and amp confirmed by Equipboard and Premier Guitar. Pedal chain inferred from era and fuzz pedal association for solo. No live/tour gear included.
Amp Settings
Mids6
Bass6
Gain7
Reverb3
Treble6.5
Presence6
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)
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Tone Character
- fuzz-laden sustain
- thick and saturated
- harmonic-rich
- aggressive upper-mids
- singing lead sustain
- compressed and focused
- articulate single-note clarity
- slightly scooped rhythm, mid-forward solo
- notably present attack
- distinctive Big Muff fuzz character
Notes & Caveats
- No explicit numeric amp settings found; settings estimated based on typical Mesa/Boogie Dual Rectifier Trem-O-Verb usage for 1990s alt-rock/fuzz solo tones.
- Pedal model (Electro-Harmonix Sovtek 'Green Russian' Big Muff Pi V7C) is strongly associated with Sixteen Stone era and cited as key to the album's tones, but not 100% confirmed for the solo section of 'Comedown'.
- Pickup type and selector inferred from Jazzmaster usage and typical solo tone; no direct quote for pickup position.
- No explicit mention of delay, chorus, or modulation effects in solo; none are clearly audible in the solo section, so only fuzz/distortion pedal included.
- Amp reverb is likely used at a low setting for ambience, as is typical for Mesa/Boogie Trem-O-Verb in studio.
- Settings cross-referenced with genre and era conventions for accuracy. Bush's 'Comedown' solo has a thick, crunchy British rock tone with forward mids and moderate gain, typical of a Marshall-style amp from the mid-90s grunge/alt-rock era. The EQ is balanced but slightly mid-forward for cut, with restrained reverb and presence for clarity without harshness.