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Proud Mary — Creedence Clearwater Revival1 / 2
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Proud Mary Guitar Tone Settings — Creedence Clearwater Revival

Creedence Clearwater Revival · 1960s · rock

studio

Original Recording

Guitar
Gibson Les Paul Custom (late 1960s, likely Goldtop or Black Beauty, tuned down a half step)
Pickups
Gibson PAF-style humbuckers
Amp
Kustom K200A-4 (solid-state, 2x15 JBL D130 speakers, studio recording, 1968-1969)
Pickup Position
Bridge pickup

Studio recording, 1968-1969. John Fogerty played a Gibson Les Paul Custom into a Kustom K200A-4 solid-state amp with 2x15 JBL D130 speakers. No evidence of outboard pedals or effects for the riff section. Amp had built-in reverb, vibrato, fuzz, and a treble boost, but Fogerty stated he did not use these for 'Proud Mary' riff. Guitar was tuned down a half step. Pickup selector likely set to bridge for main riff. No evidence of pedals or effects loop in studio recording.

Amp Settings

Mids
7
Bass
6
Gain
4
Reverb
1
Treble
7
Presence
5.5

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Tone Character

  • raw and organic
  • punchy and articulate
  • mid-forward
  • slightly overdriven edge
  • warm and vintage
  • bright and clear top end
  • tight rhythmic attack
  • minimal sustain
  • no audible reverb or delay
  • focused, percussive strumming

Notes & Caveats

  • ⚠️No direct numeric amp settings found; values estimated based on typical Kustom K200A-4 usage for classic rock in late 1960s and Fogerty's stated approach.
  • ⚠️No evidence of pedals or outboard effects used on the studio recording for the riff section; amp's built-in effects (reverb, vibrato, fuzz, treble boost) were reportedly not used for 'Proud Mary' riff.
  • ⚠️Pickup selector inferred as bridge based on tone and period photos; not explicitly confirmed for this song.
  • ⚠️Settings are for studio recording, not live performance.
  • ⚠️If alternate sources claim different guitars (e.g., Rickenbacker), those were used on earlier albums or other tracks, not 'Proud Mary' riff.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. John Fogerty's 'Proud Mary' riff uses a clean-to-edge-of-breakup tone typical of late 60s CCR, likely from a Kustom or Fender amp with mids pushed for clarity, moderate bass, and slightly boosted treble for articulation. Reverb is subtle and presence is neutral, matching the dry, punchy, roots-rock production.

Sources