Brian May — £1,000 · Pro-Level Tone

• Use a coin as a pick — the rigid edge creates a brighter, more defined attack
• Treble booster (not overdrive) into the AC30 is the key — it drives the amp harmonically
• Out-of-phase pickup combinations add that slightly hollow, glassy tone character
• Vibrato is from the arm of the Red Special — set up your Strat trem for light pressure
• Harmonise everything — Queen guitar parts typically stack 3–6 layered guitar lines
• AC30 tone: volume 6–7, treble at 6, bass at 5, top boost engaged
• Pick attack is hard and precise — May hits strings firmly, which drives the booster harder
• Learn to layer guitar harmonies in 3rds and 5ths for the Queen orchestral wall of guitars

• ✗Running high-gain settings on a semi-hollow — the resonant body cavity feeds back uncontrollably at high gain levels. These guitars require lower gain and benefit from the natural resonance.
• ✗Using a distortion pedal instead of a treble booster — the classic Vox driven sound comes from a treble booster (Rangemaster-style) into the input. This creates input stage saturation that pedal distortion does not replicate.
• ✗Using a distortion pedal to replace amp saturation — amp-driven tone has a specific feel (dynamics, touch sensitivity, natural compression) that pedal distortion cannot replicate. The source of gain matters.
• ✗Not setting delay to song tempo — a delay that doesn't match the song tempo creates a rhythmic clash that builds and becomes increasingly obvious. Tap the tempo every time.
• ✗Ignoring the room or PA system — prog guitar changes tone dramatically in different acoustic environments. Dialling in EQ in isolation gives a different result than through a full PA.
• ✗Adding too many pedals — complex rigs with multiple switches require full attention to operate. Start with less and add only when a specific gap is identified.

If you like Brian May's tone, these players use a similar approach — same gear philosophy, comparable sound characteristics.