Texas Flood Guitar Tone Settings
Stevie Ray Vaughan & Double Trouble · 1980s · blues
studio
Original Recording
Studio recording, 1982-1983, Jackson Browne's Downtown Studios. Vibroverbs were the main amps for Texas Flood. Ibanez TS808 Tube Screamer was the only pedal used during the solo, according to engineer Richard Mullen. Roland SDD-320 Dimension D chorus was added in mixing for subtle stereo thickening on the solo. No amp reverb used; reverb is from room/mix. No delay, wah, or other effects. Pickup is neck position. All settings refer to the studio recording, not live.
Amp Settings
Effects Chain
- Ibanez TS808 Tube Screamer · overdrive
Guitar → Ibanez TS808 Tube Screamer → Fender Vibroverb (no amp reverb) → Roland SDD-320 Dimension D (added in mix)
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Tone Character
- warm and smooth
- singing sustain
- touch-sensitive breakup
- fat, glassy neck pickup tone
- dynamic, edge-of-breakup drive
- thick, vocal-like solo sound
- Texas blues bite
- warm, round low end
- articulate single-note clarity
- slight stereo chorus thickening
Notes & Caveats
- No direct numeric amp EQ settings for Texas Flood solo found in primary sources; settings estimated based on typical Vibroverb usage, genre, and era, cross-referenced with forum and interview data.
- Ibanez TS808 Tube Screamer confirmed as only pedal used on Texas Flood album per engineer Richard Mullen (Equipboard, Guitar World).
- Roland SDD-320 Dimension D chorus was added in mixing for the solo, not as a pedal in the signal chain; included as a studio effect for accuracy.
- No amp reverb used; reverb on the album is from room/mix, not the Vibroverb's spring reverb.
- Presence setting estimated based on typical Vibroverb and blues usage.
- All settings and effects refer to the studio recording, not live performances.
- Settings cross-referenced with genre and era conventions for accuracy. SRV's 'Texas Flood' solo tone is thick, dynamic, and just on the verge of breakup, achieved with a Fender amp (likely Vibroverb) set loud, with strong bass, forward mids, moderate treble, and subtle spring reverb. Presence is kept slightly below neutral to avoid harshness, matching the warm, singing blues sound of the recording.