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 it’s 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 it’s 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 you’ll 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 to 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 we’re 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 I’ve 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 isn’t 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 isn’t 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 you’ll 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 we’re 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 we’re 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 today’s pedalboards. We’ve 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, here’s a second variation we’d recommend trying out.

9: THE ADAM JONES For covering Tool’s guitar tracks.

Adam Jones isn’t 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 you’re going to mimic Adam Jones’ sound, you need a good, raw distortion that sounds “metal” but isn’t 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.

Tool’s guitar work is rhythmic, which means you’ve 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 I’ve 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, we’re 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 Morello’s 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 Morello’s strong, funky punch. But the crucial element is adding gain that isn’t overly saturated and isn’t producing too much sustain. Morello’s riffs are heavy, but they’re also controlled and succinct.

Don’t 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 you’re using an amp or guitar that emits a “brighter” tone, here’s 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? There’s 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 you’ve 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 song’s dynamics.

14: ACOUSTIC EQ

Amplified acoustics are tricky, but hang in there.

We don’t want our acoustic to ring too much (feedback gets annoying) but we also don’t 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, I’m speaking from the experience of someone who owns a Taylor acoustic, which are notoriously brighter in terms of their tone. If you wouldn’t describe your acoustic that way, try the next configuration.

15: ACOUSTIC EQ 2.0 The strummer’s 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 that’s 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.

Cobain’s 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:off

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 wasn’t laden with thick low-end frequencies like the rock of the past couple decades has been.

To really capture Kurt Cobain’s tone, it’s 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 Edge’s 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.

Edge’s preferred pedal for complimenting this type of tone is the EHX Memory Man.