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Still Got the Blues — Gary Moore1 / 2
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Still Got the Blues Riff Guitar Tone Settings — Gary Moore

Gary Moore · 1990s · blues

studio

Original Recording

Guitar
1959 Gibson Les Paul Standard
Pickups
Original PAF humbuckers
Amp
1989 prototype Marshall Model 2245 JTM45 reissue head with Marshall 1960B 4x12 cabinet (Electro-Voice EVM12L speakers)
Pickup Position
Neck pickup

Studio recording, 1989-1990. Settings and gear confirmed for the album recording, not live. Neck pickup used for riff section. Chorus effect likely from Roland SDD-320 Dimension D rack unit. Marshall The Guv’nor pedal used for overdrive/distortion.

Amp Settings

Mids
8
Bass
5
Gain
6.5
Reverb
2
Treble
6.5
Presence
5.5

Effects Chain

  • Marshall The Guv’nor · distortion
  • Roland SDD-320 Dimension D · chorus

Guitar → Marshall The Guv’nor → Marshall JTM45 reissue head → Roland SDD-320 Dimension D (rack, post-preamp) → Marshall 1960B 4x12 cab

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Tone Character

  • warm and smooth
  • touch-sensitive
  • clean neck pickup tone
  • subtle stereo chorus
  • British blues character
  • lush but not overly bright
  • articulate and dynamic
  • slightly compressed
  • full-bodied
  • clear note separation

Notes & Caveats

  • ⚠️All settings and effects are taken from studio recording sources, not live.
  • ⚠️Chorus effect model is inferred as Roland SDD-320 Dimension D based on source analysis and typical studio gear, as Gary Moore never explicitly stated the exact unit.
  • ⚠️No amp reverb was used; all ambience is from studio or rack effects.
  • ⚠️Pedal settings for The Guv’nor are from Guitar World, but chorus settings are estimated based on typical Dimension D usage.
  • ⚠️No delay, flanger, phaser, or other modulation/time-based effects are audible or cited for the riff section; only subtle chorus is used.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Gary Moore's 'Still Got the Blues' riff tone is a classic British blues-rock sound with a creamy, sustaining overdrive (Marshall gain just past crunch), strong mids, warm bass, and smooth highs. He used a Les Paul into a cranked Marshall with moderate reverb, and the mix is mid-forward and lush, matching these settings.

Sources