GuitarDistortedRiff60% confidence
Mary Had a Little Lamb Guitar Tone Settings
Stevie Ray Vaughan & Double Trouble · 1980s · blues
studio
Original Recording
Guitar
1963 Fender Stratocaster
Pickups
Fender single-coil pickups (original 1963 spec)
Amp
1964 Fender Vibroverb (Blackface, 1x15" speaker, non-reverb model)
Pickup Position
Position 4 (neck + middle)
Studio recording for the album 'Texas Flood' (1983). All sources agree SRV used his main 'Number One' Stratocaster and a Fender Vibroverb for the riff section. No evidence of chorus, delay, or modulation effects on the riff section; Dimension D chorus was only used on the solo. Overdrive from Ibanez Tube Screamer(s) is likely, but no evidence of other pedals for the riff. Settings estimated based on era, genre, and typical SRV studio setup.
Amp Settings
Mids7
Bass7
Gain4
Reverb3
Treble6.5
Presence5.5
Effects Chain
- Ibanez Tube Screamer (likely TS808 or TS9) · overdrive
Guitar → Ibanez Tube Screamer → Fender Vibroverb (with light spring reverb)
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Tone Character
- warm and smooth
- touch-sensitive
- Texas shuffle feel
- edge-of-breakup crunch
- dynamic and percussive
- fat single-coil clarity
- slightly compressed attack
- articulate note separation
- mildly scooped mids
- classic blues Strat sound
Notes & Caveats
- No direct numeric amp settings found for this song/section; settings estimated based on typical SRV studio Fender Vibroverb setup and blues genre.
- Roland Dimension D chorus was used only on the solo, not on the riff section.
- No evidence of delay, chorus, or reverb pedals on the riff; amp reverb set low for ambience.
- Pickup position inferred from common SRV usage and tone; some sources suggest neck or position 4 for rhythm.
- Tube Screamer model not specified for this session; likely TS808 or TS9 based on era.
- Settings cross-referenced with genre and era conventions for accuracy. SRV's 'Mary Had a Little Lamb' riff uses a Fender amp (likely a Vibroverb or Super Reverb) set just into edge-of-breakup, with strong lows, pronounced mids, and rolled-back treble for warmth. The presence is moderate to avoid harshness, and reverb is present but not dominant, matching his signature Texas blues tone.