Tone library / Oasis / Wonderwall (Remastered)

Wonderwall (Remastered) amp settings — Fender Twin Reverb

The Oasis guitar tone for “Wonderwall (Remastered)”, dialed in for a Fender Twin Reverb with a legacy eg 102. Studio version, (What's The Story) Morning Glory? (1995), Remastered

Original rig

Epiphone Riviera semi-hollow → Marshall JCM900, with layered Gibson J-200 acoustics. Capo on 2nd fret, Eb standard tuning.

Bright, jangly, chiming rhythm tone with slight crunch—airy and resonant, sitting behind the acoustic wall
Amp settings — Fender Twin Reverb
CHANNELNormal channel (not Vibrato channel)BRIGHTon
GAIN 3 BASS 4 MID 6 TREBLE 7 PRESENCE 6 REVERB 4 MASTER 5
KnobSetting (0–10)
Gain3
Bass4
Mid6
Treble7
Presence6
Reverb4
Master5
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Guitar
PICKUPneck TONE7 VOLUME10
Signal chain

01Tube Screamer (TS9 or TS808 clone)

RECOMMENDED — not currently owned. The Twin Reverb stays clean at reasonable volumes; a low-gain overdrive adds the light crunch and mid-push that the Marshall provides naturally. Without this, your tone will be too clean and sterile.

Drive 2 · Tone 6 · Level 6
Why these settings

The original Marshall JCM900 is mid-forward with natural bite around 2-3kHz; your Twin Reverb is scooped and glassy with high clean headroom. To compensate: mid pushed to 6 (vs typical Twin settings of 4-5) to recover the Marshall's presence, treble at 7 to capture the jangle without the Twin's ice-pick highs, and the bright switch engaged for shimmer. The Twin will not crunch on its own at sane volumes—the recommended TS-style pedal at low gain replicates the Marshall's edge-of-breakup character.

PRO TIPRoll your tone knob to 7 on the neck pickup to tame the Legacy's single-coil brightness and approximate the semi-hollow's warmer resonance. Strum with a medium pick near the neck pickup for that pillowy, layered Britpop attack—avoid picking over the bridge or you'll lose the airiness.

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These settings are for a Fender Twin Reverb. ToneAdapt matches any song to whatever amp, guitar and pedals you own — first match is free.

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