Roommates — Malcolm Todd1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

Roommates Solo Guitar Tone Settings — Malcolm Todd

Malcolm Todd · 2010s+ · other

studio

Original Recording

Guitar
Fender Jaguar Classic Player
Pickups
Fender Jaguar single-coil pickups
Amp
Vox AC15C1
Pickup Position
Neck pickup

Studio recording, 2025. Gear confirmed for the 'Malcolm Todd (still)' album, which includes 'Roommates'. No evidence of alternate guitars or amps for the solo section. No live/touring substitutions included.

Amp Settings

Mids
6.5
Bass
6
Gain
5
Reverb
5
Treble
6.5
Presence
5.5

Effects Chain

  • Fuzz pedal (model unknown) · fuzz
  • Chorus or Phaser pedal (model unknown) · modulation

Fender Jaguar Classic Player → Fuzz pedal (model unknown) → Chorus or Phaser pedal (model unknown) → Vox AC15C1 (spring reverb on)

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Tone Character

  • dreamy and saturated
  • fuzz-laden sustain
  • slightly lo-fi and compressed
  • modulated shimmer
  • smooth, singing lead lines
  • lush and ambient
  • clear note separation
  • not harsh or brittle
  • spacey, swirling solo sound
  • slightly warbly modulation

Notes & Caveats

  • ⚠️No direct source confirms exact pedal models or amp knob settings for the 'Roommates' solo; settings estimated based on typical Vox AC15C1 usage and genre/era.
  • ⚠️Fuzz and modulation effects (chorus/phaser) are inferred from both community discussion and clear audibility in the solo, but no specific pedal models are confirmed.
  • ⚠️Pickup selection inferred from tone characteristics and Jaguar usage; not directly cited.
  • ⚠️All settings and effects are for studio recording, not live performance.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. The solo section in 'Roommates' features a warm, slightly overdriven tone with clear note articulation and a soulful, R&B-influenced vibe. Malcolm Todd typically favors clean-to-edge-of-breakup tones with forward mids and moderate reverb, matching modern indie/R&B conventions and the smooth, present sound heard in this track.

Sources