1: CLEAN SHIMMER

A nice, basic clean sound with a little extra.

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: 5 / MIDS: 6 / TREBLE: 7 / GAIN:

CHORUS: LEVEL: 4 / RATE: 4 / DEPTH: 3

REVERB: LEVEL: 3 / TONE: 4 / TIME: 5 / TYPE: Plate / IF IN AMP: 3

Analog comparison: Fender '68 Custom Reverb

I like to call this the 5-6-7 so its easy to remember. Gain should be off or low
and if you have a reverb option, you can dial that in to three-ish. If its too
bright, cut the treble back and push the bass knob another notch to the right.

This is a fairly basic settings that most amps will handle well.

Chorus levels will vary slightly between pedals, but in general youll want to
keep the rate and depth on the low side.

2: IDEAL FENDER AMP EQ

Also know as the magic six.
Thought to be one of the more optimal Fender amp settings.

GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: MIDDLE

AMP: BASS: 2 / MIDS: 3 / TREBLE: 6 / GAIN: 0 / VOLUME: 6 / REVERB: OFF

Analog comparison: Fender Hot Rod Blues Junior

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

These settings are also assuming a Fender guitar is being used, like
a Stratocaster or Telecaster , as they makes an effort to accommodate
single-coil pickups. The Magic Six title comes from volume (6), treble (6) and
bass multiplied by mids (2 x 3 = 6).

If it sounds so much like a tin can, you can turn the bass back up a bit.

3: CLEAN BASE FOR DELAY

An EQ specifically for a clear echo or delay.
This can work with any delay pedal or with other repeating effects, like echo
or tremolo.

GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: BRIDGE

AMP: BASS: 8 / MIDS: 4 / TREBLE: 4 / GAIN: 2 / REVERB: OFF

DELAY PEDAL: Most settings should be to taste. Make sure MIX favors the wet signal.

Analog comparison: Orange Crush CR120H

All were doing is dialing in a chunkier clean sound with a little bit of gain to
give our delay that nice snap and thicker resonance when the pick pushes
through a note.

If our clean signal is too clean or weak then we risk not having enough body to
our delay.
Delay, and most other repeating effects, work best when there is some
thickness to your tone.

4: LOW GAIN
Where your amplifier is the gain source.
Get a subtle chunk to your tone by adding a little bit of gain and pushing mids
higher than usual.

GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: MIDDLE

AMP: BASS: 5 / MIDS: 8 / TREBLE: 5 / GAIN: 3-5 / REVERB: OFF

Analog comparison: Fender '65 Twin Reverb

To be fair, you can use a pedal for this, but Ive found that amps (especially
tube amps) drive a low gain tone with a lot more definition, clarity and
responsiveness.
All we need to do is push our mids up, then (depending on the amp) adjust
gain somewhere in the 3-5 vicinity.

You want just a little bit of sustain and grunge to an otherwise clean-
sounding signal.

5: THE WAH CUT

The wah-friendly amp EQ.
Adding just enough shimmer to make the high notes pop.

GUITAR: VOLUME: MAX / TONE: 80% / SELECTOR: BRIDGE

AMP: BASS: 6 / MIDS: 5 / TREBLE: 6 / GAIN: 2 / REVERB: OFF

Analog comparison: Fender Hot Rod Deville 410

One of the mistakes I see most often made with a good wah EQ is that there
isnt enough bass in the signal. Keep that knob high and use your treble to
give some scratch to your pick swipes. Add a little gain if you want to give the
sweeps more crunch.

6: THE METAL EQ
A low-end boost for a good metal boom.
Dialing in the perfect tone to go with high-saturation metal.

GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: MIDDLE OR BRIDGE

AMP: BASS: 8 / MIDS: 4 / TREBLE: 4 / GAIN: 10 (or pedal) / REVERB: OFF

DISTORTION PEDAL: LEVEL: AMP VOLUME / DRIVE: 75% / BASS: 6-8 / TREBLE: 3-5

Analog comparison: Mesa Mini Rectifier

In my experience, the gain from your amp isnt going to sound metal unless
you have a really solid amplifier. Something like Hughes and Kettner
or Mesa Boogie would do the job.

But in most cases youll need a distortion pedal.

