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The Crying Machine Riff Guitar Tone Settings — Steve Vai
Steve Vai · 1990s · rock
studio
Original Recording
Guitar
Ibanez JEM77FP (Floral Pattern, 1990s, DiMarzio Evolution pickups)
Pickups
DiMarzio Evolution (humbucker, bridge position)
Amp
Carvin Legacy VL100
Pickup Position
Bridge pickup
Studio recording, 1995-1996 (Fire Garden album). Gear confirmed for this era and song by Equipboard and multiple interviews. Pedalboard was minimal for riff section; main distortion from amp. Wah pedal present but not always engaged in riff.
Amp Settings
Mids6.5
Bass6
Gain7.5
Reverb2
Treble7
Presence6.5
Effects Chain
- Dunlop Cry Baby Wah · wah
Ibanez JEM77FP → Dunlop Cry Baby Wah → Carvin Legacy VL100 (amp reverb on low)
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Tone Character
- tight and articulate
- bright and cutting
- focused midrange
- singing sustain
- percussive palm-muting
- harmonic clarity
- modern saturated overdrive
- dynamic pick response
- occasional wah filter sweeps
- fluid legato
Notes & Caveats
- No direct amp knob settings for 'The Crying Machine' studio session found; amp settings estimated based on Carvin Legacy typical usage for Vai's 1990s high-gain rhythm tones.
- Pedalboard for riff section was minimal; overdrive/distortion from amp, not pedal.
- Wah pedal (Cry Baby) is present on Vai's board but only used for accents, not always on in riff.
- No evidence of chorus, flanger, or phaser in riff section; delay and reverb are subtle and likely from rack/amp or post-processing.
- Exact pickup selector position not explicitly stated, but bridge humbucker is standard for Vai's heavy rhythm.
- Settings cross-referenced with genre and era conventions for accuracy. Vai's 'The Crying Machine' riff tone is high-gain but articulate, with forward mids for note clarity, moderate bass for tightness, and bright but not harsh treble/presence. Reverb is subtle, as most ambience is post-amp. These settings reflect his typical Legacy/Marshall amp approach in the late '90s fusion/rock context.