What s My Age Again Amp Settings

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Updated by Millie

Updated on March 16th, 2021

Updated internal links, settings photos, and made minor copy changes.

If y'all can't remember your guitar's amp settings, why not just write them downwardly? A friend once told me this every bit I saturday, frustrated as ever, trying to recall how I had gotten a certain tone out of my amp and my chorus pedal. I used to get about guitar tone and amp settings the same way my married woman would go about cooking. She would make something amazing, forget to jot down the recipe then had no idea what was in it.

Many skillful meals have been lost forever.

I think that's the habit of many guitar players every bit well, when it comes to learning and memorizing what works best with our gear. We forget our settings simply because we don't make notation of them or commit them to memory. Sometimes we find an EQ that really works. Why not write it downward? This is my list of settings and sounds that I've had luck with over the form of my pursuit of proficient tone. It's meant to be a catalog of sorts and a quick reference where they can all be accessed.

Let's bound in.

Amp Accessories We Recommend and Use Ourselves

In this section we've listed some guitar amp accessories that nosotros apply and like to recommend to other musicians. We've likewise linked to our partner, Sweetwater, as a means of supporting our site at no extra cost to you. If y'all buy through the orangish button links, information technology helps us out and gets you some awesome gear. Win-win. Thanks everyone.

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one. For a Make clean Sound & Shimmer

A squeamish, bones clean sound with a little extra smooth

This EQ makes a great base for adding chorus and/or reverb. Ideal for fills or subtle arpeggios.

• GUITAR:VOLUME: MAX / TONE: MAX / SELECTOR: MIDDLE
  
• AMP: BASS: v / MIDS: six / TREBLE: 7 / Proceeds:
• CHORUS: LEVEL: four / Charge per unit: 4 / DEPTH: iii
• REVERB: LEVEL: 3 / TONE: four / TIME: v / TYPE: Plate / IF IN AMP: 3

Make clean sound with a Fender Super-Sonic amp model

I like to call this the "v-6-seven" so it's piece of cake to retrieve. Gain should be off or low and if yous accept a reverb option yous can prepare it virtually three. If that'southward likewise bright, cutting the treble dorsum and push the bass knob up another notch. If you lot use a chord pedal, levels will vary slightly between pedals, only in general you'll want to continue the rate and depth on the depression side.

2. Ideal Fender Amp EQ

Also known every bit "the magic half dozen"

Thought to exist ane of the more optimal Fender amp settings.

• GUITAR:Volume: MAX / TONE: MAX / SELECTOR: MIDDLE
• AMP: BASS: two / MIDS: iii / TREBLE: half dozen / Gain: 0 / VOLUME: 6 / REVERB: OFF

Optimal Fender amp settings using the Magic Half-dozen

Since Fender amps - especially of the tube variety - like this beautiful Fender '68 Vibrolux take a distinctly polish and thick tone quality to them, you tin usually afford to turn down the bass a little more than you might with other amplifiers.

These settings also assume a Fender guitar is being used, like a Stratocaster or Telecaster, every bit they make an effort to accommodate single-coil pickups. The "Magic Six" title comes from volume (6), treble (6) and bass multiplied by mids (ii 10 iii = 6).

If it sounds likewise much similar a can can, turn the bass support a bit.

3. Make clean Base of operations for Delay

An EQ specifically for echo or delay

This tin piece of work with any delay pedal or with other ambient effects, like echo or reverb.

• GUITAR:Book: MAX / TONE: MAX / SELECTOR: BRIDGE
• AMP: BASS: 8 / MIDS: 4 / TREBLE: four / Gain: ii / REVERB: 3 (or to taste)
• Delay PEDAL: Nearly settings should be "to gustatory modality." Make sure MIX favors the wet signal.

A skillful make clean amp setting to utilize with ambience effects

All we're doing is dialing in a "chunkier" clean audio with some gain to give our delay that nice snap and thick resonance when the selection pushes through a note. If our clean signal is as well clean or weak and so nosotros adventure not having enough trunk to our filibuster.

Filibuster, and most other repeating furnishings, work all-time when there is some element of thickness to your tone.

