[Gary Moore] How to Recreate the Thin Lizzy Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Gary Moore, a legendary guitarist known for his time with Thin Lizzy and his solo career, has left an indelible mark on the world of rock music. His sound is characterized by an expressive vibrato, sustained notes, and a unique ability to traverse between blues and hard rock styles.

In his iconic track “Parisienne Walkways,” listeners can experience his signature sound, which features a simple yet long sustain and emotive guitar lines. Conversely, during his time with Thin Lizzy, songs like “Black Rose” and “Waiting for an Alibi” showcase his ability to stand out amidst the thick harmonies of twin leads, revealing his aggressive side as a rock guitarist.

The reason Gary Moore’s sound garners attention is not merely due to his gear but rather his touch and expressiveness. The nuances in his picking dynamics, the strategic use of space between phrases, and his manipulation of the volume pedal and amp EQ all contribute to his tone. Therefore, understanding the guitars, amps, and effects he actually used is crucial for anyone aspiring to replicate the “Gary Moore sound.”

In the sections that follow, we will thoroughly explore the gear he confirmed using and the techniques he employed to craft his sound.

▶ Search official YouTube videos of Thin Lizzy

List of Amplifiers and Features

When discussing Gary Moore’s sound, the role of amplifiers cannot be overlooked. Throughout his career, from his time with Thin Lizzy to his solo endeavors, he primarily relied on Marshall amplifiers, selecting appropriate models for different songs and eras to create exceptional sustain and rich harmonics. Notably, during the “Still Got the Blues” period, he utilized models such as the Marshall 1959SLP Reissue and JTM45 Reissue to produce his legendary tone.

During his time with Thin Lizzy, the Marshall Super Lead served as his main amp, providing a powerful crunch tone. In the late 1980s and early 1990s, he incorporated a wider variety of amps, including the JMP Super Bass and DSL100, enhancing his flexibility in live performances and recordings. For instance, in “One Night in Dublin,” he showcased a sharp sound using the DSL100 in combination with a Stratocaster.

Additionally, he employed Soldano SLO100 and Hot Rod 50 amplifiers, blending the mid-focused drive of Marshall with the smooth gain of Soldano to achieve a more lyrical tone during his blues-rock phase. In 1989, he paired a Fender Vibroverb Reissue with a Marshall cabinet to produce beautiful clean tones characteristic of Stratocasters.

In the studio, he enhanced spatial processing with devices like the Roland Dimension D and SDE 3000, while in live settings, he preferred the Marshall 1960B/1960BX cabinets equipped with EVM12L speakers, ensuring a clear sound without excessive boominess.

Overall, Gary Moore established a unique sound by flexibly combining Marshall with Soldano and Fender, depending on the era and song. While pinpointing every piece of gear he used can be challenging, the following table summarizes his main amplifiers as assumed.

Types of Guitars Used and Features

Gary Moore is also known as a guitar collector, having used numerous models throughout his career. His sound is not defined by a single guitar but rather by his ability to choose the right instrument for the occasion, song, and playing environment. From his time with Thin Lizzy to his solo career, his choices have always been directly linked to his sound.

One of the most iconic guitars in his arsenal is the 1959 Gibson Les Paul Standard “Greenie,” which he inherited from Peter Green. This guitar features unique out-of-phase wiring and a reversed front pickup, allowing for a sweet, mellow tone alongside transparent cleans. It was used during his Thin Lizzy days and can be heard in tracks like “Black Rose,” solidifying its role in defining Gary’s sound.

Moore’s use of Stratocasters is also noteworthy. His 1961 Fiesta Red Stratocaster showcased rich single-coil sounds in blues numbers like “Hey Joe” and “Red House.” In the 1980s, he frequently used early ’60s Stratocasters in live performances, adding a bright and cutting tone to his sound. The ability to switch between Les Paul and Stratocaster allowed him to create a diverse palette of tones, even within the same song.

In the 1990s, he began using his signature models, such as the Gibson Gary Moore Signature Les Paul and the Gary Moore BFG, both designed to reflect the characteristics of “Greenie,” including the reversed front pickup. In the 2000s, he incorporated Gibson Custom Shop Historic series and Melvyn Franks CC#1, showcasing his pursuit of vintage tones.

For live performances, he also utilized modern guitars like the Flying V, Firebird, Hamer, and Jackson. Notably, in the late ’80s, he introduced Charvel and Jackson Soloist models equipped with EMG pickups to accommodate heavier sounds.

