Radiohead
Creep guitar tone settings.
Pablo Honey · 1992 · Alternative
Explore Creep by Radiohead: guitar parts, an example rig, amp settings and playing tips. Adapt the reference to your own supported gear with Amper.
Artwork unavailableClean verse
Soft, clear picked chords.
In your hands
Keep the arpeggios even and the upper strings audible.
Evidence and sources
Producers Slade and Kolderie describe distinct guitar roles and an additional take of the guitar noise before the choruses. They identify guitar, pedal and amp, but not exact models in this account. These settings approximate the dynamic contrast. Amper's pickup, effect choices and normalized 0–10 targets are suggested recreations unless specifically attributed above. Numeric settings are not documented artist settings. Listening validation is pending.
An authored example rig, not your matched settings or a documented artist preset.
guitar · Fender
Player II Telecaster
Pickup selectorWhy this setting?
Suggested pickup position for this part; a tonal choice, not a claim about the original session.
VolumeWhy this setting?
Suggested volume position for this part. Compare at equal listening volume and adjust by ear.
Normalized 0-10 knob travel; not printed panel numbers
ToneWhy this setting?
Suggested tone position for this part. Compare at equal listening volume and adjust by ear.
Normalized 0-10 knob travel; not printed panel numbers
pedal · BOSS
RV-6 Reverb
E.LevelWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Reverb output amount.
ToneWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Reverb tone; algorithm-dependent.
TimeWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Reverb duration; algorithm-dependent.
ModeWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Effect footswitchWhy this setting?
Engage this selected pedal for this section; match the bypassed loudness.
Use INPUT A and OUTPUT A for normal mono dry-plus-reverb sound. Do not use Input B alone, which produces wet-only output.
amp · Fender
Champion 40
CH SelectWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Volume 1Why this setting?
Start with output at minimum, then raise toward this low starting position to suit your room; knob position is not loudness.
Normalized knob travel 0-10. Clean channel output.
TrebleWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Treble EQ.
BassWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Bass EQ.
FX LevelWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Selected effect amount.
FX SelectWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Choose the indicated voice and effect labels on the panel. FX Level controls the combined effect mix; this plan chooses one available effect or documented combination.
Know the limits
- Editorial recreation; these settings have not been listening-tested on your setup.
- Champion 40 lacks separate middle controls; the target EQ cannot be matched independently.
- Pickup output, speakers, room, and studio layering remain differences; the numeric mapping is not an acoustic calibration.
- Hall is an editorial ambience choice; exact recorded reverb type and decay are not stored.
- Champion effect timing and mix are approximate starting points; its single FX selector cannot provide every requested effect simultaneously.
These are Amper recreation settings, not the artist’s exact knob positions. The example rig translates this named part’s stored gain, EQ, pickup and effect targets into verified hardware controls. Producers Slade and Kolderie describe distinct guitar roles and an additional take of the guitar noise before the choruses. They identify guitar, pedal and amp, but not exact models in this account. These settings approximate the dynamic contrast. Amper's pickup, effect choices and normalized 0–10 targets are suggested recreations unless specifically attributed above. Numeric settings are not documented artist settings. Listening validation is pending.
Distorted chorus — reference settings and playing tips
Distorted chorus
Hard-edged chord drive after the quiet verse.
In your hands
Use decisive attacks and mute before the loud entrance.
Evidence and sources
Producers Slade and Kolderie describe distinct guitar roles and an additional take of the guitar noise before the choruses. They identify guitar, pedal and amp, but not exact models in this account. These settings approximate the dynamic contrast. Amper's pickup, effect choices and normalized 0–10 targets are suggested recreations unless specifically attributed above. Numeric settings are not documented artist settings. Listening validation is pending.
An authored example rig, not your matched settings or a documented artist preset.
guitar · Fender
Player II Telecaster
Pickup selectorWhy this setting?
Suggested pickup position for this part; a tonal choice, not a claim about the original session.
VolumeWhy this setting?
Suggested volume position for this part. Compare at equal listening volume and adjust by ear.
Normalized 0-10 knob travel; not printed panel numbers
ToneWhy this setting?
Suggested tone position for this part. Compare at equal listening volume and adjust by ear.
Normalized 0-10 knob travel; not printed panel numbers
amp · VOX
AC15C1
Master volumeWhy this setting?
Start with output at minimum, then raise toward this low starting position to suit your room; knob position is not loudness.
Normalized knob travel 0-10. Overall output.
Tone CutWhy this setting?
Clockwise removes treble. A brighter target uses less Tone Cut; this is not a treble-boost control.
Normalized knob travel 0-10. Clockwise removes high frequencies; not a treble boost.
Tremolo depthWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Modulation intensity.
Tremolo speedWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Modulation rate.
Reverb levelWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Reverb mix.
Top Boost bassWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Interactive low EQ.
Top Boost trebleWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Interactive high EQ.
Top Boost volumeWhy this setting?
Editorial starting point, not a measured reproduction. Compare at equal listening volume and adjust by ear.
Normalized knob travel 0-10. Top Boost preamp drive.
Plug into the Top Boost input. There is no channel-selection switch. Top Boost Volume sets preamp drive; Master controls room output. If a footswitch is connected, enable reverb/tremolo only when the plan uses them.
Know the limits
- Editorial recreation; these settings have not been listening-tested on your setup.
- AC15C1 lacks separate middle controls; the target EQ cannot be matched independently.
- Pickup output, speakers, room, and studio layering remain differences; the numeric mapping is not an acoustic calibration.
- AC15C1 does not provide a modern high-gain channel. For heavy saturation, use an appropriate selected drive pedal; preamp gain alone may not reach the reference.
These are Amper recreation settings, not the artist’s exact knob positions. The example rig translates this named part’s stored gain, EQ, pickup and effect targets into verified hardware controls. Producers Slade and Kolderie describe distinct guitar roles and an additional take of the guitar noise before the choruses. They identify guitar, pedal and amp, but not exact models in this account. These settings approximate the dynamic contrast. Amper's pickup, effect choices and normalized 0–10 targets are suggested recreations unless specifically attributed above. Numeric settings are not documented artist settings. Listening validation is pending.