Steve Clark

Pour Some Sugar on Me

Steve Clark · Hysteria · 1987

What Makes This Sound Unique

Def Leppard's biggest single and a masterclass in 1980s arena rock guitar production — Mutt Lange's production layered Clark and Campbell's guitars into a massive wall of sound. The individual guitar tone is a tight, warm Gibson into a modified Marshall, but the stacked production makes it sound like ten guitars playing simultaneously.

  1. 1Gibson Les Paul Standard (Clark's custom 'Tequila Sunrise')
  2. 2Modified Marshall JCM800 (with additional preamp stage)
  3. 3Studio layering (8+ guitar tracks)
Gain / Volume8
Bass7
Mid7
Treble7
Presence7

Warm high-gain Les Paul into Marshall — unlike the brighter Strat-based sounds of Maiden, Def Leppard used Les Pauls for a warmer, heavier fundamental tone. The extreme studio layering creates the apparent wall of sound.

How to Play It

Multi-tracked guitar wall — Clark and Campbell recorded numerous identical rhythm guitar passes at slightly different tempos and positions, panned across the stereo field. The result is a guitar sound that fills the entire sonic space.

Achievable With

Les Paul → Marshall at high gain → record 4 rhythm guitar passes, pan at hard left, center-left, center-right, hard right → combine. The width comes from multiple performances, not from a single wide stereo effect.

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Other Song Rigs

Photograph

Pyromania · 1983

The Pyromania album's signature track — Clark's guitar tone on the Pyromania alb

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Love Bites

Hysteria · 1987

Def Leppard's most successful power ballad — Clark's clean, sustained guitar pro

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Rock of Ages

Pyromania · 1983

Clark and Phil Collen's twin-guitar Pyromania sound at its most iconic — thick,

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Bringin' On the Heartbreak

High 'n' Dry · 1981

Clark at his most melodic — a power-ballad tone that predates the Pyromania laye

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Foolin'

Pyromania · 1983

Full Pyromania production — the acoustic guitar intro gives way to a massive twi

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