Nabokov Solo Guitar Tone Settings — Fontaines D.C.
Fontaines D.C. · 2010s+ · rock
studio
Original Recording
Studio recording, 2021-2022 (Skinty Fia sessions). Guitarist Conor Curley confirmed use of Jazzmaster for Nabokov's rhythm and solo sections, with the amp being the studio's vintage Fender Princeton Reverb. Effects chain includes Industrialectric Echo Degrader and Digitech Hardwire RV-7 for reverb. Overdrive/distortion is from amp and/or pedalboard boosts. No evidence of live rig or alternate guitars for this section.
Amp Settings
Effects Chain
- Industrialectric Echo Degrader · delay
- Digitech Hardwire RV-7 Stereo Reverb · reverb
- MXR Micro Amp · boost
Fender Jazzmaster → MXR Micro Amp → Industrialectric Echo Degrader → Digitech Hardwire RV-7 → Fender Princeton Reverb (spring reverb on amp, possibly layered with pedal reverb)
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Tone Character
- dense and saturated
- swirling, modulated ambience
- chaotic, unpredictable delay trails
- fuzzy, blown-out overdrive
- gated and reverse reverb textures
- shoegaze-inspired wall of sound
- massive, room-filling presence
- bright but not harsh top end
- thick, sustaining notes
- ambient, decaying feedback
Notes & Caveats
- No explicit numeric amp settings found; values estimated based on typical Fender Princeton Reverb settings for heavy/shoegaze tones and artist's description of 'really overdriven electric'.
- Pedal order and exact settings inferred from interviews and genre conventions; no direct studio documentation of full signal chain.
- Pickup position inferred from typical solo tone and Jazzmaster usage for this song/album.
- No evidence of additional modulation (chorus/flanger/phaser) beyond Echo Degrader and reverb, but dense ambience and modulation are clearly audible.
- Settings cross-referenced with genre and era conventions for accuracy. The solo section of 'Nabokov' features a saturated, mid-forward, and aggressive post-punk tone typical of Fontaines D.C.'s use of British-voiced amps (often Vox or Marshall), with enough gain for sustain but not modern metal levels. The mids are prominent for cut, bass is tight to avoid muddiness, and reverb is minimal, matching their dry, in-your-face production aesthetic.