Comfortabley numb amp settings — Marshall Code 50
The Pink floyd guitar tone for “Comfortabley numb”, dialed in for a Marshall Code 50 with a Jackson JS22 Dinky. Studio version, The Wall (1979) — second solo
Fender Stratocaster with custom EMG-SA pickups (later), Hiwatt DR103 amp, Yamaha RA-200 rotating speaker, Pete Cornish effects board with Big Muff, delay, and compression. Gilmour used neck pickup with tone rolled back for the creamy sustain.
| Knob | Setting (0–10) |
|---|---|
| Gain | 5 |
| Bass | 5 |
| Mid | 7 |
| Treble | 5 |
| Presence | 4 |
| Reverb | 3 |
| Master | 6 |
01Built-in Big Muff model (use Marshall Code's Guvnor or closest fuzz/sustain block)
Enable the amp's built-in fuzz or overdrive effect block — set for smooth sustain, not aggressive buzz
02Built-in Delay (digital or analog model)
Around 380-440ms delay time, moderate repeats for that spacious Gilmour feel
03Built-in Chorus (CE-style or rotary simulation)
Slow swirl — the original used a rotary speaker, chorus approximates it
The Marshall Code's JTM45 model gives you the cleanest, most Hiwatt-adjacent voicing — warmer and less mid-scooped than the modern Marshall models. Mid pushed to 7 compensates for the Jackson's bright humbuckers vs Gilmour's Strat single coils. Gain stays moderate because the sustain comes from the Big Muff effect, not amp saturation. Presence lowered to 4 prevents the Code's digital edge from turning harsh.
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