GuitarDistortedSolo80% confidence
Gimme Three Steps Solo Guitar Tone Settings — Lynyrd Skynyrd
Lynyrd Skynyrd · 1970s · rock
studio
Original Recording
Guitar
Gibson Explorer (1958, natural finish, Allen Collins)
Pickups
Gibson PAF humbuckers
Amp
Marshall Plexi Super Lead 100 (model 1959, late 1960s/early 1970s, likely with 4x12 cabinet loaded with Celestion speakers)
Pickup Position
Bridge pickup
Studio recording, 1973. Allen Collins played the solo on the original studio version. No evidence of pedals or effects other than amp overdrive and possible spring reverb. No evidence of Peavey Mace or other amps for this era/studio recording. Live performances in later years may have used different gear, but this is for the original studio solo.
Amp Settings
Mids7
Bass6
Gain5.5
Reverb3
Treble7
Presence6
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Tone Character
- British crunch with natural amp overdrive
- Bright and articulate lead
- Strong midrange presence
- Singing sustain
- Open and dynamic
- Touch-sensitive response
- Aggressive but not harsh
- Clear note separation
- Slight compression from amp
- Classic southern rock solo sound
Notes & Caveats
- No direct source gives exact amp knob settings for the studio solo; values estimated based on typical Marshall Plexi settings for classic rock in the 1970s.
- No evidence of pedals or effects used on the studio solo; all overdrive is from the amp.
- Allen Collins is confirmed to have used the Gibson Explorer and Marshall Plexi for this era, but some sources discuss live gear or later years (e.g., Peavey Mace) which do NOT apply to the original studio recording.
- No evidence of time-based or modulation effects (delay, chorus, phaser, etc.) in the solo section; only possible spring reverb from the amp or studio.
- Pickup choice inferred from typical lead tone and known usage; most likely bridge pickup for solo.
- Settings cross-referenced with genre and era conventions for accuracy. The solo tone on 'Gimme Three Steps' is classic early '70s Southern rock: edge-of-breakup with a warm, mid-forward Marshall crunch, moderate bass, and clear but not piercing treble. The presence is slightly boosted for clarity, and reverb is subtle, reflecting the natural room sound of the era's production.