We recommend something like the Boss Power Stack or Mega Distortion

, as the settings listed above are based off of those pedals.

As far as your amp goes, you need to get something thick and full, which is
why were pushing the bass so high. Depending on your amp, you may need
to go a little higher or lower than eight, but the principle remains the same.

If you use a pedal, make sure the on-board EQ follows the example of your
amplifier.

7: LEAD BOOST
For creating a kind of faux 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

Analog comparison: Orange Crush CR60C

This is where having two channels on your amp would be helpful, so you could
switch between your normal setting and what were calling your boost
setting. Most amps have multiple channels, so you can incorporate two
different presets.

To emulate a booster pedal, we push mids and gain which will give you some
added bite to your signal.

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

8: BOSS DS-1 BLUES

Blues EQ for Boss DS-1 distortion owners.
How to set your amp for the optimal accompanying of the Boss DS-1 distortion
pedal.

GUITAR: VOLUME: MAX / TONE: 75% / SELECTOR: MIDDLE

AMP: BASS: 4 / MIDS: 7 / TREBLE: 7 / GAIN: 6 / REVERB: OFF

DS-1 SETTINGS: TONE: 5 / LEVEL: 5 / DIST: 5

Analog comparison: VOX AC30

The Boss DS-1 distortion is a commoner amongst todays pedalboards.

Weve dedicated an entire post to discussing its optimal blues settings, and
what you see here is a just a sample.

Small tube amps can also mesh really well with this setting, since the bass
reduction balances well with the added warmth from the tubes.

For free, heres a second variation wed recommend trying out.

9: THE ADAM JONES
For covering Tools guitar tracks.
Adam Jones isnt conventional, but his tone is easier to replicate than you
might think.

GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: BRIDGE

AMP: BASS: 8 / MIDS: 9 / TREBLE: 6 / GAIN: 8 (or pedal) / REVERB: OFF

Analog comparison: Mesa Mini Rectifier

If youre going to mimic Adam Jones sound, you need a good, raw distortion
that sounds metal but isnt overly saturated. That means gain (whether
coming from a pedal or amp) should be high, but not so much that you get a
lot of excess feedback and noise.

Tools guitar work is rhythmic, which means youve got to have some
shape and definition to your distortion.

So we go with high bass and even higher mids to make sure you can here the
chord changes and tonal subtleties with plenty of clarity.

10: ALL REVERB

Works especially well with Fender amps .
A three-band EQ for pushing a lush reverberated tone into the atmosphere.

GUITAR: VOLUME: MAX / TONE: 90% / SELECTOR: Middle

AMP: BASS: 4 / MIDS: 7 / TREBLE: 8 / GAIN: 0 / REVERB: 7-10

Analog comparison: Egnater Tweaker

I will say that Ive never come across an amp that handles reverb better than
the mid to high range Fender models. The Deville and Vibrolux are just
hands down some of the best reverb amps out there.

But regardless of what you have to work with, were trying to add some extra
chime to our tone.

So go with high mids, higher treble and cut the reverb knob up past seven or
so. Leave gain out of the picture and go with the middle pickup on your guitar
to take the edge off.

11: THE TOM MORELLO

Covering Audioslave and Rage Against the Machine
Focusing on the distorted tones that Tom Morello has been most known for
over the years.
GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: Middle or Bridge

AMP: BASS: 4 / MIDS: 4 / TREBLE: 9 / GAIN: 7 / REVERB: OFF

Analog comparison: Marshall DSL Series

We published a more detailed post on Morellos settings, so this is derived

from that post, serving as the groundwork for adding other effects like
the Phase 90 and DigiTech Whammy .

Morello uses both on his board.

The highs are high and we add a little bass to match Morellos strong, funky
punch. But the crucial element is adding gain that isnt overly saturated and
isnt producing too much sustain. Morellos riffs are heavy, but theyre also
controlled and succinct.

Dont over-saturate your distortion and you should be fine.

12: TOM MORELLO 2.0
For when the original sounds too much like a tin can.
If youre using an amp or guitar that emits a brighter tone, heres how to cut
things back and take the edge off.

GUITAR: VOLUME: MAX / TONE: 90% / SELECTOR: Middle

AMP: BASS: 6 / MIDS: 5 / TREBLE: 6 / GAIN: 7 / REVERB: OFF

Analog comparison: Marshall DSL Series

Simple enough right?

