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Detroit Rock City (Live) — Kiss1 / 2
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Detroit Rock City (Live) Riff Guitar Tone Settings — Kiss

Kiss · 1970s · rock

live

Original Recording

Guitar
Gibson Les Paul Standard (mid-70s, Ace Frehley signature modded for live use)
Pickups
DiMarzio Super Distortion humbuckers (bridge), stock Gibson humbucker (neck)
Amp
Marshall Super Lead 100-watt head (model 1959, late-60s/early-70s, into Marshall 4x12 cabinets, live rig)
Pickup Position
Bridge pickup

Live performance, 1976-1977 era (Kiss Alive II tour). Ace Frehley used his Les Paul with DiMarzio Super Distortion in bridge, Marshall Super Lead head, no pedalboard for clean sections. Some sources mention Fender amps under the stage for added clean headroom, but main live rig was Marshall. No evidence of effects pedals or amp-based effects used for clean sections.

Amp Settings

Mids
6.5
Bass
6
Gain
0
Reverb
1
Treble
7
Presence
6

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Tone Character

  • bright and articulate
  • tight and percussive
  • chimey clean
  • no breakup or overdrive
  • clear note separation
  • slightly scooped mids
  • punchy attack
  • no ambience or reverb
  • bridge pickup bite
  • dynamic response to picking

Notes & Caveats

  • ⚠️Gain adjusted to 0 for clean tone
  • ⚠️No direct source lists clean amp settings for 'Detroit Rock City (Live)' riff section; settings estimated based on typical Marshall Super Lead clean setup and era.
  • ⚠️Ace Frehley confirms minimal/no pedal use for live clean tones; no evidence of effects pedals or amp-based effects for clean sections.
  • ⚠️Some sources mention Fender amps under the stage for added clean headroom, but main live rig was Marshall Super Lead into 4x12 cabs.
  • ⚠️No evidence of reverb, delay, chorus, or modulation effects used in clean riff section; all effects omitted accordingly.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Paul Stanley and Ace Frehley used Marshall amps set for classic hard rock crunch in the mid-70s, with prominent mids and tight, punchy bass. The live 'Detroit Rock City' tone is aggressive but not overly saturated, with forward mids, moderate treble, and subtle reverb from the room or mix.

Sources