Tone library / jhon mayer / gravity

gravity amp settings — Boss Katana 50 MkII

The jhon mayer guitar tone for “gravity”, dialed in for a Boss Katana 50 MkII with a Fender Player Stratocaster. Studio version, Continuum (2006)

Original rig

Fender Custom Shop Stratocaster ('Black1') into Dumble Steel String Singer & Two-Rock Custom Reverb, with Klon Centaur (clean boost), Ibanez TS-10 Tube Screamer, and Way Huge Aqua-Puss analog delay

Warm, scooped-mid edge-of-breakup clean with glassy top-end bloom and subtle analog slapback
Amp settings — Boss Katana 50 MkII
CHANNELClean amp typeBOOSToff
GAIN 4 BASS 5 MID 4 TREBLE 6 REVERB 4 MASTER 5
KnobSetting (0–10)
Gain4
Bass5
Mid4
Treble6
Reverb4
Master5
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Guitar
PICKUPneck+middle TONE9 VOLUME9
Signal chain

01Katana Onboard Booster (Blues Driver / BD-2 model)

Engage Katana built-in Booster set to Blues Drive or Clean Boost to replicate Klon headroom lift

Drive 2 · Tone 5 · Level 7

02Katana Onboard Delay (Analog Delay model)

Simulates Mayer's subtle Way Huge Aqua-Puss (~280ms short ambient slapback)

Time 3 · Feedback 2 · Level 3

03Klon Centaur / Transparent Overdrive

RECOMMENDED — not currently owned

Gain 2 · Treble 5 · Output 7
Why these settings

The Katana 50 MkII Clean channel provides an ideal neutral, high-headroom American tube platform mimicking Mayer's Two-Rock/Dumble foundation. Mids are dialed slightly back to 4 to capture the scooped Strat 'quack', while the onboard analog delay block adds the necessary 3D spatial depth. Note that presence is omitted as the Katana 50 MkII physical faceplate does not feature a presence control. Solo section: increase guitar volume knob to 10 and dig in with your thumb/fingers.

PRO TIPMayer rarely uses a flat pick on the clean chords of 'Gravity'—pluck with the flesh of your thumb and index finger to get a warm, rounded percussive snap on the low strings without harsh single-coil bite.

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These settings are for a Boss Katana 50 MkII. ToneAdapt matches any song to whatever amp, guitar and pedals you own — first match is free.

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