GuitarCleanSolo80% confidence
Tin Pan Alley (aka Roughest Place In Town) Guitar Tone Settings
Stevie Ray Vaughan & Double Trouble · 1980s · blues
studio
Original Recording
Guitar
Fender Stratocaster (likely 'Number One' 1963/62 Stratocaster)
Pickups
Fender single-coil pickups (vintage spec, stock or slightly overwound)
Amp
Fender Vibroverb (Blackface, 1964, 2x10, often paired with Marshall or Dumble but Vibroverb is most cited for clean studio tones)
Pickup Position
Neck pickup
Studio recording, 1984, from the album 'Couldn't Stand The Weather'. SRV is known to use his 'Number One' Strat and Fender Vibroverb for clean blues tones in the studio. Tube Screamer may be present but set for minimal drive or as a clean boost. Settings are for studio, not live. No evidence of chorus, delay, or other modulation in the clean solo section.
Amp Settings
Mids6.5
Bass7
Gain3
Reverb3
Treble6
Presence5
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Tone Character
- warm and smooth
- glassy highs
- fat, round lows
- touch-sensitive
- dynamic and expressive
- clear single-coil articulation
- edge-of-breakup clean
- spring reverb ambience
- Texas blues phrasing
- responsive to picking dynamics
Notes & Caveats
- Amp settings are sourced from Guitar World as a general SRV clean tone, not confirmed as exact for 'Tin Pan Alley' solo, but match typical Fender Vibroverb settings for this era.
- No direct evidence of pedal use in the clean solo section; Tube Screamer may be present as a clean boost but is not audibly overdriven.
- No evidence of chorus, delay, or modulation effects in the solo section; spring reverb is present but subtle.
- Pickup choice inferred from typical SRV clean solo tone and listening to the recording; sources recommend neck pickup for warm, round tone.
- Presence setting is estimated based on typical Blackface Fender amp settings, as not specified in sources.
- Settings cross-referenced with genre and era conventions for accuracy. SRV's 'Tin Pan Alley' solo tone is warm, thick, and just at the edge of breakup, typical of his Vibroverb amps with high bass, strong mids, and rolled-off treble for smoothness. The reverb is present but not overwhelming, and presence is neutral, matching the classic Texas blues studio sound.