Biggest Mistakes the Beginner Guitarist Makes

Is Self Taught The Best Way?

Many guitarists wear the ‘Self Taught Badge’ with pride. Claiming to be self taught creates the illusion that you thought of everything all by yourself.

If you don’t have a guitar teacher you will no doubt have to look into guitar teach books which on your own can be quite difficult to understand. Knowing someone who already plays guitar is the next place to pick up information about how to play.

All of this is a bit random and a bit of trial and error approach. You wouldn’t go to a self taught heart surgeon who learned his craft through trial and error!!!

Getting lessons from a good teacher will help you progress much faster.

Example: I have a 12 year old student with no past experience on guitar. The student has had 5 lessons and can now play all Major, Minor and Seventh Chords in open and barre chord positions.

Would that be possible by self teaching?

Jimi Hendrix Didn’t Read Music He Just Had Natural Talent!

‘I don’t have the natural talent’ is often the excuse of the under achieving musician.

It’s a bit misleading t believe that just because someone doesn’t read music that their musical ability must be therefore be natural God given at birth.

Many rock musicians don’t read music but they learned chords and scales. They also know where the notes on their instrument are too.

Always Practice Sitting Down?

Last time I looked most guitarists perform standing up! BB King has earned the right to sit when playing. But would Slash at the end of the November Rain video looked at half as cool if he had of walked out of the church and took a seat before he played the outro solo!!!!!!!

We all fall into the trap of practicing sitting down then have difficulty playing our stuff when standing up.

Practice Without Plugging Into Amp?

These days luckily for my neighbour’s guitar amps come with headphone sockets.

Too many times we practice a solo unplugged only to find when we plug into our amp with Metal Insane setting and it all sounds like a horrible mess.

The Rock guitarist by definition wants to show off. To show off you need to be loud!!!!!

Identifying the Repeated Chord Progression

You have your song and chords sheet. But you can’t memorize the song. Only with the sheet of paper can you possibly perform it????

Will you memorize D C G D D C G D D C G D D C G D ??? Which is a 16 chord sequence.

Or will you read it as (D C G D) x4  A lot easier.

Too many beginners aren’t told that a song is a series of repeated chord patterns.

Many songs are Verse Verse Chorus Verse Chorus Chorus.

Each verse has the same chord progression. The Chorus is the same every time its played.

There’s So Many Chords To Remember!!

As a beginner guitarist you’ll be taught to memorize chord shapes. There are so many shapes in your chord dictionary it won’t be long before your brain has turned into scrambled egg.

Seriously take my advice check out the CAGED system. In simple terms all chords can be worked out from the simple shapes of the C Chord A Chord G Chord E Chord D Chord.

It’s well worth asking your guitar teacher about it. You can burn that chord dictionary.

Scales Are Boring!!

Scales are boring if you just run up and down them endlessly.

Start out with pentatonic and blues scale and learn how to make a blues solo. Suddenly scales are cool.

South Shields Guitar Lessons www.rock-licks.com

www.rock-licks@live.com

The pentatonic scale

 guitar lessons in south shields www.rock-licks.com

The CAGED Guitar System Explained

The CAGED Guitar System Explained

The CAGED guitar system can be very useful to help you find your way around the fretboard. The idea is based on the relationship between common major chord and major scale shapes. It is also a very useful method for visualising chord tones across the neck of the guitar. If you can easily find the notes on the fifth and sixth strings of the guitar then all it takes is a bit of practice with the CAGED system and you will be able to find any major chord tone very easily anywhere on the neck. There are two main things you need to learn. The first is the order of the chords always remains in the same sequence C A G E D starting from the C or if you were starting from the G then the order would be G E D C A because after the D chord it starts over again from the C. This makes more sense when you can see it in diagram form as shown below.

Study the picture above and note how the five chord patterns overlap with each other. Once you get used to visualising the CAGED chords across the neck like this you will find chord tones very easy. Don’t forget the order stays the same, G will always overlap with E etc. The next picture shows the same CAGED sequence starting from a different place to give you the idea.

