Good to Be Bad Guitar Tone - Amp Settings for Every Track
Translate any Good to Be Bad track to your gear
Median knob positions across the 6 guitar tracks we've broken down from this record, on the amps they were tracked with. A starting point for the album's sound; pick a track below for its exact recipe.
- Gain
- 7
- Bass
- 5.5
- Mid
- 6
- Treble
- 6.5
- Presence
- 6
- Volume
- 7.5
The Gear Behind Good to Be Bad
Every Good to Be Bad Tone You Can Dial In
- Call on Me
- Can You Hear the Wind Blow
- Lay Down Your Love
- All I Want, All I Need
- Good to Be Bad
- Best YearsMarshall JCM800 2203
6 of this record's tracks are broken down so far. Most popular first.
Common Questions About the Good to Be Bad Tone
What amp was Good to Be Bad recorded with?
Every one of the Good to Be Bad tracks in our catalog was tracked on a Marshall JCM800 2203. ToneMirror rewrites those settings for whatever amp you own - a different EQ curve and gain structure landing on the same recorded sound.
What guitar was used on Good to Be Bad?
The Les Paul (modern equivalent: Gibson Les Paul Standard '60s) appears on the most Good to Be Bad tracks in our catalog. You don't need one - the settings are calibrated to the recorded tone, so they translate to the guitar you already have.
What amp settings do I need for the Good to Be Bad sound?
Across the 6 guitar tracks from Good to Be Bad we've catalogued, the median is gain 7 (range 7–7), with bass 5.5, mid 6, treble 6.5 on a 0–10 scale. That's the record's window rather than any one song's recipe - pick a track above for the exact knob positions it was recorded with.
How many Good to Be Bad songs can I dial in here?
ToneMirror has 6 tracks from Good to Be Bad broken down, including "Call on Me" and "Can You Hear the Wind Blow". Each carries the original amp settings, pickup position, tuning, and pedal chain, plus a per-rig adaptation for your own gear.