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Knock 'Em Dead, Kid — Mötley Crüe1 / 2
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Knock 'Em Dead, Kid Riff Guitar Tone Settings — Mötley Crüe

Mötley Crüe · 1980s · metal

studio

Original Recording

Guitar
Gibson Les Paul Custom (early 1970s, heavily modified)
Pickups
DiMarzio Super Distortion (bridge), stock Gibson humbucker (neck)
Amp
Marshall JCM800 2203 (100W head) into Marshall 4x12 cabinet (Celestion speakers)
Pickup Position
Bridge pickup

Studio recording, 1983-1984 for 'Shout at the Devil'. Mick Mars is widely documented using a modified early '70s Gibson Les Paul Custom with a DiMarzio Super Distortion in the bridge for heavy rhythm tracks on this album. The Marshall JCM800 was his primary amp for high-gain rhythm tones in the studio. No direct evidence of pedal use for the main riff section; distortion is primarily from the amp. No evidence of modulation or time-based effects on the riff section.

Amp Settings

Mids
5
Bass
6
Gain
8
Reverb
1.5
Treble
7
Presence
6

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Tone Character

  • tight and percussive
  • aggressive palm muting
  • saturated high-gain
  • crunchy and biting
  • focused low end
  • articulate power chords
  • scooped mids
  • compressed attack
  • minimal ambience
  • classic Marshall grind

Notes & Caveats

  • ⚠️No direct source gives exact amp knob settings for 'Knock 'Em Dead, Kid' riff; settings estimated based on era, genre, and typical Mick Mars/Marshall JCM800 usage.
  • ⚠️No evidence of pedals or effects used on the main riff section; distortion is amp-based.
  • ⚠️Guitar and amp model inferred from multiple interviews and era-correct gear, but not explicitly tied to this song in sources.
  • ⚠️No pedalboard or effect chain photos from the 'Shout at the Devil' studio sessions; settings are best estimates from genre and period-correct practices.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Mick Mars' tone on 'Knock 'Em Dead, Kid' is classic mid-80s LA metal: high gain but not extreme, with a tight low end, slightly scooped mids, and bright, cutting highs typical of a Marshall JCM800. The track is dry with minimal reverb, matching the production style of 'Shout at the Devil.'

Sources