GuitarDistortedSolo80% confidence
Crazy Little Thing Called Love Solo Guitar Tone Settings — Queen
Queen · 1970s · rock
studio
Original Recording
Guitar
Fender Telecaster (likely 1970s, possibly black or blonde, used for solo section)
Pickups
Fender single-coil Telecaster bridge pickup
Amp
Vox AC30 (likely 1970s Top Boost, studio recording)
Pickup Position
Bridge pickup
Studio recording, 1979. Brian May used a Telecaster for the solo at producer Reinhold Mack's suggestion to achieve a James Burton-style rockabilly tone. The rest of the song uses different guitars, but the solo is confirmed Telecaster. No pedals are confirmed for the studio solo; May's usual treble booster may not have been used. No evidence of modulation or time-based effects in the solo section.
Amp Settings
Mids7
Bass5.5
Gain4
Reverb2
Treble7
Presence6
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Tone Character
- bright and twangy
- articulate and percussive
- edge-of-breakup clarity
- dynamic and touch-sensitive
- minimal sustain
- quick note decay
- tight midrange
- slightly compressed
- clean with a biting edge
- clear separation between notes
Notes & Caveats
- No direct numeric amp settings found for this specific solo; settings estimated based on typical Vox AC30/Telecaster studio use for classic rock in late 1970s.
- No evidence of pedals or effects used in the studio solo; no delay, chorus, or modulation is audible in the solo section.
- Some sources mention May's use of treble boosters and AC30s in general, but for this solo, the Telecaster was chosen for its natural brightness and twang.
- If live versions are referenced, gear may differ (e.g., Red Special or Guyton replicas), but the studio solo is confirmed Telecaster.
- Settings cross-referenced with genre and era conventions for accuracy. Brian May used a Fender Telecaster through a Fender Twin Reverb for this rockabilly-inspired solo, aiming for a clean but slightly driven, bright, and mid-forward tone typical of late '50s rock. The amp is set just at the edge of breakup, with pronounced mids and treble for clarity, moderate bass, subtle presence, and minimal reverb as heard on the original recording.