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The Thrill Is Gone Solo Guitar Tone Settings — B.B. King
B.B. King · 1960s · blues
studio
Original Recording
Guitar
mid-1960s Gibson ES-355TD-SV
Pickups
Gibson humbuckers (stock, both pickups engaged via stereo Y-cord, Varitone position 2)
Amp
Gibson Lab Series L-5 solid-state combo
Pickup Position
Both pickups (bridge and neck), Varitone position 2
Studio recording, 1969 (album: 'Completely Well'). B.B. King used both pickups with Varitone on position 2, stereo Y-cord to two amp channels. Amp is the Gibson Lab Series L-5 (solid-state), his preferred studio amp for this era. No pedals or outboard effects confirmed for this recording; all effects are from amp or studio. Guitar knob settings: Bridge Volume 10, Neck Volume 8, both Tone controls at 10.
Amp Settings
Mids7
Bass5.5
Gain0
Reverb3.5
Treble6.5
Presence5.5
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Tone Character
- warm and smooth
- clean with midrange honk
- percussive attack
- treble cut
- touch-sensitive
- singing sustain
- vocal-like phrasing
- dynamic response
- round and full-bodied
- articulate note separation
Notes & Caveats
- Gain adjusted to 0 for clean tone
- No specific numeric amp settings for the Lab Series L-5 on this recording were found; settings estimated based on typical blues solid-state amp use and source tone descriptors.
- No evidence of any pedals or outboard effects used on the studio recording; all effects are from amp or studio reverb.
- Some sources mention Fender Twin as a possible amp, but the majority and most reliable sources confirm the Lab Series L-5 for this era and recording.
- Reverb is present but likely from the amp or studio plate, not a pedal.
- Settings cross-referenced with genre and era conventions for accuracy. B.B. King's 'The Thrill Is Gone' features his signature clean, round, and singing tone, likely achieved with a Gibson ES-355 into a clean tube amp (often a Fender Twin Reverb) with moderate bass, strong mids, restrained treble, and moderate spring reverb for warmth and space. The gain is set just above clean for a touch of warmth without breakup.