Tone library / Eric Johnson / Cliffs of Dover

Cliffs of Dover amp settings — Line 6 HX Effects

The Eric Johnson guitar tone for “Cliffs of Dover”, dialed in for a Line 6 HX Effects with a Fender Vintera 60s Stratocaster. Studio version, Ah Via Musicom (1990) — signature violin lead tone

Original rig

1969 Marshall Super Lead 100W (Treble 0, Presence 0, jumpered), Chandler Tube Driver, Maestro EP-3 Echoplex, 1954 Fender Stratocaster

Smooth, violin-like lead with singing sustain, minimal pick attack, warm compression
Amp settings — Line 6 HX Effects
CHANNELDirect Line / Preamp Model in HX Effects (Brit Plexi / Lead Voice)BRIGHToffBOOSToff
GAIN 7 BASS 5 MID 8 TREBLE 2 PRESENCE 0 REVERB 0 MASTER 8
KnobSetting (0–10)
Gain7
Bass5
Mid8
Treble2
Presence0
Reverb0
Master8
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Guitar
PICKUPbridge TONE6 VOLUME9
Signal chain

01Dunlop Eric Johnson Fuzz Face

Use as primary high-gain fuzz source or stack gently into the preamp model

Volume 8 · Fuzz 7

02Crazy Tube Circuits Crossfire

Set to Marshall/Left side for Tube Driver-style mid saturation and smooth clipping

Gain 6 · Tone 4 · Volume 7

03Line 6 HX Effects (Transistor Tape Delay Block)

Emulates the Maestro EP-3 Echoplex set to ~360ms quarter-note repeats

Time 4 · Feedback 4 · Mix 3

04TC Electronic SCF

Chorus mode for subtle dimensional widening and lush texture

Speed 3 · Width 4 · Intensity 4

05Strymon Cloudburst

Ensemble off; set for a warm ambient room tail that stays behind the notes

Decay 3 · Mix 2 · Tone 4
Why these settings

To replicate Eric Johnson's 'dark lead' voicing on single coils, treble and presence are rolled heavily back while pushing the midrange. The Bridge pickup requires the tone control rolled down to 6 to eliminate Strat ice-pick frequencies and achieve that signature flute-like, rounded contour. The Crossfire handles the smooth Chandler Tube Driver EQ curve directly into the HX Effects delay and ambient chain.

PRO TIPHold a heavy gauge jazz pick loosely between your thumb and index finger using upward pick slanting with edge picking, letting the flesh of the thumb lightly graze the string upon attack to create the iconic soft-attack violin articulation.

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