Tone library / Bryan Adams / Run To You

Run To You amp settings — Diezel Herbert

The Bryan Adams guitar tone for “Run To You”, dialed in for a Diezel Herbert with a Fender Player Stratocaster. Studio version, Reckless album (1984)

Original rig

Fender Stratocaster (bridge single-coil) → Ibanez TS-9 Tube Screamer → Boss CE-3 Chorus → Marshall amplifier (SM57 close-mic'd, sometimes blended with Fender Twin)

Crunchy mid-forward drive with shimmering chorus on rhythm, raw cutting lead tone on solo
Amp settings — Diezel Herbert
CHANNELChannel 2 (mid-gain crunch)BRIGHToffBOOSToff
GAIN 4 BASS 4 MID 7 TREBLE 5 PRESENCE 5 REVERB 0 MASTER 5
KnobSetting (0–10)
Gain4
Bass4
Mid7
Treble5
Presence5
Reverb0
Master5
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Guitar
PICKUPbridge+middle TONE7 VOLUME10
Signal chain

01Ibanez TS-9 Tube Screamer

RECOMMENDED — not currently owned. Essential for the mid-pushed bark of this tone. A TS9, TS808, or any TS-style clone will work.

Drive 4 · Tone 6 · Level 7

02Boss CE-3 Chorus (or CE-2)

RECOMMENDED — not currently owned. Defines the shimmering rhythm tone. Any analog-voiced chorus works. Bypass for the solo.

Rate 4 · Depth 5
Why these settings

The Diezel Herbert is far higher-gain and more modern-voiced than the original Marshall. Use Channel 2 (not the high-gain Channel 3) and keep gain restrained at 4 — the TS-9 in front provides the mid-push and grit that defined this tone. The Herbert's tighter low-end means bass at 4 is sufficient; mids at 7 replicate the Marshall's natural bark. Roll treble back to 5 to avoid the Diezel's upper-mid aggression overpowering the vintage character.

PRO TIPThe iconic rhythm tone is bridge+middle pickup position with chorus ON; for the solo, switch to bridge-only and bypass the chorus entirely. Keith Scott's attack was deliberate — pick closer to the bridge with medium-hard picks for that cutting articulation.

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