GuitarDistortedRiff80% confidence
You Know We Can't Go Back Guitar Tone Settings
Noel Gallagher's High Flying Birds · 2010s+ · rock
studio
Original Recording
Guitar
1960 Gibson ES-355
Pickups
Gibson PAF-style humbuckers
Amp
Hiwatt Custom 50 with 2x12 speaker cabinets
Pickup Position
Bridge pickup
Studio recording, 2014-2015 (Chasing Yesterday sessions). Gear confirmed as used by Noel Gallagher in this era, but no direct source ties this exact guitar/amp to this specific riff in 'You Know We Can't Go Back'. No evidence of alternate guitars or amps for the riff section.
Amp Settings
Mids7
Bass6
Gain5
Reverb3
Treble7
Presence6
Effects Chain
- Friedman BE-OD Deluxe · distortion
- Ibanez Tube Screamer (exact model unknown, likely TS808 or modded TS9) · overdrive
- Strymon Flint (Reverb side, possibly Tremolo side) · reverb
Guitar → Friedman BE-OD Deluxe → Ibanez Tube Screamer → Strymon Flint (Reverb) → Hiwatt Custom 50 amp
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Tone Character
- bright and articulate
- chiming upper mids
- open, ringing chords
- tight and punchy attack
- slight breakup with clarity
- classic British crunch
- full-bodied midrange
- present but not harsh treble
- dynamic response to picking
- warm, vintage character
Notes & Caveats
- No direct source confirms the exact guitar, amp, or pedal settings for the riff section of 'You Know We Can't Go Back'; gear and settings are inferred from Premier Guitar's rundown of Noel Gallagher's studio rig for the Chasing Yesterday era.
- No source provides specific amp knob values; settings are estimated based on typical Hiwatt Custom 50 usage in modern rock context.
- No explicit confirmation of pedal usage for this specific song section; pedalboard contents are from general era rig, not tied to this recording.
- Effects inferred from audio and genre conventions; no studio notes or interviews specify effects chain for this track.
- Settings cross-referenced with genre and era conventions for accuracy. Noel Gallagher’s riff tone here is classic British crunch—mid-forward, not overly saturated, with clear articulation and a slightly airy top. Likely using a Vox or Marshall-style amp, these settings reflect his preference for prominent mids, moderate gain, and subtle reverb for space without wash.