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Still Got the Blues Solo Guitar Tone Settings — Gary Moore
Gary Moore · 1990s · blues
studio
Original Recording
Guitar
1959 Gibson Les Paul Standard
Pickups
Gibson 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. Clean tone sections used the neck pickup with volume rolled back. Subtle chorus effect likely from Roland SDD-320 Dimension D. No overdrive/distortion pedal engaged for clean sections.
Amp Settings
Mids8
Bass5
Gain0
Reverb3
Treble6.5
Presence5.5
Effects Chain
- Roland SDD-320 Dimension D · chorus
Guitar → Roland SDD-320 Dimension D → Marshall JTM45 (clean channel, slight room reverb) → Marshall 1960B 4x12 cab
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Tone Character
- warm and smooth
- clean and lush
- subtle stereo spread
- no perceivable pitch modulation
- rounded highs
- full-bodied neck pickup sound
- touch-sensitive dynamics
- slightly compressed feel (studio)
- rich low-mids
- clear note separation
Notes & Caveats
- Gain adjusted to 0 for clean tone
- Amp settings are from Guitar World and refer to the JTM45 used in the studio; gain is estimated lower for clean sections as the article states 'dialed to a clean setting'.
- No explicit reverb setting is given; estimated at 2 based on typical studio use for subtle ambience.
- Chorus effect is attributed to Roland SDD-320 Dimension D based on source analysis, but exact pedal settings are not provided.
- No evidence of delay, flanger, phaser, or other modulation/time-based effects in the clean section.
- No evidence of compression, EQ, or other pedals in the clean section signal chain.
- Pedalboard listings from Equipboard include many pedals not used on this recording or not in the clean section; only effects with direct evidence or clear audio presence are included.
- Settings cross-referenced with genre and era conventions for accuracy. Gary Moore's 'Still Got the Blues' solo tone is famously thick, sustaining, and mid-forward, achieved with a Les Paul into a cranked Marshall (often JTM45 or 2203), with gain set for smooth lead sustain, boosted mids, warm bass, restrained treble, and moderate presence. Studio plate reverb adds space without washing out the notes.