Dogs amp settings — First Act MA155

The Pink Floyd guitar tone for “Dogs”, dialed in for a First Act MA155 with a Spectrum AIL-95. Studio version, Animals (1977) — lead/solo sections with Big Muff fuzz and Electric Mistress modulation

Original rig

Fender Telecaster Custom (bridge pickup) → EH Ram's Head Big Muff Pi → Colorsound Power Boost → EH Electric Mistress → Hiwatt DR103 100W (clean, loud) → WEM 4x12 + Yamaha RA-200 rotating speaker

Massive, singing fuzz sustain with swirling modulation — earpiercing highs on dry sections, lush chorus-like movement on wet sections

Amp settings — First Act MA155

BOOSToff

Knob	Setting (0–10)
Gain	2
Bass	5
Treble	5
Reverb	0
Master	6

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Guitar

PICKUPbridge TONE8 VOLUME10

Signal chain

01NUX MG-300 MK-2 — Big Muff / Fuzz block

Use the 'US Muff' or 'Muff Fuzz' model if available — this is your primary gain source; amp stays clean

Gain/Sustain 7 · Tone 5 · Level 6

02NUX MG-300 MK-2 — Chorus/Flanger block (Electric Mistress substitute)

Use a Flanger or Chorus model with slow rate and medium depth for the swirling character — engage for verse/ambient sections, bypass for raw dry solos

Rate 3 · Depth 4 · Mix 5

03NUX MG-300 MK-2 — Delay block

Set delay time around 370ms — use a digital or analog delay model for the repeating trails that define the song's atmosphere

Time 5 · Feedback 4 · Mix 4

Why these settings

The First Act MA155 is a small solid-state practice amp with limited headroom and no mid control — it cannot replicate the Hiwatt's massive clean platform, so all gain must come from your MG-300's fuzz block. Amp gain stays at 2 to keep it as clean as possible; the MG-300 fuzz does all the heavy lifting. Bass and treble at noon keep the amp neutral so the fuzz's EQ character comes through. The Hiwatt's mid-forward clarity is lost here, but the fuzz sustain and modulation swirl will translate.

PRO TIPGilmour tuned down one full step (D-G-C-F-A-D) on this track — if your Spectrum can handle it, drop tuning adds the slack and thickness that makes those bends sing. For the solos, dig in hard with the pick near the bridge for that cutting attack, then back off toward the neck for the smoother singing phrases.

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