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Knockin' On Heaven's Door — Guns N' Roses1 / 2
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Knockin' On Heaven's Door Guitar Tone Settings — Guns N' Roses

Guns N' Roses · 1990s · rock

studio

Original Recording

Guitar
1959 Gibson Korina Flying V
Pickups
Original Gibson PAF humbuckers
Amp
Marshall JCM25/50 2555 Silver Jubilee 100W Head
Pickup Position
Bridge pickup

Studio recording, Use Your Illusion sessions (circa 1990-1991). Slash confirmed in interviews and Equipboard that he used the 1959 Korina Flying V for the solos on 'Knockin' On Heaven's Door.' The amp was his signature Marshall Silver Jubilee, a staple of his studio and live tones during this era.

Amp Settings

Mids
7
Bass
6
Gain
7
Reverb
3
Treble
7
Presence
6

Effects Chain

  • MXR MC401 Boost/Line Driver · boost
  • Delay pedal (model unknown) · delay

Gibson Korina Flying V → MXR MC401 Boost/Line Driver → Delay pedal (model unknown) → Marshall Silver Jubilee 2555

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Tone Character

  • singing sustain
  • smooth lead tone
  • rich midrange presence
  • harmonic overtones
  • slightly compressed attack
  • clear note separation
  • touch-sensitive response
  • classic British crunch
  • vocal-like phrasing
  • long, expressive bends

Notes & Caveats

  • ⚠️No official amp knob settings for the studio session were found; settings are estimated based on typical Marshall Silver Jubilee usage for Slash's lead tones in the early 1990s.
  • ⚠️Pedal model for delay is not confirmed in sources; delay is clearly audible in the solo, so included as 'Delay pedal (model unknown)'.
  • ⚠️MXR MC401 Boost/Line Driver is listed as a solo boost in Slash's rig, but not explicitly confirmed for this exact recording; included with moderate confidence.
  • ⚠️Exact pickup selector position is not stated in sources, but bridge pickup is standard for Slash's solos and matches the tone.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Slash's solo tone on 'Knockin' On Heaven's Door' is classic hard rock with a singing sustain, moderate crunch, and forward mids typical of his Les Paul/Marshall setup. The bass is tight but not boomy, mids are prominent for cut, treble and presence are balanced for clarity without harshness, and reverb is subtle, matching early 90s production.

Sources