4. Low Gain for Rock

Where your amplifier is the gain source

Get a subtle chunk to your tone past adding a petty bit of gain and pushing mids college than usual. Slash'south amp model demonstrates:

• GUITAR:Volume: MAX / TONE: MAX / SELECTOR: MIDDLE
• AMP: BASS: five / MIDS: viii / TREBLE: 5 / Proceeds: 3-5 / PRESENCE: 4 / REVERB: OFF

Depression gain settings on a Marshall Slash amp model

To exist fair, you lot can use a pedal for this, but I've found that amps (especially tube amps) drive a low gain tone with a lot more than definition, clarity and responsiveness.All we need to do is push mids up, then (depending on the amp) adjust gain somewhere in the iii-5 vicinity.

You desire just a trivial fleck of sustain and "grunge" to an otherwise clean-sounding betoken.

v. The Wah Cut

The Wah-Friendly Amp EQ

Adding just enough shimmer to make the high notes popular.

• GUITAR:VOLUME: MAX / TONE: 80% / SELECTOR: Span
• AMP : BASS: half-dozen / MIDS: 5 / TREBLE: six / GAIN: 2 / REVERB: OFF

A wah-friendly amp setting using a Fender amp model

I of the mistakes I meet nigh often made with a proficient wah EQ is that at that place isn't enough bass in the point. Keep low EQ controls up and utilise your treble to requite some scratch to your selection swipes. Add a little proceeds if you lot desire to get more crunch out of your right hand (picking hand) movement.

half-dozen. An Amp EQ for Metal

A low-end boost for a good metal boom

Dialing in the perfect tone to go with high-saturation proceeds levels and metal riffs.

• GUITAR: Volume: MAX / TONE: MAX / SELECTOR: MIDDLE OR Span
• AMP : BASS: 8 / MIDS: 4 / TREBLE: iv / GAIN: 10 (or pedal) / REVERB: OFF
• Distortion PEDAL: LEVEL: AMP Book / DRIVE: 75% / BASS: 6-8 / TREBLE: 3-5

Thick and heavy base of operations tone for a metallic style

In my experience, the gain from your amp isn't going to sound metal unless you accept a really solid amplifier. Something like Blackstar or Mesa Boogie would practice the job. Idue north other cases y'all'll need a distortion pedal. Nosotros'd recommend something like the AmpTweaker Tight Metallic Jr or the Wampler Dracarys, equally the settings listed to a higher place are based off of those pedals.

As far equally your amp goes, you need to get something thick and full, which is why we're pushing the bass so loftier. Depending on your amp, you may need to go a little college or lower than eight, simply the principle remains the same.

If y'all employ a pedal, make sure the on-lath EQ follows the example of your amplifier.

seven. Lead boost

For creating a simple signal boost

Works great for solos or when you want your guitar to "punch through" with just a little more definition.

• GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: Bridge
• AMP: BASS: 2 / MIDS: 7 / TREBLE: 5 / GAIN: 6 / REVERB: 2

Atomic number 82 boost amp setting with an Orange Thunderverb amp model

This is where having two channels on your amp would be helpful, and then y'all could switch between your "normal" setting and what nosotros're calling your "boost setting." Almost amps have multiple channels, so you can incorporate two different presets. To emulate a booster pedal, we button mids and gain which will give you lot some added bite to your bespeak.

You can move channel volume upward slightly and adjust bass if it sounds too much similar a tin tin.

viii. Dominate DS-1 Blues

Blues EQ for Boss DS-ane distortion owners

How to set your amp for the optimal accompanying of the Boss DS-i distortion pedal.

• GUITAR:Book: MAX / TONE: 75% / SELECTOR: Center
• AMP: BASS: 4 / MIDS: 7 / TREBLE: 7 / Proceeds: 6 / REVERB: OFF
• DS-1 SETTINGS: TONE: 5 / LEVEL: 5 / DIST: v

Amp settings for pairing with a Boss DS-one distortion pedal

The Boss DS-1 distortion is a commoner amidst today's pedalboards . Nosotros've defended an entire post to discussing its optimal dejection settings, and what y'all see here is a but a sample.Small tube amps tin also mesh actually well with this setting, since the bass reduction balances well with the added warmth from the tubes.

