Tone library / Pink Floyd / Another Brick In the Wall, Pt. 2

Another Brick In the Wall, Pt. 2 amp settings — Marshall Code 50

The Pink Floyd guitar tone for “Another Brick In the Wall, Pt. 2”, dialed in for a Marshall Code 50 with a Epiphone Slash Les Paul Standard. Studio version, The Wall (1979) — focusing on the iconic solo tone

Original rig

1955 Gibson Les Paul Goldtop (P-90s) → Big Muff Pi → MXR Phase 90 → Alembic F-2B preamp → Hiwatt DR103 → WEM cabs with Fane Crescendos

Thick, sustained fuzz with slow swirling phase; vocal midrange singing quality with compressed sustain

Amp settings — Marshall Code 50

CHANNELJTM45 model (cleanest Marshall voicing available)BRIGHToffBOOSToff

Knob	Setting (0–10)
Gain	2
Bass	4
Mid	6
Treble	5
Presence	4
Reverb	2
Master	7

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Guitar

PICKUPbridge TONE7 VOLUME10

Signal chain

01Big Muff (Code 50 built-in 'Muff Fuzz' effect)

Use the Muff Fuzz model in the Code's pre-effects section; this is your primary gain source

Sustain 7 · Tone 3 · Level 6

02Phaser (Code 50 built-in)

Use the Phase 90 model in modulation section; set SLOW — Gilmour's Phase 90 was around 11 o'clock (roughly 10-15% rate)

Rate 2 · Depth 4

Why these settings

Gilmour used P-90s which are brighter and grittier than your Slash's Alnico II humbuckers — your pickups are warmer with more low-mid mass. Compensate by rolling tone knob to 7 (cuts some top-end mud the humbuckers add to fuzz) and keeping amp treble moderate at 5. The Code's JTM45 model is the closest to Hiwatt's clean headroom; amp gain stays at 2 because the Muff Fuzz effect provides all the saturation — stacking amp gain would destroy note definition.

PRO TIPGilmour's solo sustain came from playing LOUD and letting the Big Muff feed back controllably. On the Code at bedroom volume, compensate by adding the built-in compressor before the Muff (threshold 6, ratio 4) to extend note bloom.

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