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One Day Solo Guitar Tone Settings — Gary Moore
Gary Moore · 1990s · blues
studio
Original Recording
Guitar
1959 Gibson Les Paul Standard 'Greeny'
Pickups
Original PAF humbuckers (vintage, low output, neck and bridge)
Amp
Marshall 1962 Bluesbreaker 2x12 Combo
Pickup Position
Neck pickup
Studio recording, 1989-1990 era. Gear confirmed for this period and song by Equipboard and MusicRadar. Clean tone sections likely used the neck pickup and amp set clean, with chorus and reverb added via pedals or rack. No evidence of Soldano or high-gain amps for clean sections.
Amp Settings
Mids7
Bass6.5
Gain0
Reverb5
Treble6.5
Presence5.5
Effects Chain
- Roland SDD-320 Dimension D · chorus
- Boss Digital Reverb RV-5 · reverb
Guitar → Roland SDD-320 Dimension D (chorus) → Boss RV-5 (reverb) → Marshall 1962 Bluesbreaker Combo
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Tone Character
- warm and smooth
- lush stereo spread
- subtle chorus shimmer
- rounded highs
- full-bodied low end
- touch-sensitive
- slightly compressed
- clear note separation
- gentle dynamic response
- clean, glassy attack
Notes & Caveats
- Gain adjusted to 0 for clean tone
- No direct source specifies exact amp knob settings for the clean section of 'One Day'; settings estimated based on typical Marshall Bluesbreaker clean tones and Gary Moore's known approach.
- Pedal models for chorus and reverb are inferred from period-correct gear and audible effects, not from explicit 'One Day' studio documentation.
- Some sources reference Soldano or Marshall Guv'nor for lead/solo tones, but these are not relevant for the clean section per user request.
- Chorus effect is clearly audible in the clean solo, but exact pedal/rack unit is not confirmed—Roland SDD-320 Dimension D is most likely based on period interviews and tone analysis.
- Settings cross-referenced with genre and era conventions for accuracy. Gary Moore's solo tone on 'One Day' is thick, sustaining, and vocal, typical of his late 80s/early 90s Les Paul into a Marshall setup with moderate-high gain, strong mids, and a warm low end. The presence and reverb are set to add clarity and space without washing out the lead, matching Moore's expressive, blues-rock style.