GuitarCleanSolo80% confidence
Fire On the Mountain Solo Guitar Tone Settings — Grateful Dead
Grateful Dead · 1970s · rock
live
Original Recording
Guitar
Doug Irwin 'Wolf' custom guitar
Pickups
DiMarzio Super II humbucker (bridge), DiMarzio SDS-1 single coil (middle), DiMarzio PAF (neck)
Amp
Fender Twin Reverb (Silverface, late 1970s)
Pickup Position
Middle pickup (single coil) or bridge + middle in parallel
Live performance, late 1970s (1977-1978 era). Jerry Garcia's 'Wolf' guitar and Fender Twin Reverb amp were used for 'Fire On the Mountain' solos in this period. Effects are based on period-correct pedalboard and audible characteristics.
Amp Settings
Mids6.5
Bass6
Gain3.5
Reverb4
Treble7
Presence5.5
Effects Chain
- Mu-Tron III Envelope Filter · modulation
Doug Irwin 'Wolf' guitar → Mu-Tron III Envelope Filter → Fender Twin Reverb (with spring reverb)
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
- quacky and vocal-like envelope filter sweep
- bright and glassy highs
- articulate single-note clarity
- touch-sensitive response
- liquid sustain
- dynamic and percussive attack
- minimal amp breakup
- funky, expressive phrasing
- open and airy
- distinct envelope filter 'auto-wah' movement
Notes & Caveats
- No exact amp knob settings found for this specific song/solo; settings estimated based on typical Jerry Garcia live rig and era.
- Pickup selection inferred from typical Garcia practice and period-correct recordings; not explicitly confirmed for this solo.
- Effects chain based on period-correct pedalboard and audible envelope filter effect; exact pedal settings not available.
- No evidence of additional modulation or delay effects in solo section; only envelope filter and amp reverb are clearly present.
- Settings cross-referenced with genre and era conventions for accuracy. Jerry Garcia's 'Fire On the Mountain' solo tone is clean but warm, with a touch of edge-of-breakup from his Twin Reverb and effects. The mids are slightly forward for clarity in the mix, bass is full but not boomy, treble is present but not harsh, and moderate reverb adds space typical of late 70s Dead recordings.