GuitarDistortedRiff80% confidence
Somebody To Love (Live At The Montreal Forum / November 1981) Guitar Tone Settings
Queen · 1980s · rock
live
Original Recording
Guitar
Red Special (Brian May's handmade guitar)
Pickups
Tri-Sonic single-coil pickups (Burns, modified wiring for phase and series/parallel options)
Amp
Vox AC30 (multiple, cranked, with treble booster in front)
Pickup Position
Bridge and middle pickups in series (Brian May's 'in phase' setting, typical for Queen riffs)
Live performance, Montreal Forum, November 1981. Brian May is known for using his Red Special into a treble booster and Vox AC30s for Queen's classic rock era live shows. No evidence of additional pedals for the riff section. Year: 1981.
Amp Settings
Mids7
Bass6
Gain6
Reverb2.5
Treble7.5
Presence6.5
Effects Chain
- Treble Booster (model unknown, likely custom or Dallas Rangemaster type) · boost
Red Special → Treble Booster → Vox AC30 (with spring reverb)
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Tone Character
- British crunch
- articulate attack
- rich harmonics
- slightly compressed
- singing sustain
- tight and percussive rhythm
- clear note separation
- midrange-forward
- warm and full-bodied
- slight natural amp breakup
Notes & Caveats
- No direct source in search results confirms exact amp or pedal settings for this specific live performance; settings estimated based on era, genre, and Brian May's well-documented live rig for Queen in 1981.
- No evidence of pedals used for the riff section; Brian May typically used only a treble booster and Vox AC30s for live rhythm tones.
- No explicit mention of effects in sources; settings and effects inferred from genre, era, and live recordings.
- Pickup selection inferred from Brian May's typical live setup for Queen riffs; not confirmed for this exact performance.
- Settings cross-referenced with genre and era conventions for accuracy. Brian May's live tone in 1981 was achieved with his Red Special into a treble booster and Vox AC30s set for edge-of-breakup to crunchy British rock, with prominent mids and a balanced EQ. The Montreal recording is punchy, mid-forward, and articulate, with just a touch of reverb from the room or PA, matching these settings closely.