Morello uses Marshall amps , so his sound is going to be naturally brighter.

But if you find it too piercing, push the bass higher (around seven or eight)
then cut back your mids and treble to five and six, respectively.

13: THE MINIMALIST

Ever want to just be really subtle? Theres a right way.
The optimal EQ for providing subtle fills, background noise or light strumming.

GUITAR: VOLUME: 70% / TONE: 80% / SELECTOR: Middle

AMP: BASS: 5 / MIDS: 4 / TREBLE: 3 / GAIN: 3 / REVERB: 2 (or to preference)

Analog comparison: Fender Mustang III

Keeping bass at the halfway point and giving just a small gain boost will help
to add some thickness after youve cut down volume on your guitar. This one
is perfect for those verse fills were you want to blend in a bit and help the
songs dynamics.

14: ACOUSTIC EQ
Amplified acoustics are tricky, but hang in there.
We dont want our acoustic to ring too much (feedback gets annoying) but we
also dont want a hollow sound.
GUITAR: VOLUME: 70% / TONE: 80% (if applicable) / SELECTOR: n/a

AMP: BASS: 6 / MIDS: 6 / TREBLE: 2 / GAIN: 0 / REVERB:off

Analog comparison: Fishman Loudbox Mini

Keep in mind, Im speaking from the experience of someone who owns

a Taylor acoustic , which are notoriously brighter in terms of their tone. If
you wouldnt describe your acoustic that way, try the next configuration.

15: ACOUSTIC EQ 2.0

The strummers acoustic setting.
The previous configuration was heavy. This time we cut down the bass and
give the highs a turn.
GUITAR: VOLUME: MAX / TONE: 90% (if applicable) / SELECTOR: n/a

AMP: BASS: 3 / MIDS: 7 / TREBLE: 6 / GAIN: 0 / REVERB:off

Analog comparison: Fishman Loudbox Mini

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

16: OPTIMAL HIGH END

For correcting a signal with too much bass.
This is a quick look at how you might want to dial in something that gives you
a little more bite.

GUITAR: VOLUME: MAX / TONE: 80% / SELECTOR: Bridge

AMP: BASS: 3 / MIDS: 7 / TREBLE: 6 / GAIN: 0 / REVERB:off

Analog comparison: Line 6 Spider IV

This is a fairly typical way to dial in a higher EQ. Treble gets a bump, mid stays
mid and we cut the bass back to give the higher frequencies room to play.

17: OPTIMAL LOW END

For correcting a signal thats too high or piercing.
If you want a little more thud in your clean signal or if you just need to
thicken things up a bit.

GUITAR: VOLUME: MAX / TONE: 90% / SELECTOR: Middle

AMP: BASS: 5 / MIDS: 4 / TREBLE: 6 / GAIN: 0 / REVERB:off

Analog comparison: Line 6 Spider IV

For a thicker clean signal, we leave treble up, but cut back on the mids and
push the bass to five.

18: KURT COBAIN EQ

Capturing the optimal Seattle grunge flavor.
Cobains settings here work best with a Boss DS-2 Turbo Distortion
and EHX Small Clone chorus .

GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: Bridge

AMP: BASS: 6 / MIDS: 8 / TREBLE: 8 / GAIN: 10 (or use pedal) / REVERB:of

DS-2 TURBO: LEVEL: 10 / TONE: 4-6 / DIST: 6-10 / TURBO: Position I

Analog comparison: Marshall DSL Series

The grunge sound was heavy, but it wasnt laden with thick low-end
frequencies like the rock of the past couple decades has been.

To really capture Kurt Cobains tone, its best to keep bass moderate (around
five or six) and rely on your treble to give some definition to the high amounts
of gain.

Check out our in-depth article on Kurt Cobain Amp Settings.

19: THE EDGE EQ

A three band EQ to get your started on U2 s tone.
David Evans tone is far more complex than a three-band EQ, but this is a
good starting point.