For free, here'southward a 2d variation we'd recommend trying out:

A 2nd variation you could endeavour with the Boss DS-1 distortion

9. The Adam Jones

For covering Tool songs

Adam Jones isn't conventional, but his tone is easier to replicate than you might recall.

• GUITAR:VOLUME: MAX / TONE: MAX / SELECTOR: Bridge
• AMP : BASS: 8 / MIDS: nine / TREBLE: vi / GAIN: eight (or pedal) / REVERB: OFF

High proceeds, loftier mids, and actually expensive amplifiers volition become you close to an Adam Jones guitar tone

If y'all're going to mimic Adam Jones' sound, y'all demand a good, raw distortion that sounds "metal" merely isn't overly saturating. That ways gain (whether coming from a pedal or amp) should be high, just not then much that you lot get a lot of backlog feedback and racket.Tool's guitar work is rhythmic, which ways you lot've got to have some shape and definition to your distortion.

Nosotros go with high bass and fifty-fifty college mids to make sure you can hear the chord changes and tonal subtleties with plenty of clarity.

ten. All reverb

Works peculiarly well with Fender amps

A 3-band EQ to use every bit a backdrop for ambience reverb.

• GUITAR : Book: MAX / TONE: xc% / SELECTOR: Center
• AMP: BASS: 4 / MIDS: 7 / TREBLE: 8 / Proceeds: 0 / REVERB: 7-10

Loftier treble and mids help bring out the reverb trails and provide a little actress "smoothen"

I've never come up across an amp that handles reverb better than the mid to high range Fender models. The Deville and Vibrolux are just hands downwardly some of the best reverb amps out in that location.But, regardless of what you have to piece of work with, nosotros're trying to add some extra chime to our tone.

Go with loftier mids, college treble and cut the reverb knob upward past 7 or and so. Leave proceeds out of the picture and become with the centre pickup on your guitar to take the border off.

xi. Tom Morello's Marshall Settings

For covering Audioslave and Rage Against the Motorcar

An EQ that helps highlight the distorted tones and riffs that Tom Morello has been most known for over the years.

• GUITAR:Volume: MAX / TONE: MAX / SELECTOR: Middle or Bridge
• AMP: BASS: four / MIDS: 4 / TREBLE: ix / GAIN: 7 / REVERB: OFF

High treble and moderate to high proceeds get you shut to a Tom Morello tone, based largely on the Marshall JCM 800

We published a more detailed post on Morello'southward settings, so this is derived from that post, serving as the background for adding other effects like the MXR Stage 90 and DigiTech Whammy.

Morello uses both on his pedalboard.

The highs are high and we add a footling bass to match Morello's strong, funky punch. But the crucial chemical element is calculation gain that isn't overly saturating and isn't producing likewise much sustain. Morello'south riffs are heavy, but they're also controlled and succinct.

Don't over-shoot gain levels and you should be fine.

Read more: Tom Morello's Masterclass review

12. Tom Morello 2.0

For when the original sounds too much like a tin can can

If y'all're using an amp or guitar that emits a "brighter" tone, here's how to cut things back and take the edge off.

• GUITAR: Book: MAX / TONE: ninety% / SELECTOR: Middle
• AMP: BASS: 6 / MIDS: 5 / TREBLE: six / GAIN: 7 / REVERB: OFF

If yous think the first setting is as well "brisk," simply cutting the treble back and move the bass upward a scrap.

Morello uses Marshall amps, and so his audio is going to be naturally brighter. But if you lot find it too piercing, push the bass higher (around vii or eight) and so cutting back your mids and treble to five and half dozen, respectively.

13. The minimalist

Want to just be actually subtle? In that location's a right style.

The optimal EQ for providing subtle fills, background noise or light strumming.

• GUITAR : Volume: lxx% / TONE: fourscore% / SELECTOR: Eye
• AMP: BASS: 5 / MIDS: 4 / TREBLE: 3 / Gain: 3 / REVERB: 2 (or to preference)

Treble and mids go cut back to shine things out. Nice and subtle.

Keeping bass at the halfway betoken and giving just a small proceeds boost will help to add some thickness after you've cutting down volume on your guitar. This i is perfect for those verse fills were you desire to blend in and help the song's dynamics.

