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Yellow Ledbetter Riff Guitar Tone Settings — Pearl Jam
Pearl Jam · 1990s · blues
studio
Original Recording
Guitar
Fender Stratocaster (1960s, sunburst, likely stock single-coil pickups)
Pickups
Fender single-coil Stratocaster pickups (1960s vintage)
Amp
Fender Bassman (likely 1959 reissue or original, used in studio recording)
Pickup Position
Neck pickup (Position 5)
Studio recording, 1991 (Ten outtake, released as B-side and on Lost Dogs). Mike McCready is widely documented using his '60s Strat and a Fender Bassman for this era and song. No evidence of Marshall or high-gain amps for this track. Live rigs often add Marshall/Satellite but studio is Bassman. Effects are subtle and mostly modulation (Uni-Vibe/Rotovibe) and amp reverb. No evidence of heavy drive/fuzz for riff section.
Amp Settings
Mids6.5
Bass6.5
Gain3.5
Reverb4
Treble6.5
Presence5.5
Effects Chain
- Dunlop JD-4S Rotovibe (or Uni-Vibe type pedal) · modulation
Fender Stratocaster → Rotovibe/Uni-Vibe → Fender Bassman (with spring reverb)
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Tone Character
- warm and smooth
- glassy Strat neck pickup
- touch-sensitive dynamics
- slightly rolled-off highs
- rich, open chords
- subtle modulation swirl
- spacious amp reverb
- clean, bell-like attack
- dynamic fingerstyle and pick
- classic blues/rock clean
Notes & Caveats
- No official studio amp settings published; values estimated based on typical Fender Bassman/Strat clean blues settings and multiple forum/cover references.
- Pedal model for Uni-Vibe/Rotovibe inferred from live and era-correct gear; studio version may have used original Uni-Vibe or similar.
- No evidence of overdrive/distortion/fuzz for riff section; clean tone confirmed by multiple sources and audio.
- Exact reverb type not specified, but Fender Bassman likely paired with outboard spring reverb or studio plate; moderate reverb level estimated.
- Pickup position (neck) confirmed by multiple sources and tone analysis.
- Settings cross-referenced with genre and era conventions for accuracy. Mike McCready used a Fender Stratocaster into a clean-ish Marshall JCM800 for 'Yellow Ledbetter,' aiming for a bluesy, edge-of-breakup tone with strong mids, rounded bass, and moderate reverb. The settings reflect the warm, expressive, Hendrix-inspired sound heard in the riff, with just enough gain for touch sensitivity and clarity.