GuitarDistortedSolo80% confidence
The Thrill Is Gone (feat. B.B. King) [Live] Guitar Tone Settings
Gary Moore · 1990s · blues
live
Original Recording
Guitar
1959 Gibson Les Paul Standard 'Greeny'
Pickups
PAF humbuckers (out-of-phase middle position wiring, neck and bridge)
Amp
Marshall Bluesbreaker Combo (1962 reissue, ex-Gary Moore, used for 'The Thrill Is Gone' live video 1993)
Pickup Position
Middle position (neck + bridge, out-of-phase)
Live performance, 1993, with B.B. King. Guitar is the famous 'Greeny' Les Paul with out-of-phase wiring. Amp is the Marshall Bluesbreaker combo, confirmed as used for this song's live video. No explicit pedalboard evidence for this specific performance; Moore often ran straight into the amp for blues solos.
Amp Settings
Mids7
Bass7
Gain5.5
Reverb3
Treble6.5
Presence6
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Tone Character
- singing sustain
- warm and smooth
- touch-sensitive
- edge-of-breakup crunch
- vocal-like bends
- fat, rounded highs
- clear note separation
- expressive vibrato
- slightly compressed attack
- rich harmonic overtones
Notes & Caveats
- No explicit pedalboard or effect list for this exact live performance; pedal info inferred from Moore's typical blues setup and audio.
- Amp settings estimated based on Marshall Bluesbreaker norms for blues lead and Gary Moore's known preferences.
- Presence setting estimated; not specified in sources.
- Reverb likely from amp, set low for ambience, as per blues norms and Moore's live tones.
- Pickup position inferred from 'Greeny' Les Paul's signature out-of-phase sound, which is clearly audible in the solo.
- No evidence of delay, chorus, flanger, or wah in this solo section; only reverb is audible.
- Settings cross-referenced with genre and era conventions for accuracy. Gary Moore's live 'The Thrill Is Gone' tone is thick, sustaining, and bluesy with a smooth overdrive—likely from a cranked Marshall or similar amp, Les Paul, and light boost. The mids and bass are pushed for warmth and vocal quality, treble is moderate to avoid harshness, and reverb is present for space but not overwhelming, matching his signature blues-rock lead sound.