TonesMatch
The Count of Tuscany — Dream Theater1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

The Count of Tuscany Solo Guitar Tone Settings — Dream Theater

Dream Theater · 2000s · metal

studio

Original Recording

Guitar
Ernie Ball Music Man John Petrucci Signature (likely JP6 or JP7, 2009 era)
Pickups
DiMarzio LiquiFire (neck), DiMarzio Crunch Lab (bridge) humbuckers
Amp
Mesa/Boogie Mark IV (studio recording, 2009 era)
Pickup Position
Neck pickup

Studio recording for 'Black Clouds & Silver Linings' (2009). Petrucci is known to use the JP6/JP7 with DiMarzio pickups and Mesa/Boogie Mark IV for this album. No direct evidence of alternate guitars or amps for the solo section. No evidence of live rig or alternate amp for the studio solo.

Amp Settings

Mids
6
Bass
6
Gain
6.5
Reverb
3.5
Treble
7
Presence
6.5

Effects Chain

  • Delay pedal (model unknown) · delay
  • Reverb pedal (model unknown) · reverb
  • Volume pedal (model unknown, likely Ernie Ball VP Jr.) · other

Guitar → Volume pedal → Delay pedal → Reverb pedal → Mesa/Boogie Mark IV (with digital reverb)

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Tone Character

  • lush and ambient
  • smooth and fluid
  • singing sustain
  • warm neck pickup tone
  • ethereal and reverberant
  • crystal-clear note definition
  • delicate volume swells
  • expressive dynamics
  • not harsh or brittle
  • atmospheric lead presence

Notes & Caveats

  • ⚠️No direct source lists exact amp or pedal settings for this solo; values estimated based on typical Petrucci/Mesa Mark IV settings for ambient solos.
  • ⚠️No explicit confirmation of pedal models used in the studio for this solo; effects inferred from audio and Petrucci's known gear for the era.
  • ⚠️No evidence of alternate guitar or amp for the solo section; assumed JP6/JP7 and Mesa/Boogie Mark IV as per Petrucci's 2009 studio rig.
  • ⚠️No pedal settings found; delay and reverb are clearly audible and are included as 'model unknown'.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. John Petrucci's solo tone on 'The Count of Tuscany' is high-gain but articulate, with tight lows, balanced mids, and clear highs, typical of his Mesa/Boogie Mark series setup from this era. The reverb is minimal, as most ambience is added post-production, and the presence is set to add clarity without harshness.

Sources