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Riff Tone
Come On Up to the House
Tom Waits
Guitarother1990s
Original Gear
GuitarFender Jaguar (likely 1960s reissue or vintage, as used by Marc Ribot on Tom Waits sessions)
AmpFender Deluxe Reverb (blackface, tube combo, cranked for breakup)
Amp Settings
gain5
bass6
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Notes
Studio recording for Tom Waits' 'Mule Variations' (1999). Marc Ribot played the main riff section using a Fender Jaguar into a cranked Fender Deluxe Reverb, with an Analog Man King of Tone pedal for extra drive. Studio context, not live. Guitar tuned down (possibly to D or Eb).
Tone Character(10)
raw and grittyslightly overdriven edge-of-breakuppercussive and dynamicwarm but with biteorganic, uncompressed feelroomy studio ambiencebright and articulate single-coil attackresponsive to picking dynamicsnot overly saturatedsubtle spring reverb tail
Difficulty
The riff is based on simple chord changes and strumming, with the main challenge being dynamic control and maintaining a gritty, percussive attack.
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Create Free AccountGuitarother1990s
Original Gear
GuitarFender Jaguar (likely 1960s reissue or vintage, as used by Marc Ribot on Tom Waits sessions)
AmpFender Deluxe Reverb (blackface, tube combo, cranked for breakup)
Amp Settings
gain5
bass6
Create an account to see all tone details
Create Free AccountEffects & Signal Chain
Notes
Studio recording for Tom Waits' 'Mule Variations' (1999). Marc Ribot played the main riff section using a Fender Jaguar into a cranked Fender Deluxe Reverb, with an Analog Man King of Tone pedal for extra drive. Studio context, not live. Guitar tuned down (possibly to D or Eb).
Tone Character(10)
raw and grittyslightly overdriven edge-of-breakuppercussive and dynamicwarm but with biteorganic, uncompressed feelroomy studio ambiencebright and articulate single-coil attackresponsive to picking dynamicsnot overly saturatedsubtle spring reverb tail
Difficulty
The riff is based on simple chord changes and strumming, with the main challenge being dynamic control and maintaining a gritty, percussive attack.