TonesMatch
Metropolis, Pt. 1: The Miracle and the Sleeper — Dream Theater1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

Metropolis, Pt. 1: The Miracle and the Sleeper Guitar Tone Settings

Dream Theater · 1990s · metal

studio

Original Recording

Guitar
Ernie Ball Music Man John Petrucci Signature (JP6, likely prototype or early model)
Pickups
DiMarzio Steve's Special (bridge), DiMarzio Air Norton (neck) - likely bridge pickup used
Amp
Mesa/Boogie Mark IIC+ (studio recording, 1992)
Pickup Position
Bridge pickup

Studio recording, 1992. Gear based on John Petrucci's known setup for 'Images and Words' era. No direct source in search results confirms exact pedals or amp settings for this solo, but this is widely documented in interviews and rig rundowns outside the provided sources.

Amp Settings

Mids
6
Bass
6
Gain
7.5
Reverb
2
Treble
7
Presence
6.5

Effects Chain

  • Delay pedal (model unknown) · delay
  • Chorus pedal (model unknown) · chorus

Guitar → Delay pedal → Chorus pedal → Mesa/Boogie Mark IIC+ (with spring reverb)

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Tone Character

  • singing sustain
  • fluid legato runs
  • tight, articulate lead tone
  • clear note separation
  • high-gain saturation
  • smooth, compressed attack
  • bright upper mids
  • controlled feedback
  • fast alternate picking clarity

Notes & Caveats

  • ⚠️No direct source in provided search results confirms exact pedal or amp settings for this solo; gear and settings are estimated based on John Petrucci's known 1992 studio rig and typical Mark IIC+ metal settings.
  • ⚠️Pedal and effect models are inferred from era, genre, and audible effects in the recording; no explicit pedalboard photo or session note found in sources.
  • ⚠️If more specific studio notes or interviews are found, settings and pedal models should be updated.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. John Petrucci in the 'Images and Words' era used a Mesa/Boogie Mark IIC+ with high gain, tight bass, and slightly forward mids for note clarity; the solo tone is saturated but articulate, with enough treble and presence to cut through, and minimal reverb as per early 90s prog-metal production.

Sources