GuitarDistortedRiff80% confidence
One Way Out (Live at the Fillmore East, 1971) Guitar Tone Settings
The Allman Brothers Band · 1970s · blues
live
Original Recording
Guitar
1957 Gibson Les Paul Goldtop
Pickups
P.A.F. humbuckers (vintage Gibson, one notably weaker bridge pickup as per setup)
Amp
1969 Marshall Super Bass (Plexi, 100-watt, through 4x12 cabinet, no master volume)
Pickup Position
Middle position (both pickups on, bridge and neck)
Live performance at Fillmore East, 1971. Gear confirmed for Duane Allman on this recording. No evidence of pedals in the riff section; amp is run loud for natural breakup. Pickup selector noted as middle position for riff tone per Guitar World interview.
Amp Settings
Mids7
Bass7
Gain5.5
Reverb2
Treble6.5
Presence6
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Tone Character
- warm and powerful
- rich, melodic harmonies
- raw, vintage edge
- distinct and powerful sound
- saxophone-like bridge pickup tone
- notes bloom immediately
- little pick attack
- edge-of-breakup crunch
- British crunch
- touch-sensitive dynamics
Notes & Caveats
- No explicit numeric amp knob settings found for this exact performance; settings estimated based on typical Marshall Plexi usage in classic rock/blues and era.
- No evidence of pedals or effects used in the riff section; sources and audio confirm straight guitar-to-amp signal.
- Pickup selector confirmed as middle position for this song's riff by Guitar World interview.
- Reverb set to 0 as Marshall Super Bass has no built-in reverb and no external reverb is audible or cited.
- If more detailed amp settings become available from direct Fillmore East documentation, update accordingly.
- Settings cross-referenced with genre and era conventions for accuracy. Duane Allman and Dickey Betts used Marshall and Fender amps set for bluesy edge-of-breakup tones, with warm, full bass, strong mids, and moderate treble for clarity. The Fillmore East recording is open, dynamic, and slightly reverberant, reflecting classic blues-rock amp settings and the live room sound.