Gary Moore’s Guitar Tone Explained – Every Era, Every Rig, The Real Blueprint скачать в хорошем качестве

Gary Moore’s Guitar Tone Explained – Every Era, Every Rig, The Real Blueprint

Gary Moore guitar tone explained. This is a full, era-by-era gear deep dive into Gary Moore’s guitars, amplifiers, speakers, pedals, strings, picks, wiring myths, and playing style — from Belfast and Skid Row to Thin Lizzy, the 80s high-gain years, and the immortal Still Got The Blues tone. Gary Moore did not “just plug into a Les Paul and a Marshall.” His sound evolved through loud British heads, master-volume Marshalls, Soldano SLO-100s, JTM45 prototypes, Electro-Voice EVM12L speakers, Marshall Guv’nor overdrive, Ibanez TS10 boosts, Roland Dimension D width, Stratocasters, vintage ’59 Bursts, semi-hollows, heavy bottom string gauges, stiff picks, and one of the most dangerous vibratos in rock history. And yes — Greeny is only part of the story. In this GuitarGangsters longform deep dive, we break down: • Gary Moore’s early Belfast years and the first Marshall 50-watt head • Skid Row era rigs including Orange OR200 and Hiwatt Custom 100 power platforms • Thin Lizzy-era Marshall Super Lead territory and why his lead tone sliced through harmonized guitars • Colosseum II precision and how articulation shaped his gain approach • 80s solo-era master-volume Marshall aggression and mid-focused boost strategy • The documented Still Got The Blues rig — 1989 Marshall JTM45 reissue prototype, Marshall 1960B cabinet, Electro-Voice EVM12L speakers • Marshall The Guv’nor Mk1 as primary distortion platform • Ibanez Tube Screamer TS10 as live tightening tool • Roland SDD-320 Dimension D for stereo width • Soldano SLO-100 touring rigs and clean-channel crunch philosophy • The 1959 Gibson Les Paul “Greeny” and the magnetic out-of-phase myth explained • The 1959 Les Paul “Stripe” and why Gary preferred brightness in a Burst • 1961 Stratocaster, 1983 ’62 reissue Strat, and later HSS Floyd Rose Strat usage • Gibson ES-335 and ES-355 semi-hollow tonal shifts • Dean Markley 10–52 strings • Gibson Extra Heavy picks • Setup philosophy and why higher action mattered • Why Gary Moore’s tone collapses instantly in the wrong hands This is not nostalgia. This is a technical dissection of why Gary Moore’s tone worked — and why copying the gear without the control leads to disappointment. The JTM45 wasn’t just “cranked.” The Guv’nor wasn’t random distortion. The Soldano wasn’t about saturation. The Strat era wasn’t a footnote. Every era had a purpose. Every rig had a reason. Now the real question: What is peak Gary Moore tone? Thin Lizzy blade-through-the-mix aggression? 80s master-volume Marshall brutality? Soldano precision sustain? Or the Still Got The Blues JTM45 + Guv’nor architecture? Drop your era. Name the rig. Defend it. 🎥 More GuitarGangsters Gear Deep Dives Jimmy Page – The Truth Behind His Guitar Tone    • Jimmy Page – The Truth Behind His Guitar T...   Eric Clapton – Why His Guitar Tone Was Never Just One Sound    • Eric Clapton – Why His Guitar Tone Was Nev...   Stevie Ray Vaughan – Full Gear Deep Dive    • Stevie Ray Vaughan – Why His Guitar Tone W...   👍 Like & Subscribe for weekly guitar legend breakdowns 🎸 GuitarGangsters — where tone meets truth #GaryMoore #GaryMooreTone #LesPaul #Marshall #Greeny #Soldano #GuitarGear #GuitarTone #ThinLizzy #GuitarGangsters