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Queen In Love — Yngwie Malmsteen1 / 2
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Queen In Love Solo Guitar Tone Settings — Yngwie Malmsteen

Yngwie Malmsteen · 1980s · metal

studio

Original Recording

Guitar
Fender Yngwie Malmsteen Signature Stratocaster
Pickups
DiMarzio YJM Single Coil (stacked humbucker, low output, noiseless)
Amp
Marshall JMP-50 MKII Head (50-watt, vintage, non-master volume) into Celestion G12 H30 4x12 cab
Pickup Position
Neck pickup

Studio recording, 1988. All tone controls on guitar disconnected. Used neck pickup for solo. DOD 250 Overdrive Preamp or YJM308 as boost. Delay and flanger pedals confirmed in rig for this era. No amp reverb or built-in effects.

Amp Settings

Mids
7
Bass
6
Gain
8
Reverb
1
Treble
7.5
Presence
6.5

Effects Chain

  • DOD 250 Overdrive Preamp (or YJM308 Yngwie Malmsteen Signature Overdrive) · overdrive
  • Korg SDD-2000 Digital Delay · delay
  • Vox Flanger · flanger
  • Rocktron Hush IICX Noise Gate · noise_gate

Fender Yngwie Malmsteen Stratocaster → DOD 250/YJM308 Overdrive → Korg SDD-2000 Digital Delay → Vox Flanger → Rocktron Hush IICX Noise Gate → Marshall JMP-50 MKII → Celestion G12 H30 4x12 cab

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Tone Character

  • singing sustain
  • crystal clear lead tone
  • tight and articulate
  • vocal neck pickup sound
  • organic amp response
  • high-gain saturation
  • punchy bass
  • smooth legato
  • fast attack
  • dynamic pick response

Notes & Caveats

  • ⚠️No direct numeric amp settings for 'Queen In Love' solo found; settings estimated based on typical Yngwie Malmsteen JMP-50/100 usage in the 1980s and multiple interviews.
  • ⚠️Delay and flanger are audible in the solo and confirmed in period rig rundowns, but exact pedal settings are not available.
  • ⚠️Exact overdrive pedal model may be DOD 250 or YJM308; both are functionally similar and used in this era.
  • ⚠️No amp reverb or built-in effects; all effects are pedal-based.
  • ⚠️Guitar tone controls are disconnected per Yngwie's wiring.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Yngwie's 'Queen In Love' solo section features his signature high-gain, mid-forward, and bright Marshall tone from the 80s, likely a cranked JMP or JCM800 with moderate bass for tightness, strong mids for note definition, and high treble/presence for cut. Reverb is minimal, as was typical for 80s neoclassical metal lead tones.

Sources