Mars To Liverpool — Liam Gallagher & John Squire1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

Mars To Liverpool Guitar Tone Settings

Liam Gallagher & John Squire · 2010s+ · rock

studio

Original Recording

Guitar
John Squire signature Fender Stratocaster (likely custom shop, rosewood fretboard, single-coil pickups)
Pickups
Fender single-coil (likely Custom Shop '60s style, stock on Squire's Strat)
Amp
Marshall amplifier (exact model unknown, likely JCM800 or similar classic British amp)
Pickup Position
Bridge pickup

Studio recording, 2023-2024. No direct evidence for exact amp/pedal models for this song's solo; inference based on Squire's typical studio gear and audible tone. No evidence of Liam Gallagher playing guitar on the solo.

Amp Settings

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

Effects Chain

  • Delay pedal (model unknown) · delay
  • Overdrive pedal (model unknown) · overdrive

Guitar → Overdrive pedal → Delay pedal → Marshall amp (spring reverb on)

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Tone Character

  • singing sustain
  • British crunch
  • articulate lead lines
  • slightly saturated
  • dynamic pick attack
  • clear note separation
  • touch-sensitive response
  • open, airy highs
  • classic rock solo tone

Notes & Caveats

  • ⚠️No direct source confirms exact guitar, amp, or pedal models/settings for the solo section of 'Mars To Liverpool'.
  • ⚠️Settings and gear inferred from John Squire's typical studio setup, genre, and the audible tone on the recording.
  • ⚠️No evidence of specific pedal models or amp effects used on this recording; effects are inferred from audio.
  • ⚠️No evidence Liam Gallagher played guitar on the solo; all evidence points to John Squire.
  • ⚠️No pedalboard or studio photo for this session found in available sources.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. John Squire's solo tone here is classic British crunch—mid-forward, with moderate gain for sustain and bite, but not overly saturated. The bass is supportive but not boomy, treble is present but not harsh, and there's subtle reverb for space. These settings reflect both Squire's and Gallagher's typical amp preferences and the modern Brit-rock production style.

Sources