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Nutshell — Alice In Chains1 / 2
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Nutshell Solo Guitar Tone Settings — Alice In Chains

Alice In Chains · 1990s · rock

studio

Original Recording

Guitar
Gibson Les Paul Custom (early 90s, likely black finish)
Pickups
Stock Gibson humbuckers (likely 490R/498T or similar, high output)
Amp
Bogner Fish preamp into Marshall JCM800 2203 (Bogner-modded), likely with Mesa/Boogie power amp or Marshall power section
Pickup Position
Bridge pickup

Studio recording, 1994 (Jar of Flies EP). Jerry Cantrell used a Bogner Fish preamp and Marshall JCM800 (Bogner-modded) for most of the Jar of Flies sessions. Mesa/Boogie Dual Rectifier was not yet in regular use. No evidence of live-specific gear for the original studio solo.

Amp Settings

Mids
7
Bass
6
Gain
6.5
Reverb
3.5
Treble
7
Presence
6

Effects Chain

  • Delay pedal (model unknown) · delay

Guitar → Delay pedal (model unknown) → Bogner Fish preamp → Marshall JCM800 (Bogner-modded) → Cab (likely Marshall 4x12)

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Tone Character

  • singing sustain
  • smooth and fluid
  • tight and focused
  • rich harmonic overtones
  • slightly scooped mids
  • high gain with clarity
  • touch-sensitive
  • controlled feedback
  • not overly compressed
  • warm yet articulate

Notes & Caveats

  • ⚠️No official studio knob settings for 'Nutshell' solo found; amp settings estimated based on typical Bogner Fish/Marshall JCM800 tones and user-submitted settings for Alice In Chains.
  • ⚠️No direct evidence of specific pedal models used on the studio solo; delay and reverb are clearly audible but model unknown.
  • ⚠️Some sources reference live rigs or later-era amps (Mesa/Boogie), but for Jar of Flies era, Bogner Fish and Marshall JCM800 are most likely.
  • ⚠️No evidence of wah, chorus, flanger, or phaser in the solo; only delay and reverb are clearly audible.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. The 'Nutshell' solo tone is warm, mid-forward, and slightly overdriven, typical of Jerry Cantrell's early 90s rig (likely a Bogner or Marshall with a G&L or Les Paul). The gain is set just past edge-of-breakup for sustain without saturation, with balanced bass and treble, pronounced mids, moderate presence, and subtle reverb for space.

Sources