GUITAR: VOLUME: MAX / TONE: MAX / SELECTOR: Middle

AMP: BASS: 5 / MIDS: 6 / TREBLE: 7 / GAIN: 1-2 / REVERB:1-2

Analog comparison: Roland JC-120

To really start digging into Edges tone, you almost need a guitar tech to
explain some of the details. Nevertheless, we can take a simple approach by
boosting treble, cutting bass and adding a little bit of gain.

If you have a delay pedal, adding it near the top of your signal will be a nice
fit.

Edges preferred pedal for complimenting this type of tone is the EHX Memory
Man.

A Grain of Salt
I hope its understood (and should go without saying, but Ill say it anyway)
that all these settings should be taken with a grain of salt.

Why?

How come they arent guitar-gospel truth?

You cant be an absolutist about these settings (or any, for that matter),
because of the following reasons:
1. Beautiful tone is subjective and is in the eye of
the beholder.
What sounds good to some, might sound terrible to others.

Even within genres and styles, youll have people who hear things differently
or prefer different degrees of equalization in their signal. So we cant say that
a lot of bass, for example, is always the right thing, nor can we say that any
one type of EQ is better than another.

Why not? Because its all subjective, and subject to change.

2. Everyones rig behaves differently than the next.

This is perhaps the biggest hurdle when it comes to normalizing and
generalizing an approach to your tone.

No matter how you put it together, everyones rig is going to respond

differently based on a number of factors.

To name a few:

Humidity

Indoor/Outdoor

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.

So there are just too many variables to account for. Does this mean you cant
have any pre-determined standards and presets?

Of course not.

Theres plenty you can establish as your normal. But youve got to be aware
that not only will that normal not always work from rig to rig, but it might
not even work for you every time, simply because there are so many variables
to consider.

Just know that even in the midst of conventional wisdom, your gear, and how
its configured, is unique to you.

Thus its a fools errand to try and predict your tone based solely on what
worked for someone else.
3. Tinkering is an Inherent Part of the Deal
When you get settings from a third party (yours truly), its wise to consider
that the way most guitarists get their tone is simply by tinkering,
experimenting and figuring out what works, largely by way of trial and error.

Be careful not to assume that a guide like this abnegates you from the
responsibility to do the same.

Because thats the only way you really get a good sound from your rig. Yes,
you can use these as starting points and a way to familiarize yourself with
your options.

But your results will be far better if you commit to putting some work into your
tone and figuring out what gets you the best results.

Its better to be the person who knows the great settings, rather than the one
who is always searching for them online.

Some Other Best-Practices

So other than the information at hand, what are some other best practices to
keep in mind? What can you do on a more practical and pragmatic level?
There are a few additional things you can do to improve your tone that are
worth listing.

1. Know that the volume knob on your guitar cuts effects

your tone as well.
Most of the time, its smart to keep your guitars tone knob at 10, because
turning it down doesnt just cut down your volume, but it changes your down
and slashes your gain as well.

Keep it turned all the way up, unless you want the drop in gain.

If you do just want to reduce volume, but maintain the integrity of your signal,
the best option is to employ a volume pedal.

2. Dont Overlook Pick and String Quality

Cheap or old strings are a tonal death sentence. No amount of tinkering or
adjustments on even the best amps can do much to redeem them.

We recommend a coated string, like Elixir or Ernie Balls coated offering.

As far as picks go, just recognize that the weight and texture of a pick can
impact your tone in a number of ways. For instance:

Heavier picks produce a thicker tone.

Textured picks produce more grit or chime.

 Lighter picks create a better strumming texture (typically work better

with acoustic guitars).

3. Take Advantage of Your Channel Volume

Most amps have multiple channels, which means youll have a master volume
(for the entire amps output) and additional volume controls (gain) for each
channel.

To write this post I used the Line 6 Spider IV 150-Watt amp, which provides
four different channels and is a good example of how this can work.

Lets say you wanted to set channel one at 80% volume and channel two at
60% volume.

You would set them both, then set your master volume as a final touch.

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

Generally, its better to keep channel volume higher and use the master
volume to control overall output.

Conclude
So whats the moral of the story?

Use best-practices and be willing to do some major tinkering.

The goal is to find your tone, which takes a lot of time and a lot of
customization. But todays guitar gear is made well, and will accommodate a
lot of creativity.

My advice, is to employ that creativity.

Because its the best weapon you have, bar none.

Best of luck.