  

 The CAGED system also helps us with playing the major scales. As you have seen in the example above it’s quite easy to get used to the finding the chord tones anywhere on the neck as long as you can quickly find the root notes on the guitar strings. When you learn the major scale positions for the guitar it is a lot to have to remember. This gets even harder when you have to think about these positions in twelve different keys. By combining the major scales with the CAGED sequence of chords this task becomes much easier. By getting used to the relationship between the chords and the scales you will start to realise that remembering these scale positions and being able to find them in any key becomes a lot easier. Study the diagrams below and practice playing with these chord shapes and scales across the fretboard. It might seem a lot of work at first but you will get used to it quite quickly. The CAGED guitar system is a great method to help you find your way around the neck so keep at it and in a few months you should playing the guitar without thinking.

south shields guitar lessons www.rock-licks.com

Guitar Lessons in South Shields www.rock-licks.com

My name is James Rundle a guitar player with 25 years playing experience. Based in South Shields

Having studied Grade 8 Rockschool, Music Theory, City & Guilds Teaching and Music Performance.

My aim to is to take the mystery out of playing guitar and simplify what seems complicated.

Styles range from Oasis to Metallica and Van Halen to Hendrix








www.rock-licks.com  Tel 0191 4552172

Classic Rock - Amp Settings 34 page pdf

Download As PDF Document £1.00 instant download link

SLASH ......... MARSHALL JCM 2555

presence 7, output master 6, lead master 10, mid 4.5, imput gain 6.5, treble 7, bass 7, on a Les Paul guitar -


SYSTEM OF A DOWN ........ ON a line 6 spider amp 

ch insane, drive 7 - 8, bass 10, mid 2, treble 6 - 7, ch vol 9 - 10, reverb 0 - 1


METALLICA ....... On a line 6 spider amp

ch metal, drive 10, bass 10, mid 0, treble 7, ch vol 8



CRAZY TRAIN ....... On a line 6 spider amp

ch insane, drive 6.5, bass 10, mid 10, treble 6, reverb 2 - 3


SMELLS LIKE TEEN SPIRIT on a line 6 spider amp

ch crunch, drive 3, bass 5, mid 3, treble 7, reverb 0

PUNK SETTING on a Marshall MG amp 

drive 8, treble 6, mid 7.5, bass 4.5, presence 10



EVH ....... on a Fender champ dsp 30 amp

treble 6, mid 7, bass 5, gain 5,
rat pedal set at
distortion 3 - 4, filter 7 - 8, vol max



SHARP DRESSED MAN ....... Marshall JCM 900 amp

ch A master vol 2, gain high, reverb 2, presence 10, bass 10, mid 10, treble 3, ch B on, mode low, humbucker on a Les Paul guitar


HEAVY METAL SETTING

treble 9, mid 4, bass 10,

Boss metal zone set at
high just under 1, low max, mid just under 1, mid freg. distortion max, vol. set to arrest level



BORN TO BE WILD MARSHALL jcm 900 amp 

ch B, master vol 2, lead gain 8, reverb 1.5, presence 4, bass 8, mid 9, treble 6, ch B on, mode low, use a Les Paul lead humbucker


SEX PISTOLS ....... On a Vox ad30vt amp

gain 2/3 o clock
vol max
treble 4/5 o clock
mid 2/3 o clock
bass 10 o clock



AC/DC ....... BACK IN BLACK

drive at 6, treble 5, mid 6, bass 8, reverb 3, overdrive on



BLACK SABBATH - PARANOID

DRIVE 7, treble 3, mid 6, bass 6, reverb 4, distortion on



TONI IOMMI

bass 6, treble 6, mid 6, gain 7/8



BLINK 182 - ALL THE SMALL THINGS

drive 5, treble 7, mid 4, bass 8, reverb 1, distortion on



DEEP PURPLE - SMOKE ON THE WATER

drive 7, treble 3, mid 7, bass 9, reverb 3, with overdrive



DEEP PURPLE ....... Highway Star

bass 8, mid 5, treble 7, gain 4


GUNS AND ROSES - SWEET CHILD OF MINE

drive 10, treble 3, mid 5, bass 7, reverb 3, with overdrive
complied by THIRD STONE



