Dakota Riff Guitar Tone Settings — Stereophonics
Stereophonics · 2000s · rock
studio
Original Recording
Studio recording, 2004-2005. Kelly Jones confirmed use of Fender Jaguars and Mustangs for the album 'Language. Sex. Violence. Other?' (which includes 'Dakota'). Adam Zindani also played rhythm parts live with a Fender Telecaster Custom, but the main riff is attributed to Kelly Jones. Pedalboard evidence from the era shows Boss BD-2 Blues Driver, MXR Doubleshot Distortion, Boss DD-3 Delay, Boss BF-3 Flanger, and no evidence of amp-based effects. No direct studio knob settings found; settings estimated based on amp, genre, and era.
Amp Settings
Effects Chain
- Boss BD-2 Blues Driver · overdrive
- MXR M-151 Doubleshot Distortion · distortion
- Boss BF-3 Flanger · flanger
- Boss DD-3 Digital Delay · delay
Fender Jaguar → Boss BD-2 Blues Driver → MXR Doubleshot Distortion → Boss BF-3 Flanger → Boss DD-3 Digital Delay → Matchless C-30 Amp
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- raw and gritty
- bright and cutting
- rich, warm midrange
- dynamic and driving
- slightly compressed
- modulated shimmer
- tight and percussive
- open, airy top end
- punchy attack
- edge-of-breakup crunch
Notes & Caveats
- No direct studio amp knob settings for 'Dakota' found; amp settings estimated based on typical Matchless C-30 use in modern rock context.
- Pedalboard evidence is from live and era-correct sources, but exact pedal order and settings for the studio recording are not documented.
- Kelly Jones confirmed use of Jaguars and Mustangs for the album, but some live performances feature Telecasters and Les Pauls (do not use for studio riff).
- Flanger and delay are clearly audible in the riff section, but exact pedal settings are not published.
- Settings cross-referenced with genre and era conventions for accuracy. The 'Dakota' riff has a punchy, mid-forward British rock crunch typical of Stereophonics' use of Vox and Marshall amps in the mid-2000s, with moderate gain, pronounced mids, and balanced bass/treble for clarity and drive. Reverb is subtle, likely added in post, and presence is set to add air without harshness.