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Wanted Dead or Alive — Bon Jovi1 / 2
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Wanted Dead or Alive Solo Guitar Tone Settings — Bon Jovi

Bon Jovi · 1980s · rock

studio

Original Recording

Guitar
Gibson Les Paul Standard (late '50s/early '60s, likely 1959 or 1960, as referenced in interviews and rig rundowns for the era)
Pickups
Gibson PAF humbuckers
Amp
Marshall JCM 800 head (studio recording, 1986)
Pickup Position
Bridge pickup

Studio recording for 'Slippery When Wet' (1986). Richie Sambora used a late '50s/early '60s Gibson Les Paul Standard with PAF humbuckers into a Marshall JCM 800 head for the solo. No evidence of live/tour gear or alternate guitars for the solo section. Effects are based on both source mentions and clear audio evidence.

Amp Settings

Mids
7
Bass
6
Gain
7
Reverb
3
Treble
7
Presence
6

Effects Chain

  • Delay pedal (model unknown) · delay

Gibson Les Paul Standard → Delay pedal (model unknown) → Marshall JCM 800 head (with spring reverb)

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Tone Character

  • singing sustain
  • mid-gain British crunch
  • smooth, vocal-like lead tone
  • touch-sensitive dynamics
  • slightly scooped but present mids
  • clear note separation
  • warm, harmonically rich
  • classic rock solo character
  • not overly saturated
  • distinct delay repeats audible

Notes & Caveats

  • ⚠️No direct numeric amp settings for the studio recording found; settings estimated based on typical Marshall JCM 800 usage for 1980s rock and cross-referenced with era/genre.
  • ⚠️Pedal/effect models are inferred from both source mentions and clear audio evidence; delay is clearly audible but specific model not confirmed.
  • ⚠️No evidence of chorus, flanger, or phaser in the solo section; delay is the primary effect.
  • ⚠️Guitar model and amp are confirmed for the era and recording, but not every knob setting is documented in sources.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Richie Sambora's solo tone on 'Wanted Dead or Alive' is a classic 80s hard rock lead: moderately high gain for sustain, balanced bass and mids for fullness and cut, and a touch of reverb for space. The amp settings reflect a Marshall-style crunch with forward mids and enough presence to cut through the mix without harshness.

Sources