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The Thrill Is Gone (feat. B.B. King) [Live] Guitar Tone Settings
Gary Moore · 2000s · blues
live
Original Recording
Guitar
1959 Gibson Les Paul Standard 'Greeny'
Pickups
PAF humbuckers (out-of-phase middle position wiring, vintage spec)
Amp
Marshall JTM45 (likely with 4x12 cab, classic blues/rock setup for Gary Moore live)
Pickup Position
Middle position (neck + bridge, out-of-phase wiring)
Live performance, circa 2006-2010, as seen in video and corroborated by multiple gear rundowns for Gary Moore's blues era. Settings estimated based on typical live rig for this song/era; no direct numeric settings found in sources.
Amp Settings
Mids7
Bass6.5
Gain5
Reverb3.5
Treble6.5
Presence6
Effects Chain
- Delay pedal (model unknown) · delay
Guitar → Delay pedal (model unknown) → Marshall JTM45 (with spring reverb)
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Tone Character
- warm and smooth
- singing sustain
- touch-sensitive
- edge-of-breakup crunch
- rich midrange
- clear note separation
- slightly overdriven
- vocal-like phrasing
- dynamic response
- classic British blues-rock drive
Notes & Caveats
- No direct numeric amp or pedal settings found for this specific live version; amp and knob settings estimated based on typical Gary Moore blues rig and era.
- Pedal/effects models not confirmed for this exact performance; delay and reverb are clearly audible in the live mix.
- Guitar and amp models inferred from multiple live videos, interviews, and gear rundowns for Gary Moore's blues period; no official rig rundown for this exact show.
- Pickup position inferred from Gary Moore's known use of the out-of-phase middle position on the 'Greeny' Les Paul for blues tones.
- Reverb likely from amp or mix; delay is audible but pedal model not confirmed.
- Settings cross-referenced with genre and era conventions for accuracy. Gary Moore's live 'The Thrill Is Gone' tone is warm, dynamic, and singing with a clear blues edge-of-breakup drive, thick low end, forward mids, and smooth highs. He typically used a Les Paul into a Marshall or Soldano with moderate gain, boosted mids, and generous reverb for sustain and space, matching blues conventions and the song's emotive, expressive lead tone.