14. Acoustic EQ

Amplified acoustics are tricky but hang in there

We don't want our acoustic to ring likewise much (feedback gets annoying) simply we besides don't desire a hollow sound.

• GUITAR:VOLUME: lxx% / TONE: 80% (if applicable) / SELECTOR: n/a
• AMP: BASS: 6 / MIDS: 6 / TREBLE: 2 / Proceeds: 0 / REVERB: ii-3

Easy on the treble to forbid feedback. Add petty delay or reverb to brighten things upwards.

Keep in heed, I'1000 speaking from the feel of someone who owns a Taylor 114ce acoustic, which are notoriously brighter sounding. If you wouldn't describe your acoustic that style, try the next configuration.

xv. Acoustic EQ 2.0

The strummer's acoustic setting

The previous configuration was heavy. This fourth dimension we cut down the bass and give the highs an upward turn.

• GUITAR: VOLUME: MAX / TONE: 90% (if applicable) / SELECTOR: n/a
• AMP: BASS: three / MIDS: 7 / TREBLE: 6 / Gain/VOLUME: five / REVERB: 2-3

Endeavour this for a strumming acoustic tone, lower bass and a fleck more treble

This settings will work amend with Martins and similar acoustics that tend to have a naturally heavier tone and are more platonic for strumming.

16. Optimal high end

For correcting a signal with as well much bass

This is a quick expect at how you might want to dial in something that gives you a little more seize with teeth.

• GUITAR:Book: MAX / TONE: 80% / SELECTOR: Bridge
• AMP: BASS: 3 / MIDS: seven / TREBLE: 6 / Gain: 0 / REVERB: off

Amp settings for correcting an EQ with likewise much bass

It'south a fairly typical way to dial in a higher EQ. Treble gets a bump, mid stays "mid" and nosotros cutting the bass dorsum to give the higher frequencies room to play.

17. Optimal depression end

For correcting a indicate that'south besides high or vivid

If you want a piddling more "thud" in your clean point or if yous just demand to thicken things up a chip.

• GUITAR:Volume: MAX / TONE: 90% / SELECTOR: Middle
• AMP: BASS: 5 / MIDS: iv / TREBLE: vi / GAIN: 0 / REVERB: off

Amp settings for correcting a tone that's too bright

For a thicker clean signal, we leave treble upward, just cut dorsum on the mids and push the bass to five.

18. Kurt Cobain EQ

Capturing the optimal Seattle grunge flavor

Cobain's settings here work best with a Dominate DS-two Turbo Baloney and EHX Modest Clone chorus.

• GUITAR: Volume: MAX / TONE: MAX / SELECTOR: Bridge
• AMP: BASS: 6 / MIDS: viii / TREBLE: 8 / Gain: 10 (or utilise pedal) / REVERB:off
• DS-2 TURBO: LEVEL: ten / TONE: 4-half-dozen / DIST: half-dozen-x / TURBO: Position I

Amp settings based on Kurt Cobain'southward guitar tone

The grunge audio was heavy, just it wasn't laden with thick low-terminate frequencies like the rock of the past couple decades has been. To really capture Kurt Cobain'due south tone, it's best to go on bass moderate (around 5 or six) and rely on your treble to requite some definition to the high amounts of proceeds.

Cheque out our in-depth article on Kurt Cobain Amp Settings for more than information on his sound and the Seattle grunge guitar tone, in general.

nineteen. The Edge EQ

A iii-band EQ to get you started on U2'southward tone

David Evans' tone is far more circuitous than a 3-band EQ, simply this is a good starting signal.

• GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: Middle
• AMP: BASS: 5 / MIDS: 6 / TREBLE: 7 / GAIN: 1-2 / REVERB:1-2

Amp settings based Edge'due south guitar tone from U2

To really beginning earthworks into Edge's tone , you almost demand a guitar tech to explain some of the details. Nevertheless, nosotros can take a unproblematic approach by boosting treble, cutting bass and adding a little bit of gain.If you have a filibuster pedal, adding it near the top of your signal will be a nice fit.

Edge's preferred pedal for complimenting this type of tone is the EHX Memory Homo.

Taking Amp Settings With a Grain of Salt

Understand that all these settings should be taken with a grain of salt.

Why?

How come up they aren't guitar-gospel truth?

