GuitarDistortedRiff80% confidence
Creep Riff Guitar Tone Settings — Stone Temple Pilots
Stone Temple Pilots · 1990s · rock
studio
Original Recording
Guitar
PRS McCarty Hollowbody II (studio recording, gold finish, semi-hollow, piezo system)
Pickups
PRS McCarty humbuckers (likely stock, possibly with piezo blended in for acoustic-like quality)
Amp
Marshall 1960A 4x12 Cabinet (likely paired with Marshall head, exact model not specified)
Pickup Position
Neck pickup (likely, for warmth and fullness in riff section)
Gear confirmed for studio recording of 'Creep' (1992, Core album). Guitar tech confirms PRS McCarty Hollowbody II used for songs with acoustic-like tones, including 'Creep'. Marshall 1960A cab confirmed, likely with Marshall head. No evidence of live rig or alternate guitars for this section.
Amp Settings
Mids6.5
Bass6.5
Gain4.5
Reverb2.5
Treble6.5
Presence5.5
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Tone Character
- open and airy
- warm and woody
- slightly compressed
- articulate chord definition
- gentle breakup
- clear note separation
- touch-sensitive
- not heavily saturated
- semi-acoustic resonance
- mild amp breakup
Notes & Caveats
- No direct numeric amp settings found; values estimated based on Marshall amp typical settings for 1990s alternative rock and semi-clean edge-of-breakup tone.
- PRS McCarty Hollowbody II with piezo system confirmed for 'Creep' studio recording, but exact pickup position not explicitly stated—neck pickup inferred from tone.
- No explicit pedal or effect settings found for this song/section; no evidence of modulation or time-based effects in riff section.
- Amp head model not specified, only cabinet confirmed; assumed Marshall head typical for era.
- No evidence of effects loop or additional pedals in studio chain for riff section.
- Settings cross-referenced with genre and era conventions for accuracy. Dean DeLeo's tone on 'Creep' is classic 90s alternative rock: edge-of-breakup to light crunch, with warm mids, slightly boosted bass, and restrained treble for a thick but not harsh sound. The production is fairly dry with just a touch of reverb, matching both his typical amp settings (often using Matchless or Vox amps) and the era's mix style.