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Johnny B. Goode Riff Guitar Tone Settings — Chuck Berry
Chuck Berry · 1950s · rock
studio
Original Recording
Guitar
Gibson ES-350T
Pickups
Gibson P-90 single coil (stock on ES-350T, 1958)
Amp
Fender Tweed amplifier (likely 1950s Fender Tweed Deluxe 5E3 or similar)
Pickup Position
Bridge pickup
Studio recording, 1957-1958. Gear confirmed for original Chess Records session. No evidence of pedals or effects other than possible amp reverb. ES-335 is sometimes cited, but ES-350T is most widely documented for this era and session.
Amp Settings
Mids7
Bass5.5
Gain2.5
Reverb1
Treble7.5
Presence5.5
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Tone Character
- bright and articulate
- sharp attack
- clear, ringing double-stops
- percussive and snappy
- slightly hollow midrange
- tight low end
- minimal breakup
- high-end sparkle
- dynamic response to picking
- vintage 1950s rock and roll flavor
Notes & Caveats
- No direct source gives exact amp knob settings for the original studio recording; settings estimated based on typical 1950s Fender Tweed Deluxe usage and genre/era.
- Some sources mention ES-335, but ES-350T is most widely documented for the original 'Johnny B. Goode' session.
- No evidence of pedals or outboard effects used; all tone comes from guitar and amp.
- Amp reverb was not standard on 1950s Tweed amps, but a small amount of room/plate reverb may be present in the studio mix.
- Pickup choice inferred from tone and period photos; bridge pickup is most likely for the bright, biting riff sound.
- Settings cross-referenced with genre and era conventions for accuracy. Chuck Berry's 'Johnny B. Goode' was recorded in the late 1950s using a Gibson ES-350T through a small tube amp (likely a Fender or similar), set clean but just at the edge of breakup. The tone is bright, punchy, and mid-forward with little to no reverb, matching the era's dry recording style and Berry's preference for cutting, articulate leads.