Sex on Fire

The recording

Caleb Followill recorded the iconic riff on a semi‑hollow electric guitar, using the bridge pickup, through a Selmer TruVoice Treble‑N‑Bass Fifty amp pushed into a crunchy overdriven tone. The guitar track was then treated with an Eventide DSP4000 digital reverb and a Soundtoys EchoBoy delay during mixing, creating the spacious, synth‑like ambience heard in the song.

Tuning Standard (EADGBE)

Reported gear

Semi‑hollow electric guitar (exact model undocumented)

Guitar

Caleb Followill uses a semi‑hollow electric guitar, employing the bridge pickup for the riff, as noted in a tone analysis of the recording.

Selmer TruVoice Treble‑N‑Bass Fifty

Amplifier

The band recorded the guitar through a Selmer TruVoice Treble‑N‑Bass Fifty amp, as reported in a producer interview for the 'Only By The Night' sessions.

Eventide DSP4000 Digital Reverb

Reverb

A digital reverb from an Eventide DSP4000 unit is applied to the guitar track, creating the synth‑like ambience noted in the mix.

Soundtoys EchoBoy

Delay

The guitar signal is processed with Soundtoys EchoBoy, providing the timed repeats heard in the chorus sections.

Alternatives

Semi‑hollow electric guitar (e.g., Epiphone ES‑335)

Modern equivalent · for the Semi‑hollow electric guitar (exact model undocumented)

$500 to $800

Eventide H9 Harmonizer (Reverb algorithms)

Modern equivalent · for the Eventide DSP4000 Digital Reverb

$500 to $600

Fender Hot Rod Deluxe 12‑Watt Tube Amp

Modern equivalent · for the Selmer TruVoice Treble‑N‑Bass Fifty

$500 to $800

Valhalla VintageVerb (Delay mode)

Modern equivalent · for the Soundtoys EchoBoy

$50 to $80

Practical playing approach

Recreation guidance, not a claim about undocumented studio control positions.

1. 1.Play the main riff with the bridge pickup and keep the tone knob rolled back for a tighter, articulate sound.
2. 2.Apply moderate overdrive, letting the amp’s natural crunch drive the attack.
3. 3.Add a subtle delay timed to the song’s tempo (around 350 ms) to thicken the chordal passages.
4. 4.Use a high‑up neck position for bends to capture the vocal‑like phrasing Caleb described.