Moore never divulged what he used for the chorus effect on this song, but during the Eighties his rig included various Boss and Ibanez chorus pedals as well as rack-mounted units like an Alesis MidiVerb II and Roland SDD-320 Dimension D. Moore contrasted the fat, sustaining tones of the main melodic line and solos with a very clean tone on the rhythm parts highlighted by a subtle chorus effect. By boosting the midrange with the pedal’s EQ as well as at the amp and playing mostly through the Les Paul’s neck pickup, Moore achieved a gloriously thick, singing tone reminiscent of Clapton’s Cream-era 'woman tone.' The JTM45 was dialed to a clean setting, and the Guv’nor pedal was the sole source of the tone’s distortion. To achieve the high-gain overdrive and sustain he desired, Moore relied upon Marshall’s newly introduced The Guv’nor distortion pedal, which was the company’s stomp box interpretation of a JCM800 amp.
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