JIMi HENDRIX - PURPLE HAZE

drive 8, treble 7, mid 9, bass 6, reverb 3, with overdrive



JIMI HENDRIX

gain 4, treble 5, mid 5, bass 8, reverb 5



JOE SATRIANI - SURFING WITH THE ALIEN

drive 7, treble 6, mid 3, bass 6, reverb 0, with distortion



LED ZEPPELIN - WHOLE LOTTA LOVE

drive 7, treble 3, mid 6, bass 7, reverb 5, with overdrive


LED ZEPPELIN - VOX AMP

gain 7, treble 8, vol. max, mid 6, bass 4/5


LED ZEPPELIN - SPIDER AMP

amp model, either crunch, bass 8, mid 3, treble 9, drive 10, reverb 3



JIMMY PAGE

gain 4, treble 8, mid 3, bass 7, reverb 2 


Jimi Hendrix of Jimi Hendrix Experience
Gain - 4
Treble - 5
Mid - 5
Bass - 8
Reverb - 5

Tom Morello of Audioslave/Rage Against the Machine
Gain - 7
Treble - 10
Mid - 4
Bass - 4
Reverb - 0

Eric Clapton of Eric Clapton
Gain - 7
Teble - 5
Mid - 7
Bass - 7
Presence - 8

Mick Thompson of Slipknot
Gain - 9-10
Treble - 8
Mid - 7
Bass - 8
Reverb - 2
Note tuning of B F B E Gsharp Csharp (low to high)

Jimmy Page of Led Zeppelin
Gain - 4
Treble - 8
Mid - 3
Bass - 7
Reverb - 2

Kurt Cobain of Nirvana
Gain - 7
Treble - 7
Mid - 4
Bass - 3
Reverb - 2

Eddie Van Halen of Van Halen
Gain - 6
Treble - 4
Mid - 3
Bass- 9
Reverb - 4

John Frusciante of Red Hot Chili Peppers
Gain - 4
Treble - 8
Mid - 2
Bass - 6
Reverb - 7

Kirk Hammet of Metallica
Gain - 7
Treble - 7
Mid - 2
Bass - 7
Reverb - 2

Keith Richards of Rolling Stones
Gain - 4.5
Treble - 4.5
Mid - 6.5
Bass - 5.5
Reverb - 1.5
Note use of open G tuning, D G D G B D (low to high)

The Edge of U2
Gain - 1.5
Treble - 7
Mid - 5
Bass - 3
Reverb - 8.5

Brian May of Queen
Gain - 8.5
Treble - 4
Mid - 9
Bass - 5.5
Reverb - 4
Note Brian famously uses old sixpences to pick the strings of his guitar.

Jack White of The White Stripes
Gain - 8
Treble - 7
Mid - 5
Bass - 8
Prescence - 8

Slash of Guns N' Roses
Gain - 6.5
Treble - 4.5
Mid - 7
Bass - 7
Presence ? 8

Justin Hawkins of The Darkness
bass- 6
treble-8
mid-8
gain-7
reverb-5

Dimebag Darrel of Pantera
Gain - 7
Treble - 10
Mid - 4
Bass - 9
Reverb ? 0

Billie Joe Armstrong (newer) of Green Day
Drive - 6
Treble - 10
Mid - 8
Bass - 5
Reverb ? 3

Billie Joe Armstrong (older) of Green Day
Gain:9
Treble:10
Mid:8
Bass:5
Reverb:3

Dave Murray of Iron Maiden
Drive - 7
Treble - 9
Mid - 7
Bass - 4
Reverb - 0
Use your brigde humbucker - I find this tone to be excellent for Maiden - The Trooper, Hallowed especially


Gary Moore of Thin Lizzy
Bass 7
Treble 7
Mids 8-10
Gain 5-7 depends on song
Coutour at 3-4 not so high to suck the mids but not os low to sound crappy
maybe a splash of reverb
Neck pickup

Dave Grohl of Foo Fighters
Distortion:8
Treble:7
Middle:5
Bass:3
Reverb:3 (room)

Joe Walsh of Eagles
Treble: 7
Bass:3
Mid: 4
Master:3
Reverb:2
Presence:3

Billy Corgan of Smashing Pumpkins
For songs like 1979:

Bass: 8
Mid: 7
High/Treble: 6
Pickup Position: 2 or 4 (Strat)

For heavier songs like Zero or Jellybelly:

Bass: 10
Mid: 4
High/Treble: 8

Use a thick heavy distortion with medium tone and a lot of sustain.

