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Only Shallow — my bloody valentine1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

Only Shallow Riff Guitar Tone Settings — my bloody valentine

my bloody valentine · 1990s · rock

studio

Original Recording

Guitar
Fender Jazzmaster (likely late 1980s Japanese or vintage model)
Pickups
Fender Jazzmaster single-coil pickups
Amp
Marshall amplifier (exact model not specified, likely JCM800 or similar era Marshall head/cabinet)
Pickup Position
Neck pickup (likely, based on typical MBV tone and Jazzmaster usage)

Studio recording for 'Loveless' (1991). Kevin Shields is known to use alternate tunings and extensive pedal chains. The main riff was reportedly recorded with a microphone placed between two amps. Gear is specific to the studio recording, not live setups.

Amp Settings

Mids
7
Bass
5.5
Gain
7.5
Reverb
2
Treble
6
Presence
5.5

Effects Chain

  • DigiTech Whammy · modulation
  • Boss PN-2 Tremolo/Pan · tremolo
  • Distortion/Fuzz pedal (model unknown, likely multiple stacked) · fuzz

Fender Jazzmaster → Distortion/Fuzz → DigiTech Whammy → Boss PN-2 Tremolo/Pan → Marshall amp (room reverb, mic'd between two amps)

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Tone Character

  • screaming oscillation
  • creamy, soft, textured fuzz
  • gauzy, woozy thickness
  • stuttering, screaming lead part
  • ethereal, effects-laden soundscape
  • heavy, aggressive noise
  • raw energy
  • extreme overdubbing
  • thick, layered distortion
  • modulated pitch-shifting

Notes & Caveats

  • ⚠️No exact amp model or knob settings are given in any source; amp settings are estimated based on typical Marshall usage for shoegaze in the early 1990s.
  • ⚠️Pedal models are confirmed for the DigiTech Whammy and Boss PN-2 Tremolo/Pan, but exact distortion/fuzz pedal models are not specified for the studio recording.
  • ⚠️Pickup selector is inferred from genre and typical MBV tone, not directly cited.
  • ⚠️Signal chain order is inferred from interviews and common MBV practices, not from direct studio documentation.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Kevin Shields used high-gain fuzz/distortion into a clean Jazz Chorus or Marshall, with mids pushed for thickness, moderate bass for clarity, and restrained treble/presence to avoid harshness. Reverb is low since the washiness comes from reverse reverb pedals and production, not amp reverb.

Sources