SRV's Pride and Joy Rhythm Tone

SRV's tone on Texas Flood (the title track) is a slow blues masterclass in dynamics and touch sensitivity. Unlike the driving shuffle of Pride and Joy, Texas Flood is about sustain, bending, and raw emotion at lower tempos. The tone is heavier and more saturated, with the Tube Screamer pushing the Vibroverb harder and the neck pickup providing warmth for singing, sustained bends. SRV's vibrato is wider and slower here, letting each note breathe and decay naturally.

SRV's cover of Hendrix's Little Wing is a masterclass in blues tone and dynamics. His Stratocaster through a Vibroverb with a Tube Screamer produces a warm, singing tone that honors Hendrix while adding SRV's characteristic power and aggression. The tone is fatter and more driven than Hendrix's original, with heavier strings providing more body and sustain. SRV's version features extensive chord melody work that demands both clean articulation and overdrive sustain.

Arguably the most famous guitar solo tone ever recorded. Gilmour's tone on the second solo of Comfortably Numb is built on a Big Muff Pi fuzz into a cranked Hiwatt, with delay adding depth and sustain. The Hiwatt provides clean headroom while the Big Muff does the heavy lifting for gain and sustain. The result is a singing, vocal-like lead tone that sustains endlessly.

The ultimate wah-fuzz guitar tone. Hendrix's Voodoo Child (Slight Return) opens with one of the most recognizable wah licks ever recorded. The tone is built on a Cry Baby wah into a germanium Fuzz Face, slamming a cranked Marshall Plexi. The wah isn't just an effect here; it's an integral part of the voice of the guitar, used as a tonal filter that shapes every note. The Fuzz Face provides thick, singing sustain that cleans up dynamically when Hendrix rolls back his guitar volume.