GuitarDistortedSolo80% confidence
Moonage Daydream (Live on 3rd July 1973) Guitar Tone Settings
David Bowie · 1970s · rock
live
Original Recording
Guitar
1968 Gibson Les Paul Custom (stripped finish, blonde, with open-coil humbuckers)
Pickups
Gibson humbuckers (open-coil, likely original T-Top or PAF style)
Amp
Marshall amplifier head (likely Marshall Super Lead 1959, as per era and sources)
Pickup Position
Bridge pickup
Live performance at Hammersmith Odeon, July 3, 1973. Mick Ronson's main Ziggy-era rig. Notable for use of cocked wah and Tone Bender fuzz. Settings estimated based on era, genre, and typical Marshall usage for this sound.
Amp Settings
Mids7
Bass6
Gain7
Reverb2
Treble7
Presence6.5
Effects Chain
- Sola Sound Tone Bender MKI · fuzz
- Vox Wah (half-cocked position) · wah
Guitar → Tone Bender MKI Fuzz → Wah (half-cocked) → Marshall amp (with light spring reverb)
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Tone Character
- thick, saturated fuzz
- cocked wah midrange honk
- singing sustain
- nasal, aggressive lead tone
- classic British crunch
- powerful, soaring solo sound
- rich harmonic overtones
- cutting, focused midrange
- dynamic, expressive phrasing
- slightly compressed attack
Notes & Caveats
- No direct numeric amp settings found for this exact live performance; settings estimated based on typical Marshall Super Lead usage for 1970s glam rock and Mick Ronson's known tone.
- Pedal models inferred from era and multiple sources; exact pedal settings not documented.
- Pickup position inferred from tone and era photos/videos; bridge pickup is standard for Ronson's solos.
- Presence and reverb settings estimated; Marshall heads of the era had little/no reverb, but some ambience may be present from the venue or minimal amp reverb.
- Settings cross-referenced with genre and era conventions for accuracy. Mick Ronson's solo tone on 'Moonage Daydream' (Ziggy Stardust era, live 1973) is classic British rock: Les Paul into a cranked Marshall with strong mids, moderate gain for sustain and bite, and a touch of reverb from the venue or desk. The tone is mid-forward, punchy, and cutting but not harsh, with a crunchy, singing sustain typical of a Marshall stack pushed hard.