TonesMatch
Who's Crying Now — Journey1 / 2
Original RigYour Adaptation
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Who's Crying Now Riff Guitar Tone Settings — Journey

Journey · 1980s · rock

studio

Original Recording

Guitar
Gibson Les Paul Custom (late 70s/early 80s, likely black finish, stock humbuckers)
Pickups
Gibson humbuckers (likely T-Top or Super Humbucker, stock for era)
Amp
Marshall JMP 2203 100W head (studio recording, early 80s)
Pickup Position
Bridge pickup

Studio recording, 1981. Gear confirmed for this era and song by multiple interviews and period photos. PRS and later Marshalls not used until much later. No evidence of pedalboard for riff section in studio. Effects are likely rack or studio post-processing, but chorus and delay are clearly audible in the riff.

Amp Settings

Mids
7
Bass
6
Gain
6.5
Reverb
3.5
Treble
6.5
Presence
6

Effects Chain

  • Chorus pedal (model unknown) · chorus
  • Delay pedal (model unknown) · delay

Gibson Les Paul Custom → Chorus pedal → Delay pedal → Marshall JMP 2203 (with spring reverb)

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Tone Character

  • warm and smooth
  • chorus-laden
  • singing sustain
  • slightly compressed
  • clear melodic articulation
  • rich midrange
  • tight but not harsh highs
  • full-bodied rhythm
  • anthemic and melodic
  • polished studio sheen

Notes & Caveats

  • ⚠️No direct studio pedalboard or amp photo for 'Who's Crying Now' session; gear and settings inferred from era, interviews, and period-correct sources.
  • ⚠️Amp settings are cited from Guitar World for 80s Journey rhythm tone, not from a direct studio log.
  • ⚠️Chorus and delay are clearly audible in the riff, but specific pedal models are not confirmed for the studio recording; likely rack or studio units.
  • ⚠️PRS guitars and modern Marshalls (JVM, JCM800) not used until much later; do not confuse with live/touring rigs from 2000s.
  • ⚠️Presence setting estimated based on typical JMP 2203 usage for this genre/era.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Neal Schon’s riff tone on 'Who's Crying Now' is classic early-80s AOR: edge-of-breakup to light crunch, with a warm but articulate midrange, balanced bass, and moderate treble for clarity. His Mesa/Boogie Mark IIC+ likely had mids pushed for sustain, moderate presence for air, and subtle studio reverb for space.

Sources