Angus Young of AC/DC
Gain - 5
Treble - 10
Mid - 10
Bass - 5

Gary Rossington of Lynyrd Skynyrd
Treble - 5
Mid - 10
Bass - 5
Gain - 2-3

Mark Tremonti of Creed/Alter Bridge
Gain:10
Treb.:6
Mid.:3 or 4
Bass:7
Presence:6

Mike McCready of Pearl Jam
Treble: 7
Mid: 7
Low: 5

Daron Malakian of System of a Down
Amp Used: Crate VFX5212
Gain: 8
Treble: 6-7
Mids: 3-5
Bass: 10
Presence: 8
Note the use of Drop D down 1/2 step (Db Ab Db Gb Bb Eb)

Tony Iommi of Black Sabbath

Gain - 7 or 8
Bass - 6
Middle - 6
Treble - 6
Channel - Overdrive

Mick Mars of Motley Crue
Gain - 3
Bass - 2-3
Contour - 2-3
Treble - 10
Channel - Overdrive

Kurt Cobain - Chorus Effect bits of Nirvana
Effects/Other - Ibanez CF-7 Pedal
Speed- 10
Depth- 5
Delay Time- 0 or 1.5
Regen- 3

Mick Thompson of Slipknot

Gain - 9-10
Treble - 8
Mid - 7
Bass - 8
Reverb - 2
Effects/Other - Tuning of B F B E G# C# (low to high)
Channel - Distortion

Noel Gallagher of Oasis

Gain- 5.5
Volume- 10
Treble- 7
Middle- 5.5
Bass- 4.5

Ray Davies of The Kinks

Gain- 7.5
Volume- 10
Treble- 10
Middle- 6
Bass- 4

Steve Jones of Sex Pistols

Gain- 7
Volume- 10
Treble- 8.5
Middle- 6
Bass- 4

Alex Laiho of Children of Bodom
Treble: 9
Mid: 4
Bass: 7
Gain: 8
Reverb: 4
(on guitar)
Tone: 10
Pickup: Bridge

David Gilmour of Pink Floyd
Bass: 10
Middle: 6.5
Treble: 10
Gain: 1.5

or

Gain-2-3
Treble- 7-8
Mids- 9-10
Bass- 5-6
Reverb- 60-70%

Mark Tremonti of Creed/Alter Bridge
Gain: 7
Bass: 6
Mids: 4
treble: 7.5
Reverb: 1-2

Carlos Santana of Carlos Santana
gain 7
treble 10
mid 6
bass 5
reverb 2

Jerry Cantrell of Alice in Chains
Gain 6-7
Treble 6-7
Mids 5-6
Bass 5-6
Reverb 3

Joe Perry of Aerosmith
Gain: 5.5
Treble: 2
Mid: 7
Bass: 2
Volume: Full (used Fenders in the early days and switched to music Man during the Toys era, now uses a mixture)

Pete Willis of Def Leppard
Gain- 4
Bass-4
Mid- 5
Treble-7
Reverb-4

Billy Gibbons of ZZ Top
Treble: 3
Middle: 10
Bass: 10
Prescense: 10
Gain: about 5 (crunchy type of sound)
Use a Les Paul guitar with not to much output in the pups and select both!

Buckethead of Buckethead
Bass: 5-6
Mids: 5-7
Treble: 7-8
Presence: 6

Boost clean channel with an OD
Tone: 5-6
Volume: 5-8 (have it boost the volume of the amp a little)
Distortion: 0

Randy Rhoads of Ozzy Osbourne
Gain 7
Bass 7
Mids 7
Treble 10
Reverb 0


Stevie Ray Vaughan of Stevie Ray Vaughan
Low 10 (full)
Mid 7.5
High 5

Steve Vai
Clean:
Treble: 8
Mid: 5
Bass: 4

Lead:
Presence: 6
Treble: 6
Mid: 7
Bass: 7
Gain: 8

Sublime
General
Treble 9-10
mid:0
bass: 7
with a hint of chorus...on clean

Slayer
Gain: 7
Treble: 7
Mid: 2
Bass: 9

Kerry King
Gain - 9-10
Treble - 10
Mid - 4
Bass - 6-7
Reverb – 3

Graham Coxon of Blur
Gain 7
Treble 7
Mid 6
Bass 5
Reverb 0

Atreyu
Gain - 8
Bass -8
Mid - 2 - 3
Tremble – 9

Nickelback
Gain 9
Bass 8.5
Mid 1
Treble 5.5

Rage Against The Machine
Drive: 6
Treble: 8
Middle: 0
Bass: 6
Reverb: 2 (Distortion)

