The Sky Is Crying

The recording

Recorded in early 1989 at Dallas Sound Lab and other studios, Vaughan tracked his lead on a 1963 Fender Stratocaster through a Fender Super Reverb amp, employing a Cry Baby wah and an Ibanez Tube Screamer overdrive. He used a heavy attack with finger‑vibrato and picked near the bridge for searing leads, while the amp’s built‑in spring reverb and room mics captured a warm, spacious blues tone.

Tuning E standard

Reported gear

1963 Fender Stratocaster ('Number One')

Guitar

Vaughan’s primary instrument on 'The Sky Is Crying', a 1963 Fender Stratocaster with a 1962 rosewood neck, known as 'Number One', was used for both rhythm and lead parts.

Dunlop Cry Baby Wah

Wah

The vocal‑like wah sweeps heard on the solo sections were created with a Cry Baby wah pedal.

Ibanez Tube Screamer TS808

Overdrive

A Tube Screamer was placed in front of the amp to push the mids and tighten the breakup, a key component of the tone on this track.

1965 Fender Super Reverb

Amp

Vaughan recorded his tone using a Fender Super Reverb amp, whose clean headroom and built‑in spring reverb shaped the spacious blues sound of the track.

Fender 4×12 Cabinet

Cabinet

The amp was miked through a Fender 4×12 cabinet, delivering the punchy low‑end and crisp highs heard on the recording.

Alternatives

Squier Classic Vibe Stratocaster

Budget alternative · for the 1963 Fender Stratocaster ('Number One')

$400 to $500

Fender Blues Junior IV

Budget alternative · for the 1965 Fender Super Reverb

$500 to $600

Dunlop Cry Baby GCB95

Budget alternative · for the Dunlop Cry Baby Wah

$80 to $120

Fender Hot Rod Deluxe 2×12 Cabinet

Budget alternative · for the Fender 4×12 Cabinet

$300 to $400

Ibanez Tube Screamer TS9

Budget alternative · for the Ibanez Tube Screamer TS808

$150 to $200

Practical playing approach

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

1. 1.Attack the strings with a strong, percussive pick near the bridge for searing leads.
2. 2.Use a wide wrist bend and slow vibrato on each note to emulate Vaughan’s vocal‑like phrasing.
3. 3.Engage the wah pedal on the peaks of the solo to shape the tone dynamically.
4. 4.Add a Tube Screamer overdrive to tighten the amp breakup and push the mids.
5. 5.Pull back the guitar volume knob slightly for more sustain and smoother note articulation.