Smells Like Teen Spirit by Nirvana — 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.

To capture the iconic grunge tone of 'Smells Like Teen Spirit,' we'll use the Squier Classic Vibe '60s Stratocaster and the Fender Mustang LT25. The Mustang's modeling capabilities allow us to approximate the high-gain Mesa/Boogie sound, while the Strat's bright single-coils will need compensation to mimic the humbucker tone. We'll use the 'Thrash Overkill' preset as a starting point, adjusting the EQ to achieve the scooped mids and prominent bass and treble of the original recording.

Signal chain settings

Squier Classic Vibe '60s Stratocaster — main guitar

ControlSettingWhy
Pickup SelectorBridge PickupSelect the bridge pickup to get closer to the humbucker sound of the original.
Master Volume8Set to 8 to maintain clarity and prevent muddiness with high gain.
Tone 1Leave at defaultNot used for the bridge pickup; controls neck and middle pickups.
Tone 27Roll back slightly to tame the brightness of the single-coil bridge pickup.

Fender Mustang LT25 — main amp

ControlSettingWhy
Preset[14] THRASH OVERKILLChosen for its high-gain character, matching the Mesa/Boogie tone.
Gain7Set to 7 to achieve the saturated tube crunch of the original.
Volume6Balanced to maintain dynamics without overpowering the mix.
Treble8.5Boosted to enhance the bright, edgy character of the tone.
Bass8.5Boosted to achieve the prominent bass presence in the original recording.
Master5Set to 5 to control overall output and maintain clarity.
Cabinet buildNot usedNot needed for this tone — leave it off.
Amp ModelsNot usedNot needed for this tone — leave it off.

What Nirvana actually used

Recorded at Sound City Studios in May 1991, 'Smells Like Teen Spirit' features Kurt Cobain's 1969 Fender Competition Mustang, modified with a Seymour Duncan humbucker. The track's signature sound was achieved using an Electro-Harmonix Small Clone for the clean verses and a Boss DS-1 Distortion pedal for the choruses, amplified through a Mesa/Boogie Studio .22 Preamp connected to a Crown Power Amp and Marshall 1960B 4x12 Cabinet. Producer Butch Vig employed both close and room miking techniques to capture the dynamic range of the performance.

  • 1969 Fender Competition Mustang — main rhythm. Left-handed model with a Seymour Duncan humbucker in the bridge position
  • Electro-Harmonix Small Clone — clean verse effect. Used to achieve the watery, chorused clean sound in the verses
  • Boss DS-1 Distortion — main distortion. Engaged during the chorus sections for a thick, raw distortion
  • Mesa/Boogie Studio .22 Preamp — amplification. Connected to a Crown Power Amp and Marshall 1960B 4x12 Cabinet
  • Shure SM57 Microphone — close miking. Used to capture the amp's sound
  • Neumann U 87 Microphone — room miking. Captured ambient room sound for depth

Tuning: Standard

Sources