Rush
Gain - 6
Bass - 8
Mid - 6
Treble – 4

Neil Young
Bass: 5
Middle: 10
Treble: 10
Presence: 10
Gain: 5

Steve VaiClean Channel Settings #1
Reverb 0
Treble 9
Mid 5
Bass 3

Clean Channel Settings #2
Reverb 0
Treble 8
Mid 4 ½
Bass 4

Lead Channel Settings #1
Presence 6
Treble 6
Mid 8
Bass 7 ½
Drive 9

Lead Channel Settings #2
Presence 6 ½
Treble 6 ½
Mid 6
Bass 7 ½
Drive 8

Lead Channel Settings #3
Presence 6
Treble 6
Mid 6
Bass 7
Drive 8

Lead Channel Settings #4
Presence 6
Treble 6
Mid 7
Bass 7 ½
Drive 8

Adam Gontier/Barry Stock of Three Days Grace
Gain: 7
Treble: 10
Middle: 2
Bass: 2
Reverb: 6
Channel: Overdrive

Joe Satriani
1.) Gain 7
Treble 6
Mid 10
Bass 6
Reverb 1

2.) gain: 7
Treble: 6 
Middle: 3
Bass: 6
Reverb: 0 (Distortion)

3.) Gain: 6
Treble: 7
Bass: 9
Mids:0

Bullet for my valentine
High-Gain amp Model.
Bass-6
Mid-5
Treble-8

Wolfmother
Gain: 7
Bass: 6
Mid: 6
Treble: 4
Reverb: 2

Megadeth
Gain 10
Bass 4
Contour 10
Treble 10

AFI
General
Early AFI
Treble: 9
mid: 7
bass: 5
gain: 10.

Middle AFI
Treble: 8
middle: 5
bass: 7
gain: half

New AFI
Treble: 7.5
middle: 6
bass: 6
Gain: just before half

The Strokes
Gain 4
Treble 8
Mid 4-6
Bass 6
USing the bridge pickup when using dist and neck pickup when clean

Jerkyll and hyde ultimate overdrive settings
Drive full, turn down for softer songs l
tone full
volume set to desire

Distortion
Drive 3 oclock for songs like juicebox, heavy songs ect turned down for softer songs
tone 10 - 11 o'clock
EQ 7 - 8 o'clock
volume set to desire

Rhcp- under the bridge tone
Black 2x12
Gain- 9 o'clock
Volume- max
Treble- max
Middle- 3/4 o'clock
Bass- 9/10 o'clock
Use compressor effect as well

Classic rock ie. led zepplin
AC30TB setting
Gain- 2 o'clock
Volume- max
Treble- 3 o'clock
Middle- 1 o'clock
Bass- 10/11 o'clock
Reverb obviously works well too.

Kinks tone
UK 70's setting
Gain- 4 o'clock
Volume- max
Treble- max
Middle- 2 o'clock
Bass- 10/11 o'clock

Sex pistols tone
AC30TB setting
Gain- 2/3 o'clock
Volume- max
Treble- 4/5 o'clock
Middle- 2/3 o'clock
Bass- 10 o'clock

New indie type tone e.g. futureheads, bloc party, razorlight
AC30TB setting
Gain- 10/11 o'clock (mess around with this to get the right amount for a particular band
Volume- max
Treble- max
Middle- 3 o'clock
Bass- 9 o'clock

Lake Bodom - CHildren of Bodom
Treble: 9
Mid: 4
Bass: 7
Gain: 8
Reverb: 4
(on guitar)
Tone: 10
Pickup: Bridge


Pink Floyd-Comfortably Numb
BASS: 10
MIDDLE: 6.5
TREBLE: 10
GAIN: 1.5


Greg Ginn from Black Flag (not o'clocks) 
Gain:10
Bass:10
Middle:10
Treble:5
Contour(if applicable):8
Effects:none
Reverb: 0
Channel: Overdrive

David Gilmour- Dark Side of the Moon
Gain-2-3
Volume-10
Treble- 7-8
Mids- 9-10
Bass- 5-6
Reverb- 60-70%
Fuzz- 100% 
Phaser- 40% 
Delay- about 310ms


Adam Jones-Laterlarus
Gain- 5
Volume- 10
Treble- 8
Mids- 5-6
Bass- 7
Reverb -variable, usually below 40%

