TonesMatch
The Godfather Solo (feat. Myles Kennedy) [Live] — Slash1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

The Godfather Solo (feat. Myles Kennedy) [Live] Guitar Tone Settings

Slash · 2010s+ · rock

live

Original Recording

Guitar
Gibson Les Paul Standard (Slash signature, likely 1987 or later, with Alnico II Pro humbuckers)
Pickups
Seymour Duncan Alnico II Pro humbuckers
Amp
Marshall Silver Jubilee 2555 head and 4x12 cabinet
Pickup Position
Neck pickup

Live performance, post-2010s (2010s+), as performed with Myles Kennedy. Gear based on Slash's consistent live rig for this song. No evidence of alternate guitars or amps for this solo section. Studio vs live: LIVE. Year: 2010s+.

Amp Settings

Mids
7
Bass
6
Gain
7
Reverb
2
Treble
6.5
Presence
6.5

Effects Chain

  • Dunlop Cry Baby Wah (model likely GCB95 or Slash Signature SW95) · wah
  • Boss DD-3 Digital Delay (or similar delay pedal) · delay

Guitar → Wah pedal → Delay pedal → Marshall Silver Jubilee 2555 head → 4x12 cabinet (with light amp spring reverb)

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Tone Character

  • singing sustain
  • smooth and vocal-like
  • warm neck pickup sound
  • expressive bends
  • clear note separation
  • fluid legato
  • touch-sensitive dynamics
  • classic British crunch
  • rich harmonic overtones
  • slightly compressed

Notes & Caveats

  • ⚠️No direct source gives exact knob settings for this specific live performance; amp and guitar models are confirmed by multiple rig rundowns and live footage.
  • ⚠️Settings estimated based on typical Slash Silver Jubilee live setup and genre/era conventions.
  • ⚠️Pedal models are inferred from Slash's known live board and what is clearly audible in the solo; no source lists exact pedal settings for this song.
  • ⚠️Effects chain order is based on standard Slash live setups and audio evidence.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Slash's live 'Godfather' solo tone is a saturated, singing lead with strong mids and clarity, typical of his Les Paul into a cranked Marshall with mids and presence pushed for cut. Bass is moderate to avoid muddiness, treble is present but not harsh, and reverb is subtle for ambience without washing out the articulation.

Sources