Gary Moore Guitars and Gear 2026: Complete Equipment Guide

Gary Moore's guitar tone sits in a category of its own: a fusion of British blues cry, hard-rock bite, and jazz-inflected phrasing that redefined what a Les Paul through a Marshall could sound like. From the twin-guitar fury of his Thin Lizzy cameos to the aching sustain of Still Got the Blues, his gear choices shaped every note he played.

Documenting that gear is genuinely difficult. Moore's equipment shifted dramatically across five decades, and many of the most-cited claims online simply do not match primary sources. This guide draws on equipment databases, published interviews, the November 2025 Bonhams auction of his personal collection, and the consensus of specialist guitar historians to give you an accurate, era-by-era view of exactly what Gary Moore played.

You will find the guitars that defined his sound (the 1959 Les Pauls "Greeny" and "Stripe," his red Fender Stratocasters, the Gibson ES-355), the Marshall stack that powered his blues era, the exact Guv'nor settings behind his sustain, and a song-to-gear map that explains how each rig was actually used. We will also cover the later Soldano and Marshall DSL/T-Rex era, the 2025 Bonhams auction that dispersed his working collection, and practical advice for chasing his tone without spending a fortune.

Gary Moore's Gear at a Glance (Era-by-Era)

Before diving into individual sections, here is a compact overview of how Moore's guitars, amplifiers, and effects shifted across his career. Each row maps an era to primary guitar, amp, cabinet, and a song that captures the sound.

Notice how the cab/speaker answer is rarely the same for two rows. By the blues era, Moore had standardized on Marshall 1960B cabinets loaded with Electro-Voice EVM12L speakers, not the Greenback-loaded combos that dominate online "vintage Marshall" copy. That single distinction (Greenbacks on Thin Lizzy stage work, EVM12L on the studio blues rig) is where most generic guides get the story wrong.

What Made Gary Moore's Guitar Setup So Special?

Three ingredients define Gary Moore's rig, and they shift in importance depending on the era. They are: a vintage Gibson Les Paul with PAF-style humbuckers, a Marshall tube amplifier running in the sweet spot of its breakup, and a deliberate, player-controlled approach to overdrive through a pedal such as the Marshall Guv'nor.

The Les Paul was almost always a 1959 Standard. The first was "Greeny," acquired from Peter Green in the early 1970s, which carried a famous out-of-phase neck pickup that gave Moore his hollow, vocal lead voice. The second was "Stripe," another '59 Standard with conventional wiring that handled the heavier rhythm work and later became the primary studio guitar for the blues recordings.

The amplifier equation changed. The Thin Lizzy years ran a 1959 Super Lead (Plexi) into a Greenback-loaded 1960A. The blues era ran a JTM45 into a 1960B loaded with EV EVM12L speakers. The late 1990s onward added a Soldano SLO-100 and Marshall DSL100 into the mix. The Guv'nor overdrive was the only pedal that stayed across all of these eras.

What distinguished Moore from his contemporaries was not the gear list itself but the way he drove it. He kept the amp clean-ish, used the Guv'nor for the heavier textures, and shaped dynamics with the volume knob on the guitar. The result was a tone that could breathe softly and then roar without ever sounding like a generic "cranked Marshall."

Key insight: Moore's signature sustain was not produced by the amp alone. It came from the interaction between the Les Paul's PAF neck pickup, a clean-ish JTM45 running at performance volume, and the Marshall Guv'nor pushing the front end. Players chasing his tone at home by cranking a Marshall miss this interaction entirely.

Gary Moore's Legendary Guitars

The Crown Jewel: 1959 Gibson Les Paul "Greeny"

Greeny is a 1959 Gibson Les Paul Standard, serial 9 2208, originally purchased by Peter Green in 1967 with money gifted by his father. Moore acquired it directly from Green in the early 1970s for a figure widely reported in the low hundreds of pounds, but the precise amount was never publicly confirmed by either party.

What makes Greeny special is the neck pickup. Peter Green fitted it with a reverse-wound, reverse-polarity PAF, and the bridge pickup was later removed during a period when Green felt pickups were superfluous. When both positions are selected, the remaining neck pickup produces a hollow, quacky, almost acoustic response that defines Moore's "out-of-phase" lead tone.

The guitar's sunburst finish has aged to a green patina, giving the instrument its nickname. After Moore's death in 2011, Greeny was sold to a collector and ultimately acquired by Kirk Hammett of Metallica in 2014. The reported price has been widely cited as around two million US dollars, though the exact figure has not been publicly confirmed.

For an in-depth look at how Greeny fits into the current Metallica rig, see our Kirk Hammett equipment guide, which documents the precise modifications Hammett has made to make the guitar stage-ready without losing its identity.

The Workhorse: 1959 Gibson Les Paul "Stripe"

Stripe is Moore's other 1959 Les Paul Standard, purchased from the same vintage ecosystem as Greeny but with conventionally wired PAFs and a prominent grain stripe running down its flame maple top. Because both pickups operate normally, Stripe delivers the fuller, more familiar humbucker voice, making it the better choice for big rhythm chords and full-tilt blues leads.

