GuitarDistortedRiff80% confidence
This Ain't a Love Song Riff Guitar Tone Settings — Bon Jovi
Bon Jovi · 1990s · rock
studio
Original Recording
Guitar
Gibson Les Paul Standard (early 90s, likely Richie's main studio guitar for this era)
Pickups
Seymour Duncan SH-4 JB (bridge), SH-2 Jazz (neck) humbuckers
Amp
Marshall JCM800 2203 head with Marshall 4x12 cabinet (studio recording, 1994-1995)
Pickup Position
Bridge pickup
Studio recording, 1994-1995. No direct evidence for pedals or alternate guitars for the riff section; Richie Sambora was known to use Les Pauls and Marshalls in the studio for this album. No evidence of live rig or alternate amp for this part.
Amp Settings
Mids7
Bass6
Gain6
Reverb3
Treble6.5
Presence6
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- thick and mid-forward
- warm and saturated
- punchy and articulate
- slightly compressed sustain
- open and ringing
- smooth top end
- studio-polished clarity
- classic 90s arena rock crunch
- tight and controlled low end
- not overly bright or scooped
Notes & Caveats
- No direct source specifies the exact guitar, amp, or pedal settings for the riff section of 'This Ain't a Love Song'.
- Gear and settings are estimated based on Richie Sambora's known studio rig for the 'These Days' album era and typical 90s Bon Jovi recording practices.
- No evidence found for pedals or effects used specifically on the riff section; no chorus, delay, or modulation is clearly audible in the riff.
- Settings are inferred from typical Marshall JCM800 usage in 90s rock studio recordings.
- No evidence of effects loop or amp-based effects beyond light reverb.
- Settings cross-referenced with genre and era conventions for accuracy. Richie Sambora's riff tone on 'This Ain't a Love Song' is a classic mid-90s Bon Jovi sound: crunchy but not saturated, with forward mids, balanced bass, and smooth treble. The production is polished but not overly wet, matching his typical Marshall/Fender hybrid approach and era-appropriate hard rock settings.