Offspring-Come Out and Play 
Treble: 8
Mids: 3
Bass: 5
Reverb: 3
Dist: 10

Matt Heafy from Trivium
Treble- 8.5
Mid-6.5
Bass-6
Gain-7.5
Reverb-none

Avenged Sevenfold
Low - 7
Mid - 6
High - 8
Drive - 10 (on a Boss DS-1)
Reverb - 2 or 3

Daron Malakian of System Of A Down (newer) 
Pre-Amp: 7
Gain: 5
Trebble: 8
Mid:9
Bass: 7.5
Presence: 9


Sum 41- Fat lip
Scooped Mids
Gain 6-10
Bass 5-8
Mids 0-2
Treble8-10

Killswitch Engage 
Reverb:4
Bass:6
Mid:6
Treble:4 or 7 depending on song.
Gain:8

Random Speed/Power metal settings
Gain: 4
Bass: 4
Mid: 8
Treble: 4
Reverb: 3

Gain: 7
Bass: 8
Mid: 3
Treble: 7
Reverb: 3


Hank Marvin of The Shadows
Gain - 2
Treble - 6
Mid - 9
Bass - 9
Reverb - 10

MORE Metallica (Hetfield and Hammet, with specific amps, effects, and years) 
James Hetfield

Mesa/Boogie Triaxis

Late 90's

Program/Channel- Main Crunch
Gain- 7
Bass- 4.5
Middle- 0
Treble- 6.5
Drive 1- 0
Drive 2- 6.5
Master- 5
Presence- 6.5
Dynamic Voice- 0
Mode- LD2 Yellow

Program/Channel- Clean
Gain- 2
Bass- 4
Middle- 2
Treble- 5
Drive 1- 0
Drive 2- 0
Master- 5.5
Presence- 5.5
Dynamic Voice- 0
Mode- Rhy 1 Yellow

2003

Program/Channel- Frantic
Gain- 8
Bass- 5
Middle- 3
Treble- 6
Drive 1- 0
Drive 2- 6
Master- 6
Presence- 5
Dynamic Voice- 0
Mode- LD2 Yellow

Diezel VH-4

Gain- 6
Volume- 8
Bass- 9
Middle- 3
Treble- 8
Volume- 6
EFX Mix- 5
Presence- 6
Deep- 5

Gain- 8
Volume- 8
Bass- 10
Middle- 4
Treble- 8.5
Volume- 6
EFX Mix- 5
Presence- 6
Deep- 5

Triple Rectifier

Clean

Master- 2
Presence- 8
Bass- 5
Mid- 6
Treble- 6
Gain- 2

Dirty

Master- 5
Presence- 6
Bass- 5
Mid- 4.5
Treble- 6
Gain- 5

Kirk Hammett:

Triaxis

Clean
Gain- 1
Bass- 1
Middle- 5
Treble- 4
Lead 1- 0
Lead 2- 0
Master- 10
Presence- 6
Dynamic Voice- 6.5
Mode- Rhy. Green

Solo
Gain- 9
Bass- 5
Middle- 7
Treble- 3
Lead 1- 0
Lead 2- 1
Master- 2
Presence- 2
Dynamic Voice- 8
Mode- Ld.2 Green

Garage Inc. 1
Gain- 10
Bass- 10
Middle- 7
Treble- 5
Lead 1- 0
Lead 2- 0
Master- 10
Presence- 6
Dynamic Voice- 6.5

Garage Inc. 2
Gain- 4
Bass- 8
Middle- 4
Treble- 5
Lead 1- 0
Lead 2- 0
Master- 10
Presence- 6 
Dynamic Voice- 4.5

Dual Rectifier

Clean
Presence- 7
Bass- 7.5
Middle- 1.5
Treble- 8.5
Gain- 5

Dirty
Master- 4
Presence- 2
Bass- 5
Middle- 3.5
Treble- 5.5
Gain- 5-7

TS-9 Tube Screamer
Drive- 1 o'clock
Level- 12 o'clock
Tone- 1 o'clock

Pete Townshend of The Who
Gain: 5
Treble: 10
Middle: 10
Bass: 10
Reverb: 3

Cradle Of Filth
Gain: 10
Bass: 10
Mids: 1
Treble: 10
Volume: 10

Boston settings 
Gain - 5
Treble - 5
Mid - 10
Bass - 3
Reverb - 0


Rammstein 
Bass: 9-10
Mids: 4-5
Treble: 9-10
Gain: 10

Phish- Chalkdust torture 
Gain:6
Bass:8
Mid:7
treble:4
reverb:3

Dez Cadena of The Misfits
Gain: 9
Bass: 9.5
Mid: 6
Treble: 5
Post gain: 5

Zakk Wylde of Black Label Society
Preamp: 10
Volume: 4-6
Bass: 10
Middle: 4-6
Treble: 4-6
Presence: 2

