GuitarDistortedRiff64% confidence
Slither Riff Guitar Tone Settings — Velvet Revolver
Velvet Revolver · 2000s · rock
studio
Original Recording
Guitar
Gibson Les Paul Standard (Slash's Kris Derrig Les Paul copy likely used in studio)
Pickups
Seymour Duncan Alnico II Pro humbuckers
Amp
Marshall JCM800 (with possible use of Marshall Slash Signature and 1973 Marshall 1987 head, all into Marshall 4x12 with Celestion Greenbacks)
Pickup Position
Bridge pickup
Studio recording for Contraband (2004). Slash is known to layer multiple Marshall heads in the studio, but the JCM800 is the primary amp for the riff. No evidence of Vox AC30 or other amps on the main riff. Pedals are minimal for the riff section; distortion is primarily from amp and possibly MXR Distortion+ for added grit.
Amp Settings
Mids7
Bass6
Gain7.5
Reverb1.5
Treble6.5
Presence6.5
Effects Chain
- MXR M104 Distortion+ · distortion
Guitar → (possible MXR Distortion+) → Marshall JCM800 (with light spring reverb) → Marshall 4x12 cab
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Tone Character
- aggressive and punchy
- tight palm-muted chugs
- thick, saturated rhythm tone
- British crunch
- percussive attack
- dirty, overdriven sound
- slight bluesy edge
- high output and clarity
- singing sustain
- focused midrange
Notes & Caveats
- No direct numeric amp settings for 'Slither' riff found; settings estimated based on typical Marshall JCM800 usage for Slash and era/genre.
- Multiple Marshall heads were reportedly used in the studio; JCM800 is most likely for the main riff, but some layering may have occurred.
- Pedal use for the riff is not explicitly confirmed for the studio recording; MXR Distortion+ is listed as part of Slash's gear but may not be engaged for the main riff.
- No evidence of time-based or modulation effects (delay, chorus, flanger, etc.) on the riff section; distortion is amp-based.
- Pickup selector inferred as bridge based on tone and Slash's typical usage for heavy riffs.
- Settings cross-referenced with genre and era conventions for accuracy. Slash used a Marshall JCM800/SLP with high gain but not modern metal levels, favoring mid-forward British crunch with tight lows and clear highs. The tone is dry and punchy with minimal reverb, and the settings reflect his typical hard rock approach from this era.