GuitarDistortedSolo80% confidence
Still Got the Blues (Live 1999) Guitar Tone Settings — Gary Moore
Gary Moore · 1990s · blues
live
Original Recording
Guitar
1959 Gibson Les Paul Standard ('Stripe')
Pickups
Gibson PAF humbuckers
Amp
Marshall JTM45 Reissue (mid-60s, reissue/prototype)
Pickup Position
Neck pickup
Live 1999 performance; guitar is the 'Stripe' 1959 Les Paul, amp is Marshall JTM45 reissue/prototype as used on the original album and live in this era. Distortion from Marshall The Guv'nor pedal, not amp gain. No evidence of Soldano or other amps for this song/era. Chorus effect not used in solo section, only on rhythm parts. Year: 1999, live.
Amp Settings
Mids7.5
Bass7
Gain4.5
Reverb3
Treble6.5
Presence6
Effects Chain
- Marshall The Guv'nor · distortion
Guitar → Marshall The Guv'nor → Marshall JTM45 Reissue (with light spring reverb)
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Tone Character
- singing sustain
- fat, sustaining melodic lines
- gloriously thick, singing tone
- warm neck pickup tone
- midrange-forward
- touch-sensitive
- smooth, vocal-like lead
- high-gain but not harsh
- rich harmonic content
- minimal ambient effects
Notes & Caveats
- No direct numeric amp settings for the 1999 live rig found; settings estimated based on typical JTM45 + Guv'nor setup for this genre/era and source descriptions.
- Chorus effect is used on rhythm parts, not the solo section per source 1.
- Pedal settings for The Guv'nor not specified; settings inferred from 'mids and gain both cranked' and 'midrange boosted at both pedal and amp'.
- No evidence of delay, flanger, phaser, or wah in the solo section; only overdrive/distortion and light amp reverb are present.
- If alternate amp/pedal setups are found for this specific live performance, settings may need revision.
- Settings cross-referenced with genre and era conventions for accuracy. Gary Moore’s 1999 live tone on 'Still Got the Blues' is thick, sustaining, and mid-forward, typical of a Les Paul into a cranked Marshall with a Tube Screamer for extra drive. The amp is set for a creamy lead sound with strong mids and bass, moderate treble to avoid harshness, and a touch of reverb for space, matching both his gear and the era’s live production.