GuitarDistortedRiff80% confidence
Shout at the Devil Riff Guitar Tone Settings — Mötley Crüe
Mötley Crüe · 1980s · metal
studio
Original Recording
Guitar
1970s Fender Stratocaster 'Isabella' (white, heavily modified, likely with DiMarzio Super Distortion humbucker in bridge)
Pickups
DiMarzio Super Distortion (bridge humbucker, likely swapped into Strat), single coils (middle/neck, but not used for riff)
Amp
Marshall Super Lead (Plexi) head, modded by Jose Arredondo, into Marshall 1960BV 4x12 cabinets
Pickup Position
Bridge pickup (humbucker)
Studio recording, 1983. Mick Mars used his white Strat 'Isabella' and a Melody Maker for some parts, but the main riff is widely attributed to the Strat with a humbucker in the bridge. Amps were Jose-modded Marshall Plexis, stacked in the studio. No evidence of pedals for the riff section; distortion from amp. Effects chain is dry/tight for riff. No chorus, delay, or reverb pedals audible on riff. Studio, not live.
Amp Settings
Mids5
Bass6
Gain8
Reverb1
Treble7.5
Presence6.5
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- thick, grinding distortion
- tight, percussive palm muting
- aggressive, gritty attack
- British high-gain crunch
- focused midrange punch
- saturated, harmonically rich
- minimal ambience
- raw and energetic
- articulate pick attack
- powerful, resonant rhythm sound
Notes & Caveats
- No direct numeric amp settings found in sources; settings estimated based on typical Jose-modded Marshall Plexi usage for 1980s LA metal and tone descriptions from interviews.
- No evidence of pedals or effects used on the riff section; distortion is from amp, not pedal.
- Exact pickup model not confirmed, but multiple sources and era photos strongly suggest DiMarzio Super Distortion in bridge of Strat.
- Some sources mention Melody Maker used on album, but main riff tone is widely attributed to Strat.
- No evidence of chorus, delay, or reverb pedals on riff; dry, tight rhythm sound.
- Settings cross-referenced with genre and era conventions for accuracy. Mick Mars used a modded Marshall with high gain and a tight, aggressive 80s metal tone—scooped mids, bright treble, and tight bass. The production is dry with little reverb, matching the era's LA metal sound.