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Fast As You Riff Guitar Tone Settings — Dwight Yoakam
Dwight Yoakam · 1990s · country
studio
Original Recording
Guitar
1956 Fender Telecaster with maple neck
Pickups
Fender single-coil (original 1956 Telecaster bridge pickup)
Amp
1965 Fender Deluxe Reverb (heavily modified by Jim Williams: Twin Reverb transformers, 6L6 power tubes, solid-state rectifier, midrange resistor, Electro-Voice EVM-12S speaker)
Pickup Position
Bridge pickup
Studio recording, 1993. Amp was the vibrato channel, input 1. No pedals used for the riff. Scholz Rockman (Edge setting, Chorus Off) was part of Anderson's rig for some tracks, but not confirmed for this riff. Amp was mic'd with Shure SM-57 into Neve 1073 preamp. Custom string gauge (.009-.052), pick: Jim Dunlop Standard red nylon 1.0mm. Picking close to bridge, backwards pick grip.
Amp Settings
Mids8
Bass3.5
Gain3.5
Reverb2.5
Treble6
Presence3
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Tone Character
- bright and twangy
- clean and articulate
- tight low end
- snappy attack
- midrange-forward
- percussive
- high headroom
- slightly scooped highs
- dynamic response
- classic Telecaster spank
Notes & Caveats
- All amp settings are directly sourced from Guitar World (Source 1) for the studio recording, not live.
- No pedals are confirmed for the riff section; compression and chorus are mentioned as general effects but not specifically for this track/section.
- Amp midrange was modified to sound like '10' even though the knob is not user-adjustable; setting reflects this.
- Presence control is not mentioned; assumed to be at 0 as not present on original Deluxe Reverb.
- No evidence of delay, flanger, phaser, or other modulation/time-based effects in the riff section.
- If compression was used, it was likely applied in mixing, not as a pedal in the guitar signal chain.
- Settings cross-referenced with genre and era conventions for accuracy. The riff in 'Fast As You' features a bright, twangy, and slightly gritty Telecaster tone typical of 90s country rock, likely through a Fender amp set just at the edge of breakup. Bass is kept tight, mids are present but not overbearing, treble and presence are high for cut, and reverb is subtle but present for space.