On the acoustic side, he used Takamine 6-string and 12-string models for live and recording sessions, enriching ballads with their resonant qualities.

Through this diverse lineup of guitars, Gary Moore demonstrated that he was not limited to the image of the “crying Les Paul” but rather embraced a wide range of tonal possibilities. Below is a summary of some of the guitars he prominently used.

Effects and Pedalboard Setup

Gary Moore’s sound maintained a simplicity that was close to direct amp connection while effectively utilizing effects as needed. Throughout his career, especially from his Thin Lizzy days to his solo period, he combined distortion, overdrive, and spatial effects to express a wide range of tones, from crying leads to aggressive solos.

Prominent among his effects were distortion pedals like the Boss DS-1 and MXR Distortion+. When using a Stratocaster, the DS-1 was instrumental in creating a hard-edged, cutting tone. In the later Thin Lizzy years, he paired the MXR Distortion+ with the Marshall Super Lead, adding thickness and sustain to his lead tones. During the “Still Got the Blues” period, the Marshall The Guv’nor became a key distortion pedal, crafting a bluesy drive rich in midrange.

To enhance sustain in solos, he incorporated the Ibanez TS9/TS10 Tube Screamer. The TS9 was confirmed on his 2010 tour board, serving as a boost before the main lead. Additionally, he used multiple volume pedals to fine-tune the volume balance across cabinets on stage, a distinctive feature of his setup.

For spatial effects, he utilized the Roland SDE-3000 digital delay and Roland Dimension D chorus. Particularly on the “Still Got the Blues” album, the Dimension D likely contributed to the depth of the guitar sound. Reverb effects included the Electro-Harmonix Holy Grail and Boss Digital Reverb, which were confirmed on his 2000s board, indicating a modern approach to spatial processing.

In the late 2000s, his pedalboard featured T-Rex Replica delay, T-Rex Møller overdrive, and Radial Tonebone and Digitech reverb pedals, creating a contemporary and diverse effects chain. His playing style, characterized by simplicity yet compelling in every note, was supported by this setup.

As a result, Gary Moore’s effects board can be assumed to have been built around a simple axis of “distortion + spatial effects + volume pedals,” with components swapped out to match the sound he sought at different times. Below is a summary of some of the effects he prominently used.

Tone Settings, EQ, and Mixing Approaches

Gary Moore’s sound crafting extended beyond mere gear selection; it encompassed amp settings, EQ adjustments, and mixing techniques in both live and studio settings. Thus, understanding which frequencies to emphasize and which to cut is crucial for replicating his tone.

Starting with amp settings, when using the Marshall 1959SLP or JTM45 Reissue, the gain was typically kept at a moderate level, just shy of crunch. By adding the TS9 Tube Screamer as a booster, he achieved smooth lead tones. Particularly during “Still Got the Blues,” he often kept the amp in clean to crunch territory while driving it with pedals. He emphasized the midrange (500Hz–1.2kHz), cut the low end to prevent excessive boominess, and slightly boosted the treble to achieve his crying tone.

During live performances, he also paid attention to cabinet placement, using the Marshall 1960B cabinet with Electro-Voice EVM12L speakers to ensure clarity. The use of multiple volume pedals allowed him to balance the sound across cabinets without relying solely on the PA system, showcasing a practical approach to sound control unique to Gary.

Another characteristic of his approach was the variation in settings from song to song. For ballads like “Parisienne Walkways,” he would lower the gain for a cleaner setting and add sustain with the TS9. He kept reverb and delay subtle, allowing space to enhance the “crying” effect. In contrast, for hard rock tracks like “Out in the Fields,” he fully utilized the Marshall’s drive channel, boosting the mids and setting a longer delay time to allow the guitar solo to resonate.

In studio recordings, even more meticulous adjustments were made. For instance, during the production of “Still Got the Blues,” he used the Roland Dimension D to add chorus elements for depth. When layering guitar tracks, he ensured that EQ bands did not overlap, especially for solo parts, where midrange frequencies were pushed forward through careful compression and EQ adjustments. Spatial effects were handled with devices like the Alesis Quadraverb and Roland SDE-3000, broadening the stereo image.

From a PA and engineer’s perspective, Gary Moore’s sound was defined by “midrange prominence” and “effective use of space.” He avoided excessive low-end frequencies to prevent interference with bass and drums, ensuring the guitar sang within the mix. This was supported not only by EQ but also by his volume control and touch during performances.

