GuitarDistortedRiff80% confidence
Living After Midnight Riff Guitar Tone Settings — Judas Priest
Judas Priest · 1980s · metal
studio
Original Recording
Guitar
Gibson Flying V (K.K. Downing) or Hamer Standard (Glenn Tipton) – likely Flying V for riff
Pickups
EMG 81 Active Humbucker (K.K. Downing era-correct) or stock Gibson humbuckers
Amp
Marshall JCM800 1959 Mk II Super Lead (studio, 1980 British Steel recording)
Pickup Position
Bridge pickup
Studio recording, 1980. Both K.K. Downing and Glenn Tipton used Marshall JCM800 1959 Mk II Super Lead heads into Marshall 4x12 cabinets. Downing primarily used a Gibson Flying V with EMG 81 pickups for riff work on British Steel. No evidence of effects loop or extensive pedal use on the riff section.
Amp Settings
Mids5.5
Bass5
Gain7
Reverb0.5
Treble7
Presence6
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- thin and bright
- tight and percussive
- scooped mids
- classic British crunch
- aggressive attack
- crunchy and articulate
- punchy rhythm
- high clarity
- bold and theatrical
- melodic but intense
Notes & Caveats
- No direct numeric amp settings found for 'Living After Midnight' riff; settings estimated based on era, amp model, and forum descriptions of 'thin bright tone' and 'not a lot of bass or mids'.
- Pedal use for the riff is not documented in any source; no evidence of time-based or modulation effects on the riff section.
- Both K.K. Downing and Glenn Tipton played on the track; Flying V with EMG 81 pickups is most likely for the riff, but Hamer Standard with humbuckers is also possible.
- No evidence of effects loop or amp-based reverb/delay in the studio recording for the riff.
- Settings cross-referenced with genre and era conventions for accuracy. Judas Priest's 'Living After Midnight' riff features a classic late-70s/early-80s British hard rock crunch with forward mids, moderate gain, and tight low end, typical of Marshall amps with Les Pauls. The tone is punchy and present but not overly saturated, with minimal reverb in the dry mix.