GuitarDistortedRiff80% confidence
Hosanna Guitar Tone Settings
Hillsong UNITED & Brooke Ligertwood · 2000s · other
studio
Original Recording
Guitar
Gretsch G6136DC White Falcon Double Cutaway
Pickups
Gretsch Filter'Tron humbuckers
Amp
Unknown (likely Vox AC30 or Matchless DC-30, but not confirmed for this recording)
Pickup Position
Bridge pickup
Gear based on live album 'United We Stand' (2006), Michael Guy Chislett on guitar. No explicit amp model confirmed for 'Hosanna' studio recording; White Falcon is visually confirmed for live performances. Studio vs. live amp may differ. Year: 2006.
Amp Settings
Mids6.5
Bass6
Gain4
Reverb5.5
Treble6.5
Presence6
Effects Chain
- Delay pedal (model unknown, dotted eighth setting) · delay
- Compressor pedal (model unknown) · compression
Gretsch White Falcon → Compressor → Delay (dotted eighth) → Amp (spring reverb)
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Tone Character
- bright and articulate
- chiming and open
- ambient and spacious
- clear note separation
- slightly compressed
- dynamic and responsive
- lush reverb tail
- snappy attack
- edge-of-breakup clarity
- not harsh or brittle
Notes & Caveats
- No explicit amp model or pedalboard photo for 'Hosanna' studio session found; guitar and general effects inferred from live gear and genre conventions.
- Amp settings are estimated based on typical Vox/Matchless clean/edge-of-breakup tones for this genre and era.
- Delay is clearly audible in the riff section; model not confirmed, but dotted eighth digital delay is a known Hillsong signature.
- Reverb is prominent but source (amp vs. pedal vs. studio) not confirmed; likely a mix of amp and studio reverb.
- Pickup position inferred from typical use for bright, rhythmic parts on White Falcon.
- Settings cross-referenced with genre and era conventions for accuracy. The 'Hosanna' riff uses a clean-to-edge-of-breakup tone typical of Hillsong's worship style, with chimey clarity, forward mids, and moderate reverb for ambience. These settings reflect the likely use of a Vox or Fender-style amp, matching the era's production and Brooke Ligertwood's tonal preferences.