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Solo Tone
Cry for You
Andy Timmons
Guitarrock1990s
Original Gear
GuitarIbanez AT100
AmpMarshall JMP Superlead (panned left), 1968 Marshall Plexi Super Lead (panned right), re-amped through Leslie 122 cabinet for solo
Amp Settings
gain6
bass6.5
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Notes
Studio recording, 1994. For the solo, both Marshall amps were used simultaneously via a Framptone Amp switcher, with the signal re-amped through a Leslie 122 rotary speaker for the swirling effect. Effects and gain primarily from pedals, not amp distortion.
Tone Character(10)
singing sustainsmooth and vocal-likeswirling modulation (Leslie effect)warm and expressiveclear note definitionambient delay trailstouch-sensitive dynamicsrich harmonicsarticulate phrasingcreamy lead tone
Difficulty
The solo requires advanced control of phrasing, expressive bends, and vibrato, as well as precise synchronization with delay repeats and dynamic touch sensitivity, making it challenging for most players.
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Create Free AccountGuitarrock1990s
Original Gear
GuitarIbanez AT100
AmpMarshall JMP Superlead (panned left), 1968 Marshall Plexi Super Lead (panned right), re-amped through Leslie 122 cabinet for solo
Amp Settings
gain6
bass6.5
Create an account to see all tone details
Create Free AccountEffects & Signal Chain
Notes
Studio recording, 1994. For the solo, both Marshall amps were used simultaneously via a Framptone Amp switcher, with the signal re-amped through a Leslie 122 rotary speaker for the swirling effect. Effects and gain primarily from pedals, not amp distortion.
Tone Character(10)
singing sustainsmooth and vocal-likeswirling modulation (Leslie effect)warm and expressiveclear note definitionambient delay trailstouch-sensitive dynamicsrich harmonicsarticulate phrasingcreamy lead tone
Difficulty
The solo requires advanced control of phrasing, expressive bends, and vibrato, as well as precise synchronization with delay repeats and dynamic touch sensitivity, making it challenging for most players.