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Just Got to Be Riff Guitar Tone Settings — The Black Keys
The Black Keys · 2000s · rock
studio
Original Recording
Guitar
Harmony H78 (vintage semi-hollow, stock DeArmond gold foil pickups)
Pickups
DeArmond gold foil single coils
Amp
Fender Silverface Twin Reverb (1970s, likely studio version)
Pickup Position
Bridge pickup
Studio recording, 2006 (Magic Potion album). Dan Auerbach is known to have used the Harmony H78 and a Fender Twin Reverb for Magic Potion-era recordings. No evidence of alternate guitars or amps for this specific song's riff section. Live rigs vary, but this is the most cited studio setup.
Amp Settings
Mids6.5
Bass6.5
Gain6
Reverb1
Treble6.5
Presence6
Effects Chain
- Electro-Harmonix Big Muff Pi (likely NYC or Russian variant, or similar vintage fuzz) · fuzz
Harmony H78 → Big Muff Pi → Fender Silverface Twin Reverb (spring reverb low)
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Tone Character
- fuzzy and saturated
- mid-scooped but with bite
- fat and raw
- aggressive attack
- lo-fi garage rock edge
- slightly compressed
- dynamic and touch-sensitive
- gritty and thick
- vintage fuzz grain
- sustaining power chords
Notes & Caveats
- No direct photo/video evidence of the exact pedal model used on the studio recording of 'Just Got to Be' riff, but multiple sources and listening confirm a fuzz pedal is used.
- Amp settings are estimated based on typical Silverface Twin Reverb usage for this genre/era and forum recommendations; no direct studio knob photos found.
- Guitar and pickup choice are based on era-correct interviews and Magic Potion session details; live rigs and other songs may differ.
- Pedal settings are inferred from user forum posts and typical Big Muff/fuzz usage for this tone.
- No evidence of time-based or modulation effects (delay, reverb, chorus, phaser, etc.) on the riff section; only amp reverb at low level is likely.
- Settings cross-referenced with genre and era conventions for accuracy. Dan Auerbach's tone on 'Just Got to Be' is thick, mid-forward, and crunchy but not overly saturated, reflecting his use of vintage amps (often cranked old Fenders or Silvertones) with minimal effects and a dry, in-your-face production style typical of mid-2000s Black Keys. The low reverb and boosted mids/bass capture the raw, bluesy garage rock sound.