GuitarDistortedSolo80% confidence
You're a Lie (feat. Myles Kennedy & The Conspirators) Guitar Tone Settings
Slash · 2010s+ · rock
studio
Original Recording
Guitar
Gibson Slash Appetite Les Paul
Pickups
Seymour Duncan Alnico II Pro humbuckers
Amp
Marshall AFD100 (Slash signature) blended with Marshall JCM 800 #39
Pickup Position
Bridge pickup
Studio recording, 2012. For 'You're a Lie' (including solo), Slash used his Gibson Appetite Les Paul due to his Derrig Les Paul being in for repairs. Both Marshall AFD100 and JCM 800 heads were run simultaneously and blended. No evidence of live rig or alternate guitars for the solo section.
Amp Settings
Mids7.5
Bass6
Gain7.5
Reverb2
Treble7
Presence6.5
Effects Chain
- Delay pedal (model unknown) · delay
Gibson Slash Appetite Les Paul → Delay pedal (model unknown) → Marshall AFD100 + JCM 800 (blended, low amp reverb)
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Tone Character
- biting lead tone
- singing sustain
- aggressive attack
- tight low end
- articulate highs
- harmonic overtones
- fluid legato runs
- classic hard rock solo sound
- cutting through the mix
- dynamic pick response
Notes & Caveats
- No specific numeric amp knob settings found in sources; settings estimated based on typical Marshall AFD100/JCM 800 usage for Slash's studio tones in this era.
- Pedal/effects info for the solo is limited; octave fuzz pedal is mentioned by Slash as used on the album, but not explicitly tied to 'You're a Lie' solo. No evidence of wah, chorus, flanger, or phaser in this solo.
- Delay is clearly audible in the solo section; model not specified in sources, so included as 'Delay pedal (model unknown)'.
- No evidence of amp reverb being a major part of the tone; low reverb setting estimated for studio context.
- All gear and effects are for the studio recording only, not live.
- Settings cross-referenced with genre and era conventions for accuracy. Slash's solo tone on 'You're a Lie' is saturated but articulate, with prominent mids and a tight low end typical of his Marshall amp settings. The gain is high for sustain, mids are pushed for cut, treble and presence add clarity, and reverb is minimal for a punchy, modern hard rock lead sound.