Warren Haynes — £1,000 · Pro-Level Rig

• Wide vibrato starting slow and widening — inspired by BB King but applied to Les Paul tone
• Attack hard, then soften: dig in on the first note of a phrase, relax through it
• Bridge pickup for aggressive lead work; neck pickup for smoother, more vocal tones
• Les Paul volume knob between 7–10 controls the gain going into the amp
• Blues scale with added major 3rd (Mixolydian crossover) gives the Southern rock flavour
• Haynes' rhythm playing uses strong chord embellishments — add 9ths and 7ths to power chords
• Amp EQ: bass 6, mid 7, treble 6 — warmer Marshall voicing, not bright metal tone
• Note bends followed by held vibrato are the core expressive technique

• ✗Running the JCM800's gain channel at maximum — above 8 on most high-gain channels, palm mutes lose note separation and become an indistinct wall. The target is the minimum gain for the target saturation, not maximum
• ✗Leaving the wah pedal engaged but stationary between rocking it — a cocked wah (fixed position, not moving) acts as a midrange filter that changes the core tone. Either rock it expressively or bypass it completely; a cocked wah changes the sound in ways that are often unintended
• ✗Setting the amp bass too high — the inherent warmth of mahogany means you need less bass EQ than with a Strat. Starting at 5 rather than 7 prevents low-end mud.
• ✗Scooping the mids on a Marshall-style amp — the upper midrange emphasis is what makes British amps cut through. Mid-scoop EQ sounds good alone but disappears in a band mix.
• ✗Setting the boost level too high relative to the base tone — a boost for solos should raise the presence of the guitar, not cause a volume jump that overwhelms the mix. Level matching matters.
• ✗Setting gain too high on the overdrive pedal — most overdrive pedals are most useful at gain settings of 2-5, where they add character without dominating the tone. High gain settings on an OD pedal become a distortion, not an overdrive.
• ✗Too many repeats at high mix — more than 3 repeats makes the delay effect accumulate and overwhelm the dry guitar signal. Keep it to 2-3 repeats at a subtle mix level.
• ✗Choosing a pick that is too heavy — thin to medium picks give edge noise and articulation that heavier picks smooth away. That edge is part of the sound.

Gibson Les Paul Standard into a Marshall and Mesa Boogie run together (wet/dry). High but not extreme gain — the tone is warm and thick with strong natural harmonics. Haynes' wide, slow vibrato and dynamic picking attack (from soft to very hard) create enormous expressive range.