John Squire of The Stone Roses
Gain 7
Bass 7
Mids 7
Treble 3
Reverb 5

Andy Summers of The Police
Gain 5
Bass 7
Mids 5
Treble 5
Reverb 5

Paul Weller
Gain 7
Bass 10
Mids 10
Treble 10
Reverb 3

Strapping Young Lad
Gain 7
Bass 8
Mids 6
Treble 7
Reverb 0

Darkest Hour
Gain-6
Bass-7-8
Middle-7
Treble-5
Presence-7

Allan Holdswoth
Gain: 2 o'clock
Treble: 2 o'clock
Middle: 2 o'clock
Bass: 0
Presence: 10 o'clock

Dethklok
Gain- 8-9
Treb-5-6
Mid-6
Bass-8

10 Years
Gain:8
Treble:6
Bass:7
Mids:5
Reverb:2

Jeff Beck
Gain - 10 
Bass - 6
Mid - 5
Treble - 7
Reverb - 4

Tool
Bass: 4
Mid: 4
Treble: 8
Gain: 7.5

Testament
Bass- 6-7
Mids- 2-3
Treble- 4
Presence- 7-8
Gain- 5-7

John 5
Gain- 3-5
Bass-10
Mids-4
Treble- 8

Savatage
Gain 9
Treb 6
Mid 2
Bass 5
Presence 6

Thurston Moore of Sonic Youth
Gain 6
Treble 8
Mid 3-4
Bass 6

Radiohead - My Iron Lung
Drive: 10
Treble: 6
Middle: 7
Bass: 6
Reverb: 3 

Herman Li of Dragonforce
gain- 10
bass- 8
mid- 5
treble 7

Nevermore
Pre Gain- 6-9
Low- 4-7
Mid- 5-7.
High- 5-7
Post Gain- 7-10.
Presence- 5-7

Yngwie Malmsteen
Bass 5-7
Mid 2-5
Treble 6-8
Presence 4-6
Volume 10

Paul Gilbert of Racer-X
Gain 7
Bass 7
Mid 5
Treble 7

Misery Signals
Distortion channel
gain-5
bass-6
mid-5
treble-6
resonance-5
presence-6

clean
gain-2 or 3
bass-8
mid-5
treble-4
resonance-8
presence-3

Norma Jean
gain:7-8
bass:7
mid:4
treble:6

Queens Of The Stone Age
Gain: 7
Treble: 3
Mid: 8
Bass: 6
Reverb: 0

Linkin Park (older) 
Bass = 2-3 o clock
Treble - 1-2 o clock
Mid - 10.5-11 o clock 
Gain - 3-4

George Thorogood
Drive: 6.5
Bass: 2.5
Mids: 7
Treble: 8
Chan. Vol.: 7.5

Slash of Velvet Revolver
Gain: 5-7
Treble: 4-6
Mid: 7-8
Bass: 6-8

Parkway Drive
bass 10
treble 9
gain 8
high 9
low 10
mid 9
mid frequency 6

Mattias Eklundh of Freak Kitchen: 
Drive 7
Gain 7
Bass 10
Middle 4.5
Treble 4.5
Reverb 0
Presence 4

Tom Morello's exact amp setting on his Marschall JCM 800 2205:

Master section:
Presence: 7
Volume: 9
Reverb: 0

Boost section:
Bass: 9
Middle: 6
Treble: 1
Volume: 8
Gain: 9

Normal section:
Bass: 10
Treble: 10
Volume: 10

Meshuggah
Amp : Mesa Single Recto
Channel : Vintage
Gain : 2 o'clock
Treble : 3 o'clock
Mid : 9 o'clock at the most
Bass : 2:30-3 o'clock

Amon Amarth
(On a Peavey 6505+)
Gain - 4
Bass - 4.5
Middle - 4
Treble - 6
Resonance - 10 (7 on lead channel)
Presence - 0 (7 on lead channel)

south shields guitar lessons www.rock-licks.com Tel: 01914552172