Tone library / Gary moore / Still got the blues

Still got the blues amp settings — Positive Grid Spark 40

The Gary moore guitar tone for “Still got the blues”, dialed in for a Positive Grid Spark 40 with a Gibson Les Paul Studio. Studio version, Still Got the Blues album (1990) — clean rhythm sections

Original rig

1989 prototype Marshall JTM45 reissue head, Marshall 1960B 4x12 cab (EV speakers), Roland SDD-320 Dimension D chorus, 1959 Gibson Les Paul Standard (neck pickup, vol 5, tone 6)

Warm, lush, and clean with subtle stereo chorus width — full-bodied neck pickup sound with rounded highs and rich low-mids
Amp settings — Positive Grid Spark 40
CHANNELClean amp model (Spark's 'American Clean' or 'Checkmate' closest to JTM45 clean voicing)BRIGHToffBOOSToff
GAIN 2 BASS 4 MID 8 TREBLE 5 PRESENCE 5 REVERB 3 MASTER 6
KnobSetting (0–10)
Gain2
Bass4
Mid8
Treble5
Presence5
Reverb3
Master6
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Guitar
PICKUPneck TONE6 VOLUME5
Signal chain

01Spark Chorus (built-in)

Dimension D-style subtle chorus — no perceivable pitch wobble, just stereo width and lushness. Keep rate very slow and depth low.

Rate 1 · Depth 3 · Mix 4
Why these settings

The Spark's modeling allows you to get close to the JTM45's clean warmth. I pushed mids to 8 (matching Moore's mid-heavy settings) but dropped treble to 5 because the Spark's clean models trend brighter than a real JTM45. The low gain (2) gives slight power-section warmth without breakup. Volume knob at 5 on your Les Paul is critical — Moore used this to stay clean during rhythm sections.

PRO TIPThe magic of this tone is touch dynamics — dig in slightly with your pick for more presence, back off for pillowy sustain. Moore's right-hand control made the same settings breathe differently phrase to phrase. Also, rolling your tone knob to 6 removes the harsh top-end that humbuckers can produce on clean settings, giving you that 'woman tone' roundness.

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These settings are for a Positive Grid Spark 40. ToneAdapt matches any song to whatever amp, guitar and pedals you own — first match is free.

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