In summary, Gary Moore’s sound crafting can be assumed to consist of the following elements:

• Set the amp to crunch and add drive with booster pedals.
• EQ with a focus on midrange, cutting low frequencies, and slightly boosting treble.
• Adjust reverb and delay depth according to the song (lighter for ballads, deeper for rock).
• Use volume pedals to manage sound balance across cabinets during live performances.
• Add depth in the studio with Dimension D and delay, forming a tone that sings within the mix.

By understanding and implementing these techniques, readers can get closer to achieving Gary Moore’s crying guitar tone.

Affordable Alternatives to Recreate the Tone

Gary Moore’s sound was supported by high-end gear like the vintage 1959 Les Paul Standard and Marshall 1959SLP. However, it’s not practical for beginners or intermediate players to replicate this exact setup. Therefore, let’s explore more affordable gear options that can help achieve his crying tone and lead sound.

Starting with guitars, while original Les Pauls are pricey, the Epiphone Les Paul Standard and Epiphone Inspired by Gibson Les Paul Standard ’50s can replicate the thick midrange and sustain characteristic of a Les Paul at a more accessible price point. If you’re looking to recreate the bright tones of single-coil pickups, the Squier Classic Vibe Stratocaster is a great option. Both can be purchased for around $500, allowing players to experience the versatility of Les Pauls and Stratocasters that Gary used.

For amplifiers, current models like the Marshall DSL20 or DSL40 are excellent choices. These smaller versions of the DSL100 can handle a wide range of tones from clean to drive, making them ideal for home practice or small gigs. For home practice, the Boss Katana series is also recommended, offering Marshall-like distortion and built-in spatial effects, making it sufficient for covering Gary’s iconic tracks.

When it comes to effects, the Ibanez Tube Screamer (either TS9 or TS Mini) is essential. Connecting this to a crunching amp can help achieve Gary’s “crying lead” tone. The Boss DS-1 is another affordable option that Gary actually used, allowing players to approximate the hard sound of Thin Lizzy. For spatial effects, the Boss DD-7 or TC Electronic Flashback Delay are stable choices that can add depth to solos.

For reverb, the Electro-Harmonix Holy Grail Nano and Boss RV-6 are high-quality options that can be found for around $100–200, perfect for expressing echoes in blues and ballads. Additionally, for those looking to consolidate multiple effects, multi-effects units like the Zoom G3Xn or Line 6 HX Stomp can be great investments.

By combining affordable Les Paul and Stratocaster-style guitars, amps like the Marshall DSL or Boss Katana, and effects such as the Tube Screamer, DS-1, delay, and reverb, even beginners can get relatively close to Gary Moore’s sound. Below is a table summarizing some representative alternative gear.

Summary and Conclusion

Delving into Gary Moore’s sound leads us to the essence of “crying guitar.” Its true nature lies not in the value of the gear itself but in his touch and musical sensibility. While the legendary 1959 Les Paul “Greenie” and Marshall 1959SLP played significant roles, it was his fingers, volume control, and the pauses between phrases that made his sound unique.

During his Thin Lizzy days, he emphasized a tone that cut through the ensemble, combining the Marshall Super Lead with the MXR Distortion+ to achieve a hard yet lyrical lead. As he transitioned to his solo career, he leaned more into blues, utilizing the Tube Screamer and The Guv’nor to push midrange frequencies. In “Still Got the Blues,” the guitar cried out like a vocalist, stirring emotions in listeners.

Modern players do not need to invest in expensive original gear to get closer to his sound. Understanding the fundamental structure of “setting the amp to crunch and boosting leads” is key. Moreover, EQ adjustments should focus on cleaning up low frequencies while emphasizing midrange, ensuring spatial effects do not muddy the tone. By alternating between Les Paul and Stratocaster, players can experience the tonal diversity Gary showcased.

Additionally, the practical aspects of stage performance and PA interaction cannot be overlooked. Gary used multiple volume pedals to adjust the sound across cabinets, constantly controlling how his tone resonated within the band. This illustrates that he was not just a “guitarist” but someone who viewed the overall music from a broader perspective.

In conclusion, when it comes to recreating Gary Moore’s sound, the essence lies not in gathering the right gear but in mastering how to use it. His powerful vibrato, expressive picking, and dynamic phrasing were the core of his sound. Readers can get closer to the spirit of Gary Moore by focusing on their gear’s dynamics and touch during performances.

For guitarists seeking that crying tone, his sound crafting remains an eternal benchmark, embodying the “human touch” developed from his Thin Lizzy days through to his solo career, a core lesson for many guitarists to learn from.