Tone library / Steve vai / For the love of God

For the love of God amp settings — Mooer GE150

The Steve vai guitar tone for “For the love of God”, dialed in for a Mooer GE150 with a Ibanez RG550. Studio version, Passion and Warfare (1990)

Original rig

Ibanez JEM7V (DiMarzio Evolution neck pickup) → Carvin Legacy prototype head → Boss DD-3 Digital Delay (480ms stereo) → plate reverb

Vocal, singing lead with infinite sustain, smooth high-gain, warm mids, long stereo delay trails

Amp settings — Mooer GE150

CHANNELUSA model (Carvin Legacy voicing, closest to original) — if unavailable, use British High Gain or Rectifier model

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

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Guitar

PICKUPneck TONE9 VOLUME10

Signal chain

01Compressor (LA Studio Comp block on GE150)

Subtle, sustains the singing notes without squashing dynamics

Ratio 3 · Level 6

02Chorus (Analog Chorus block on GE150)

Very light — adds shimmer to sustained notes without obvious modulation

Rate 2 · Depth 3 · Mix 2

03Delay (Stereo Ping Pong block on GE150)

480ms delay time (set via tap tempo if available), stereo spread critical for the floating trails

Time 5 · Feedback 4 · Mix 4

04Noise Gate (Gate block on GE150)

Fast attack to kill hiss between phrases without choking sustain

Threshold 4 · Attack 1

Why these settings

Your RG550's Wizard neck and likely V7/V8 humbuckers are close cousins to Vai's JEM — same Ibanez DNA. The GE150's USA model replicates the Carvin Legacy's smooth, singing lead voice. Vai's original was slightly scooped (mid 4.5), but I raised mids to 5 here because the GE150's modeling needs more mid presence to cut through without sounding hollow. Delay mix is critical — 40% wet keeps the trails audible without drowning the attack.

PRO TIPVai plays this almost entirely on the neck pickup with wide, slow finger vibrato and uses his volume knob for swells on the sustained high notes (roll down to 6-7 mid-phrase, swell back to 10). Practice the pinky-grafted whammy bar bends — he never lets go of the bar, using pinky pressure for micro-pitch shifts during sustained notes.

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