Get this tone on your rig
Tuned to the exact gear you own
The recording
Steve Vai recorded the solo for “For the Love of God” at his home studio, The Mothership, in 1990 after a ten‑day fast.
Tuning Standard (E A D G B E)
Signal chain
Reported gear
Ibanez JEM77FP (Floral Pattern, 1987)
Guitar
Vai recorded the solo using his 1987‑1990 Ibanez JEM77FP with DiMarzio PAF Pro humbuckers, selecting the neck pickup for its warm, singing tone.
Dunlop Cry Baby Wah (Standard)
Wah
Placed first in the chain, the Cry Baby wah shapes the vocal‑like swells that define the lead.
MXR Phase 90 (Standard)
Phaser
The MXR Phase 90 adds a subtle swirling texture underneath Vai’s legato lines.
Ibanez TS9 Tube Screamer (1990)
Overdrive
Boss DS-1 Distortion (Standard)
Distortion
The DS‑1 adds additional saturation and edge for the soaring climaxes.
Boss CE-2 Chorus (Standard)
Chorus
The Boss CE‑2 Chorus adds a thin, lush modulation, widening the sustain.
Boss DD-2 Digital Delay (Standard)
Delay
A quarter‑note repeat on the DD‑2 creates the spacious ambience of the solo.
Carvin X-100B (1990)
Amp
The Carvin X‑100B head drives a 4×12 cabinet, delivering a tight low end and articulate mids that complement the high‑gain chain.
Carvin 4x12 Cabinet (1990)
Cabinet
The 4×12 cabinet, loaded with Celestion‑style speakers, projects the tone with a balanced, punchy response.
Alternatives
Ibanez JEM77V
Modern equivalent · for the Ibanez JEM77FP (Floral Pattern, 1987)
Boss CE-2 Chorus
Still made · for the Boss CE-2 Chorus (Standard)
Dunlop Cry Baby Wah
Still made · for the Dunlop Cry Baby Wah (Standard)
Boss DD-2 Digital Delay
Still made · for the Boss DD-2 Digital Delay (Standard)
MXR Phase 90
Still made · for the MXR Phase 90 (Standard)
Line 6 HX Stomp (Carvin X‑100 model)
Modern equivalent · for the Carvin X-100B (1990)
Ibanez TS9 Tube Screamer
Still made · for the Ibanez TS9 Tube Screamer (1990)
Mesa/Boogie 4x12 Cabinet (Standard)
Modern equivalent · for the Carvin 4x12 Cabinet (1990)
Boss DS-1 Distortion
Still made · for the Boss DS-1 Distortion (Standard)
Practical playing approach
Recreation guidance, not a claim about undocumented studio control positions.
- 1.Select the neck pickup on the JEM77FP and roll the volume knob back slightly for a warm, singing tone.
- 2.Engage the Cry Baby wah on the upswing of each phrase to shape the vocal‑like swells.
- 3.Set the TS‑9 Tube Screamer gain to zero and level to max to push the amp into smooth overdrive.
- 4.Use a quarter‑note delay on the Boss DD‑2 and a subtle chorus on the CE‑2 to add space and width.
- 5.Apply legato phrasing with wide vibrato and precise whammy bar dips, letting the amp’s natural sustain sing.
Sources
Frequently asked questions
What gear was used for the For the Love of God guitar tone?
The available research points to Ibanez JEM77FP (Floral Pattern, 1987) into Carvin X-100B (1990). The full reported signal chain and evidence links are listed on this page.
Are the original For the Love of God amp settings documented?
Exact historical knob positions are not reliably documented for most recordings. ToneTwin does not publish generated values as studio fact; it creates playable settings only for the amp and pedals a player selects.
What tuning is For the Love of God in?
The current research record lists Standard (E A D G B E). ToneTwin keeps corrections open when reliable accounts disagree.
How do I recreate the For the Love of God tone on my own gear?
Use the reported pickup, gain character, effects and signal-chain order as the target, then translate that target to your equipment. The matcher models controls for your selected rig rather than copying undocumented studio numbers.
Researched and reviewed by the ToneTwin Research Team.