Still Got the Blues Riff Guitar Tone Settings — Gary Moore
Gary Moore · 1990s · blues
studio
Original Recording
Studio recording, 1989-1990. The main riff section features a clean tone with subtle chorus, achieved by running the Les Paul into a clean JTM45 and using a Marshall The Guv'nor pedal for overdrive on melodic/solo sections only. For the riff, the amp is set clean and chorus is likely from a Roland SDD-320 Dimension D rack unit. Pickup is neck position. Effects chain and settings are based on studio sources and contemporary interviews, not live or later performances.
Amp Settings
Effects Chain
- Roland SDD-320 Dimension D · chorus
Guitar → Roland SDD-320 Dimension D (chorus) → Marshall JTM45 (clean, with light spring reverb)
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Tone Character
- warm and smooth
- clean and touch-sensitive
- subtle stereo chorus shimmer
- rounded highs
- full-bodied neck pickup sound
- lush, wide stereo spread
- no perceivable pitch modulation
- dynamic and responsive
- slightly compressed
- classic British clean
Notes & Caveats
- Gain adjusted to 0 for clean tone
- No exact numeric amp settings for the riff section found in sources; values estimated based on typical Marshall JTM45 clean settings for blues and source descriptions.
- Chorus effect model not explicitly confirmed, but Roland SDD-320 Dimension D is most likely per studio sources.
- All pedal and effect info is for the studio recording, not live or later performances.
- Settings are for the riff section only; solo/melodic lines use different (overdriven) settings.
- Settings cross-referenced with genre and era conventions for accuracy. Gary Moore's 'Still Got the Blues' riff section features a thick, sustaining, mid-forward Les Paul tone through a cranked Marshall, with moderate gain for creamy sustain, boosted mids for vocal quality, warm bass, restrained treble to avoid harshness, and moderate presence and reverb for space and clarity typical of late 80s/early 90s blues-rock production.