When you sleep amp settings — Laney LH50
The My Bloody valentine guitar tone for “When you sleep”, dialed in for a Laney LH50 with a Epiphone Les Paul Standard 60s. Studio version, Loveless (1991)
Fender Jazzmaster (rhythm circuit/neck pickup), Sola Sound Tonebender fuzz, Fender Twin Reverb / Sound City 120 (clean), heavy studio compression, plate reverb
| Knob | Setting (0–10) |
|---|---|
| Gain | 2 |
| Bass | 6 |
| Mid | 6 |
| Treble | 4 |
| Presence | 3 |
| Reverb | 3 |
| Master | 5 |
01Fuzz (Tonebender-style clone — EHX Green Russian Big Muff or EQD Hizumitas)
RECOMMENDED — not currently owned. A mid-forward fuzz is essential; Big Muff variants work but Tonebender clones are closer. This is the ENTIRE gain source.
02Compressor (Keeley Compressor Plus or Boss CS-3)
RECOMMENDED — not currently owned. Placed AFTER fuzz to clamp the sustain bloom. Medium-slow attack lets pitch information through before compression engages.
03Reverb (plate-style — EHX Holy Grail or TC Hall of Fame)
RECOMMENDED — not currently owned. Short-to-medium plate reverb (1.5-3 seconds). The compression provides sustain, not the reverb tail.
Your Laney LH50 is a British-voiced tube head with more natural midrange presence than Shields' clean Fender/Sound City platform. I've set gain at 2 to keep it completely clean — the fuzz pedal must be your only saturation source. Treble dropped to 4 and presence to 3 because the Laney's EL34 power section adds upper-mid bite that Shields' 6L6 Fender amps lack. Your Les Paul humbuckers are hotter and darker than his Jazzmaster single coils, so the rolled-back tone knob at 6 compensates for missing that jangly top-end while the neck pickup approximates his rhythm circuit's thick character.
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These settings are for a Laney LH50. ToneAdapt matches any song to whatever amp, guitar and pedals you own — first match is free.
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