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Head Down — Soundgarden1 / 2
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Head Down Riff Guitar Tone Settings — Soundgarden

Soundgarden · 1990s · rock

studio

Original Recording

Guitar
Guild S-100
Pickups
Guild HB-1 humbuckers (microphonic, vintage spec)
Amp
Peavey VTM 120 (likely), possibly Mesa/Boogie or Music Man (see warnings)
Pickup Position
Bridge pickup

Studio recording, 1993 (Superunknown sessions). Kim Thayil used his Guild S-100 with bridge pickup for the riff. Peavey VTM 120 was his main amp for Superunknown, but he also used Mesa/Boogie and Music Man amps on occasion. Chorus pedal was used in the studio for the riff section.

Amp Settings

Mids
7
Bass
6
Gain
6
Reverb
2
Treble
6.5
Presence
5.5

Effects Chain

  • Chorus pedal (model unknown) · chorus

Guild S-100 (bridge pickup) → Chorus pedal → Peavey VTM 120 (with light spring reverb)

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Tone Character

  • bright and articulate
  • ambient, sitar-like resonance
  • percussive attack
  • psychedelic, trippy modulation
  • medium gain crunch
  • open, ringing chords
  • distinct sustain
  • slightly jangly
  • not overly compressed
  • droning, hypnotic riff texture

Notes & Caveats

  • ⚠️No direct amp settings for 'Head Down' found; settings estimated based on Peavey VTM 120 typical use for Superunknown and genre/era.
  • ⚠️Amp model is inferred from Kim Thayil's known Superunknown-era rig; some sources mention Mesa/Boogie and Music Man amps, but Peavey VTM 120 is most likely for this track.
  • ⚠️Chorus pedal is confirmed for the studio riff section, but specific model and settings are not cited.
  • ⚠️No evidence of additional pedals (overdrive, fuzz, delay, wah, etc.) for the riff section; only chorus is mentioned.
  • ⚠️Pickup choice (bridge) is directly confirmed by Kim Thayil for this song's riff.
  • ⚠️Exact amp reverb setting is not cited; estimated as low based on genre and typical 90s grunge production.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Kim Thayil's tone on 'Head Down' is thick, mid-forward, and crunchy but not overly saturated, reflecting his use of vintage Marshall amps with moderate gain, strong mids, and controlled treble. The production is dry and punchy, with minimal reverb and a balanced EQ to let the riff's heaviness and clarity cut through.

Sources