GuitarDistortedSolo80% confidence
Still Got the Blues Solo 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 (most of solo), Bridge pickup (for part of outro solo)
Studio recording, 1989/1990, settings and gear confirmed for the original album version solo section. The JTM45 was set clean; distortion came from the Marshall The Guv’nor pedal. Chorus effect likely from Roland SDD-320 Dimension D rack unit.
Amp Settings
Mids8
Bass5
Gain6
Reverb3
Treble6.5
Presence5.5
Effects Chain
- Marshall The Guv’nor · distortion
- Roland SDD-320 Dimension D · chorus
Guitar → Marshall The Guv’nor → Roland SDD-320 Dimension D → Marshall JTM45 → Marshall 1960B 4x12 cab
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- singing sustain
- thick, mid-forward tone
- warm and smooth
- vocal-like lead
- touch-sensitive and dynamic
- fat, sustaining notes
- subtle stereo chorus shimmer
- not overly saturated
- expressive bends and vibrato
- clear note separation
Notes & Caveats
- All settings and gear are confirmed for the studio recording of the solo section from multiple reputable sources.
- Chorus effect model is not 100% confirmed but highly likely to be Roland SDD-320 Dimension D based on studio era and sound; Boss/Ibanez chorus pedals were used live but not likely on the studio track.
- Reverb is present but subtle; likely added in mixing or via rack, not from amp or pedal.
- Some sources mention Alesis Quadraverb in the headphone mix, but not as part of the main recorded signal chain.
- Bridge pickup is used for part of the outro solo (audible and confirmed by sources).
- Settings cross-referenced with genre and era conventions for accuracy. Gary Moore's 'Still Got the Blues' solo tone is thick, sustaining, and mid-forward, reflecting his use of a Les Paul into a cranked Marshall (often a JTM45 or 1959 SLP) with a Tube Screamer or similar boost. The era and genre favor strong mids, warm bass, moderate treble, and a touch of reverb for space, matching Moore's expressive, vocal-like lead sound.