TonesMatch
Concerto (feat. Jason Becker and Marty Friedman) — Cacophony1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

Concerto (feat. Jason Becker and Marty Friedman) Guitar Tone Settings

Cacophony · 1980s · metal

studio

Original Recording

Guitar
Carvin DC200 (Jason Becker) or Jackson Kelly (Marty Friedman)
Pickups
Carvin M22 humbuckers (Becker), Jackson J-50/J-90C humbuckers (Friedman)
Amp
Marshall JCM800 2203 (most likely, as used by both Becker and Friedman in late 1980s Cacophony studio recordings)
Pickup Position
Bridge pickup

Studio recording, 1988 (Speed Metal Symphony/Go Off! era). No direct evidence for pedals or effects for this specific song/section in sources; gear inferred from era, genre, and artist interviews for Cacophony studio work.

Amp Settings

Mids
4
Bass
6
Gain
8
Reverb
1
Treble
7.5
Presence
6.5

Effects Chain

  • Overdrive/boost pedal (model unknown, likely for tightening up Marshall JCM800) · overdrive

Guitar → Overdrive/boost pedal (if used) → Marshall JCM800 2203

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Tone Character

  • tight and articulate
  • scooped mids
  • aggressive pick attack
  • high-gain saturation
  • fast note definition
  • percussive low end
  • bright, cutting highs
  • minimal ambience
  • compressed and focused
  • clear palm-muted chugs

Notes & Caveats

  • ⚠️No direct source confirms exact amp or pedal settings for this specific song/section; amp and settings estimated based on typical late 1980s Cacophony studio setups and genre conventions.
  • ⚠️No explicit evidence of pedals or effects for the riff section in available sources; no chorus, delay, or reverb is clearly audible in the riff section.
  • ⚠️Guitar model alternates between Becker (Carvin DC200) and Friedman (Jackson Kelly); both likely used for rhythm/riff sections.
  • ⚠️Settings are estimated based on Marshall JCM800 usage in 1980s shred metal recordings.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Cacophony's 'Concerto' features a classic late-80s neoclassical shred tone: high gain for fluid legato and sweep picking, tight bass to avoid muddiness, heavily scooped mids for that era's metal sound, bright treble and boosted presence for articulation, and a very dry mix with no audible reverb, matching the genre and production style.

Sources