GuitarDistortedSolo80% confidence
Fortunate Son Guitar Tone Settings — Creedence Clearwater Revival
Creedence Clearwater Revival · 1960s · rock
studio
Original Recording
Guitar
Gibson Les Paul Custom (tuned down a whole step to D standard)
Pickups
Gibson PAF-style humbuckers
Amp
Kustom K200A-4 (100-watt solid-state combo, built-in vibrato/tremolo, no reverb used)
Pickup Position
Bridge pickup
Studio recording, 1969. John Fogerty played the solo on his Les Paul Custom (tuned down a whole step) into a Kustom K200A-4 amp. No evidence of pedals or outboard effects used on the original studio recording. Fogerty explicitly states he did not use the amp's reverb or built-in fuzz for this song. The amp's vibrato/tremolo was available but not audibly used in the solo.
Amp Settings
Mids7
Bass6
Gain4.5
Reverb1
Treble7
Presence5.5
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Tone Character
- gritty and throbbing
- raw and rootsy
- punchy and articulate
- midrange-forward
- warm vintage crunch
- organic and melodic
- touch-sensitive
- slightly compressed
- bright but not harsh
- dynamic and responsive
Notes & Caveats
- No direct numeric amp settings for 'Fortunate Son' solo found; settings estimated based on Kustom K200A-4 typical usage, genre, and era.
- No evidence of pedals or outboard effects used on the original studio recording; all effects are amp-based or from playing technique.
- Some sources mention Fogerty's use of other amps (Fender Vibrolux, Rickenbacker with Kustom) on other songs, but for 'Fortunate Son' solo, Les Paul Custom into Kustom K200A-4 is most consistently cited.
- No evidence of reverb, delay, chorus, flanger, or wah on the solo; solo is dry and direct.
- Pickup choice inferred from Fogerty's own statements and the solo's bright, cutting tone.
- Settings cross-referenced with genre and era conventions for accuracy. John Fogerty used a Gibson ES-175 into a Kustom solid-state amp for 'Fortunate Son,' yielding a bright, mid-forward, edge-of-breakup tone typical of late '60s American rock. The solo is punchy and cutting but not overly distorted, with moderate bass, strong mids, and subtle reverb, matching both the recording and Fogerty's known preferences.