You can't be an absolutist about these settings (or whatsoever, for that affair), because of the following reasons:

ane. Beautiful tone is subjective and is in the eye of the beholder.

What sounds proficient to some, might audio terrible to others. Even within genres and styles, y'all'll have people who hear things differently or adopt different degrees of equalization in their signal. We tin't say that a lot of bass, for example, is always "the correct thing" nor can we say that whatsoever one type of EQ is meliorate than some other.

Because information technology'due south largely subjective and subject to change.

two. Anybody'southward rig behaves differently than the next.

This is maybe the biggest hurdle when information technology comes to normalizing and generalizing an approach to your tone. No matter how you put it together, everyone's rig is going to respond differently based on a number of factors.

To proper noun a few:

• Humidity
• Indoor/Outdoor Location
• Aggressiveness of Playing Style
• String Age
• Room Padding
• Microphone/Amplification Methods
• PA Systems
• Amp Location
• Pedal Wiring/Configuration

And all this is before we even get to what kind of gear your own. There are simply besides many variables to account for. Does this mean you can't accept any pre-determined standards and presets?

Of course not.

There's plenty yous can constitute as your normal. But you've got to be enlightened that non but will that "normal" not e'er work from rig to rig, simply information technology might not fifty-fifty piece of work for you every time, simply considering there are so many variables to consider. Just know that even in the midst of conventional wisdom, your gear, and how information technology's configured, is unique to you.

Thus it's a fool's errand to try and predict your tone based solely on what worked for someone else.

three. Tinkering is an Inherent Function of the Bargain

When you get settings from a tertiary political party it's wise to consider that the fashion most guitarists get their tone is but past tinkering, experimenting and figuring out what works, largely by way of trial and mistake. Be conscientious not to presume that a guide like this abnegates you from the responsibility to do the same.

Because that's the only style you lot really get a adept sound from your rig. Yes, you can employ these equally starting points and a mode to familiarize yourself with your options. However, your results volition be far improve if you commit to putting some work into your tone and figuring out what gets y'all the best results.

It'south better to be the person who knows the peachy settings, rather than the 1 who is always searching for them online.

Some other Amp Settings Best-Practices

What are some other best practices to go along in heed? What can you do on a more practical and businesslike level? There are a few additional things you can practice to improve your tone that are worth listing.

i. Know that the volume knob on your guitar effects your tone and Gain

Nearly of the time, information technology's smart to keep your guitar's volume knob at ten, considering turning it down doesn't just cut down your book, but it changes your tone and slashes your gain also. Continue it turned all the way up, unless you want the drop in gain.

If you exercise just want to reduce book, just maintain the integrity of your signal, the best selection is to employ a volume pedal or simply plough downwards the master volume on your amplifier.

2. Don't Overlook Pick and String Quality

Cheap or old strings are a tonal expiry sentence. No amount of tinkering or adjustments on fifty-fifty the best tube amps can practise much to redeem them. We recommend a coated string, like Elixir or Ernie Ball'due south coated offer. As far as picks go, just recognize that the weight and texture of a pick tin can affect your tone in a number of ways. For instance:

• Heavier picks produce a thicker tone
• Textured picks produce more grit or "chinkle"
• Lighter picks create a better strumming texture (typically work better with acoustic guitars)

3. Have Reward of Your Channel Volume

Near amps have multiple channels, which means y'all'll have a master volume (for the entire amp'southward output) and boosted book controls (gain) for each channel.

To write this post I used the Line vi Spider IV 150-Watt amp, which provides four different channels and is a good example of how this tin work. Let'south say you wanted to set channel 1 at 80 percentage volume and aqueduct two at 60 percent volume. You lot would prepare them both, and so set your master volume as a last touch.

Keep in mind that getting your volume right tin be a huge part of having good tone, and your channel book is going to be a big part of that.

More often than not, it's improve to go along channel volume higher and use the master volume to control overall output.

Conclude

What's the moral of the story?

Utilise best practices and be willing to do some major tinkering.

The goal is to find your tone, which takes a lot of fourth dimension and a lot of customization. But, today's guitar gear is fabricated well, and will accommodate a lot of inventiveness.

My advice, is to employ that creativity.

Best of luck.

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