TonesMatch
Love Can Make a Fool of You — Gary Moore1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

Love Can Make a Fool of You Guitar Tone Settings — Gary Moore

Gary Moore · 1980s · blues

studio

Original Recording

Guitar
Gibson Les Paul Standard (likely late '50s reissue or vintage, as used by Gary Moore in late 1980s/early 1990s studio recordings)
Pickups
PAF-style humbuckers
Amp
Marshall JCM 900 (likely, as used by Gary Moore in this era for studio blues recordings)
Pickup Position
Bridge pickup

Studio recording, circa late 1980s/early 1990s. No direct evidence for this specific song, but Gary Moore's blues studio tones from this era are consistently reported as Les Paul into Marshall with minimal pedals. No evidence of live rig or alternate guitars for this solo.

Amp Settings

Mids
7
Bass
6.5
Gain
7
Reverb
3.5
Treble
6.5
Presence
6

Effects Chain

  • Ibanez TS9 Tube Screamer · overdrive
  • Delay pedal (model unknown) · delay

Guitar → Ibanez TS9 Tube Screamer → Delay pedal → Marshall JCM 900 (with spring reverb)

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Tone Character

  • singing sustain
  • creamy lead tone
  • rich harmonics
  • smooth, vocal-like phrasing
  • touch-sensitive dynamics
  • powerful, expressive bends
  • long, melodic lines
  • warm, thick midrange
  • slightly compressed attack
  • clear note separation

Notes & Caveats

  • ⚠️No direct studio documentation or official rig rundown for this specific song/solo found in sources.
  • ⚠️Guitar and amp inferred from Gary Moore's consistent studio setup for blues material in late 1980s/early 1990s.
  • ⚠️Pedal/effect choices based on audible characteristics and era-typical Moore rig, not explicit source confirmation.
  • ⚠️Settings estimated based on typical Marshall JCM 900 blues lead tones and Gary Moore's known preferences.
  • ⚠️No evidence of modulation effects (chorus/flanger/phaser) or wah in this solo; delay is clearly audible.
  • ⚠️If future evidence shows a different amp (e.g., Soldano SLO-100) or pedal, update accordingly.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Gary Moore's solo tone here is thick, sustaining, and vocal with a blues-rock forward midrange, typical of his Les Paul into a cranked Marshall JCM800 with moderate reverb. The gain is set for singing lead sustain, bass and mids are pushed for warmth and body, treble and presence are moderate to avoid harshness, and reverb is present but not overwhelming.

Sources