GuitarDistortedSolo80% confidence
Save Our Love Solo Guitar Tone Settings — Yngwie Malmsteen
Yngwie Malmsteen · 1990s · metal
studio
Original Recording
Guitar
Fender Yngwie Malmsteen Signature Stratocaster
Pickups
DiMarzio YJM Single Coil Pickups
Amp
Marshall JMP-100 MKII Head
Pickup Position
Bridge pickup
Studio recording, 1994 (Seventh Sign album). Gear confirmed for studio use in this era. No evidence of live/touring substitutions. Cabinet: Celestion G12 H30 4x12. Effects chain includes overdrive, delay, wah, flanger, noise gate. No evidence of chorus or amp-based reverb/delay.
Amp Settings
Mids6.5
Bass5.5
Gain8
Reverb1
Treble7.5
Presence6.5
Effects Chain
- DOD YJM308 Yngwie Malmsteen Signature Overdrive · overdrive
- Korg SDD-2000 Digital Delay · delay
- Dunlop Original CryBaby Wah Pedal · wah
- Vox Flanger · flanger
- Rocktron Hush IICX Noise Gate · noise_gate
Fender Yngwie Malmsteen Stratocaster → DOD YJM308 Overdrive → Korg SDD-2000 Digital Delay → Dunlop CryBaby Wah → Vox Flanger → Rocktron Hush IICX Noise Gate → Marshall JMP-100 MKII Head → Celestion G12 H30 4x12 Cab
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Tone Character
- singing sustain
- fluid legato runs
- tight, articulate attack
- bright and cutting highs
- fast alternate picking clarity
- rich harmonic overtones
- compressed, focused lead tone
- minimal background noise
- classic neoclassical metal solo sound
Notes & Caveats
- No direct numeric amp settings for 'Save Our Love' solo found; values estimated based on typical Yngwie JMP-100 MKII studio settings and genre/era.
- Pedal models confirmed from era-correct interviews and rig rundowns, but exact knob settings for pedals not found.
- No evidence of amp-based reverb or delay; all time-based effects appear to be from pedals.
- Pickup position inferred from typical Yngwie solo tone and bridge pickup usage for lead clarity.
- Signal chain order inferred from standard Yngwie studio setup; effects loop not typically used.
- Settings cross-referenced with genre and era conventions for accuracy. Yngwie's 'Save Our Love' solo tone is classic early 90s Malmsteen: high gain but not modern saturated, tight lows, forward mids, and bright, cutting highs typical of his Marshall setups. Reverb is minimal, as most ambience is added in post-production, and presence is boosted for clarity and articulation.