TonesMatch
True Men Don't Kill Coyotes — Red Hot Chili Peppers1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

True Men Don't Kill Coyotes Guitar Tone Settings

Red Hot Chili Peppers · 1980s · rock

studio

Original Recording

Guitar
Gibson Les Paul Custom (1970s)
Pickups
Gibson humbuckers (likely stock for 1970s Les Paul Custom)
Amp
Randall RG80 80W 1x12 Guitar Combo
Pickup Position
Bridge pickup

Studio recording, 1984. Jack Sherman played the Les Paul Custom for the debut album sessions. The Randall RG80 was his main amp during this era, used both live and likely in studio. No evidence of other amps or guitars for this song's riff section.

Amp Settings

Mids
7
Bass
6
Gain
5
Reverb
2.5
Treble
7
Presence
6

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

  • percussive and punchy
  • bright and articulate
  • slightly gritty edge-of-breakup
  • tight attack
  • clear note separation
  • dynamic response
  • not heavily saturated
  • mild overdrive character
  • funk-influenced rhythm
  • focused midrange

Notes & Caveats

  • ⚠️No direct source for exact amp knob settings; estimated based on Randall RG80 typical settings for 1980s funk/rock and the song's recorded tone.
  • ⚠️No explicit confirmation of pickup selector position; bridge pickup inferred from tone brightness and attack.
  • ⚠️No direct evidence of pedals used specifically on this song's riff section; TS9 Tube Screamer was part of Sherman's gear but not confirmed for this track.
  • ⚠️No evidence of modulation, delay, or reverb pedals; amp reverb estimated at low setting based on recording ambience.
  • ⚠️No evidence of effects loop usage.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Hillel Slovak's tone on 'True Men Don't Kill Coyotes' is classic early 80s funk-rock: crunchy but not high-gain, with pronounced mids and treble for clarity and snap, moderate bass for punch, and a touch of reverb for space. These settings reflect typical Marshall-style amps of the era and Hillel's preference for cutting, articulate tones.

Sources