Still Got the Blues by Gary Moore — Amp Settings & Guitar Tone
Reference tone dialed on a Squier Classic Vibe Stratocaster into a Fender Mustang LT25. Settings below are cited from real sources; open the page in a browser for the interactive version, or get this tone dialed for your exact gear.
This setup aims to recreate Gary Moore's iconic blues-rock tone using the user's available gear. The Fender Mustang LT25's modeling capabilities are leveraged to approximate the Marshall Plexi sound, while the Squier Stratocaster stands in for the Les Paul's humbucker character. The tone is adjusted to emphasize midrange and provide a warm, singing lead tone with rich sustain.
Signal chain settings
Squier Classic Vibe '60s Stratocaster — main guitar
| Control | Setting | Why |
|---|---|---|
| Pickup Selector | Neck Pickup | Use the neck pickup for a warmer, smoother tone that matches the song's lead sections. |
| Master Volume | 10 | Maximize volume for full dynamic range and sustain during solos. |
| Tone 1 | 6 | Roll back to control brightness and avoid harshness, emulating the Les Paul tone. |
| Tone 2 | 10 | Tone wide open — roll it down to soften the high end. |
Fender Mustang LT25 — amplification
| Control | Setting | Why |
|---|---|---|
| Preset | [08] SOLO MIDBOOST | This preset provides a mid-forward lead tone similar to the Marshall Plexi used by Gary Moore. |
| Gain | 7 | Set to achieve a saturated tube-like crunch with smooth sustain. |
| Volume | 6 | Set to balance overall output while maintaining dynamics. |
| Treble | 6 | Adjust to control brightness and avoid harshness, matching the warm tone of the recording. |
| Bass | 3 | Keep low to prevent muddiness and maintain clarity in the midrange. |
| Master | 7 | Set to ensure ample headroom and sustain without overpowering the tone. |
| Cabinet build | Not used | Not needed for this tone — leave it off. |
| Amp Models | Not used | Not needed for this tone — leave it off. |
What Gary Moore actually used
Gary Moore recorded 'Still Got the Blues' using his 1959 Gibson Les Paul Standard through a Marshall JTM45 reissue prototype head and a Marshall 1960B cabinet loaded with Electro-Voice EVM12L speakers. The primary distortion was achieved with a Marshall The Guv'nor pedal, and a Roland SDD-320 Dimension D provided the stereo chorus effect. The recording took place at Sarm West Studios in London, with Moore co-producing alongside Ian Taylor.
- 1959 Gibson Les Paul Standard — main. Neck pickup for most of the song; neck volume at 10 during solos, 5 during rhythm parts; neck tone at 6; bridge volume and tone at 10.
- Marshall The Guv'nor — primary distortion. Gain at 7, bass at 7, middle at 10, treble at 8.5, level at 6.
- 1989 Marshall JTM45 Reissue Prototype — amplification. Presence at 5, bass at 3, middle at 9, treble at 7, high treble loudness at 6, high treble input 1.
- Roland SDD-320 Dimension D — stereo chorus effect. Dimension mode set to 4.
- Marshall 1960B 4x12 Cabinet with Electro-Voice EVM12L Speakers — speaker cabinet
Tuning: Standard
Sources
- https://www.fender.com/en-US/squier-electric-guitars/stratocaster/classic-vibe-stratocaster-60s/0303010500.html
- https://www.manualslib.com/manual/1547905/Fender-Mustang-Lt25.html
- https://www.fender.com/en-US/guitar-amplifiers/contemporary-digital/mustang-lt25/2311100000.html
- https://www.manualslib.com/manual/3126493/Fender-Mustang-Lt25.html
- https://www.guitarchalk.com/fender-mustang-lt25-settings/
- https://www.guitarworld.com/artists/the-secrets-behind-gary-moores-tone-on-still-got-the-blues
- https://es.wikipedia.org/wiki/Still_Got_the_Blues