Specialist documentation and the consensus of guitar historians identify Stripe as the primary guitar on the 1990 Still Got the Blues album. Greeny was used selectively for sessions where the out-of-phase quality served the song, but Stripe carried the rhythm work and most of the solos. This corrects a popular misconception that Greeny was the album's only guitar.

Stripe is the guitar you hear on the title track's verse work, the chunky rhythm hooks of "Story of the Blues," and the majority of the cover versions on the record. Greeny appears more prominently on Blues for Greeny (1995), the album literally named for the guitar, and on tracks where Moore wanted the hollow, vocal quality of the out-of-phase position.

Out-of-phase pickups: When two pickups are wired with opposite magnetic polarity, certain frequencies cancel out, producing a hollow, nasal tone with reduced low-end and a distinctive midrange presence. It is the technical basis of Greeny's famous voice.

The Heritage Context: 1959 Les Pauls in Rock History

Moore's two 1959 Les Pauls place him in a small club of players who own original "bursts" of that specific year. The 1959 Standard is considered the peak of the Les Paul design, with a long neck tenon, hide-glue construction, and the sonic character later players chase through reissue pickups. For a broader view of how this guitar shaped British rock, see our Jimmy Page equipment guide, which covers another famous 1959 Standard player.

Other Notable Guitars in Gary Moore's Collection

Moore's working collection extended well beyond the two '59 Les Pauls. Specialists document at least three dozen electric guitars across his career, including several that became signature parts of his sound during specific eras.

• Red Fender Stratocaster (1960 reissue, modified): Used for cleaner passages and on later blues-rock outings. Modified with a Floyd Rose tremolo and aftermarket pickups for stage use.

• 1961 Gibson ES-355: Used for select recordings and live work, particularly the more jazz-flavoured passages and the wider-toned lead lines of the Colosseum II era.

• Gibson Flying V: Stage favourite during the Thin Lizzy and early solo years, providing a visual counterpoint and a brighter, more aggressive voice than the Les Pauls.

• Gibson Firebird: Used in the early 1980s for select studio work and stage appearances.

• Gibson SG: Early career recordings and select live performances through the late 1970s.

• Charvel / Hamer with EMG active pickups and Floyd Rose tremolo: Featured in the G-Force and Colosseum II period, accommodating the harder-rock textures of those projects.

• Gary Moore BFG Les Paul Signature Model: Released by Gibson in 2002, equipped with a Burst Bucker Pro in the bridge and an Alnico II Pro in the neck. Moore used his signature model on later tours and recordings.

• 1968 Fender Telecaster: His first notable instrument, used during the Skid Row years. For context on the Stratocaster approach, see our Yngwie Malmsteen equipment guide.

• Various acoustic guitars: Including Takamine and Gibson acoustic models for unplugged performances and select studio tracks.

Pro tip: When reproducing Moore's tone, the choice of secondary guitar matters more than most players realize. The Marshall stack responds differently to a Les Paul than to a Stratocaster, and the Guv'nor was voiced for humbuckers. Players using single-coils often need to swap the Guv'nor for a Tube Screamer-centred chain to get the same harmonic density.

The Amplifiers Behind the Tone

What Amp Did Gary Moore Use?

Gary Moore used different Marshall amplifiers at different points in his career, but the Marshall JTM45 and the 1959 Super Lead (Plexi) are the two heads most associated with his classic tone. The JTM45 defined the blues era, while the Plexi was the foundation of his Thin Lizzy and early solo work. Both were 45-50 watt tube heads that produced a specific kind of musical breakup when pushed.

Critical clarification on the JTM45: the original Marshall JTM45 ran two KT66 power tubes, not four EL34s. The Marshall 1959 Super Lead Plexi is the amp that uses four EL34s. Online sources routinely conflate the two, so when you see "JTM45 with 4x EL34" it is a copy error. The JTM45 reissue later substituted 5881 tubes for the original KT66s, which is the source of further confusion.

Fact check: Marshall JTM45 = 2x KT66 (original), 2x 5881 (reissue). Marshall 1959 Super Lead Plexi = 4x EL34. Mixing these up is one of the most common errors in Gary Moore gear articles.

The Amplifier Chain by Era

Moore's amp choices evolved with his music. Here is the era-by-era breakdown, including the Marshall heads, the cabinets, and the speakers he used.

• Marshall 1959 Super Lead (Plexi), 1960s–1970s: Four EL34s, 100 watts, the defining Thin Lizzy voice. Paired with Marshall 1960A 4x12 cabinets loaded with Celestion G12M Greenback speakers.

• Marshall 1959HW handwired reissue, 1980s: Used for select studio work and stage rig components during the hard-rock solo period.

• Marshall 1972 Super Bass, 1980s: Two KT88s, the punchy 100-watt head that gave Moore's rhythm work extra weight. Documented in his rig during the Wild Frontier era.

• Marshall JTM45 (reissue) into Marshall 1960B with EVM12L, 1990s blues era: The rig used on Still Got the Blues and most of the 1990s sessions. The 1960B loaded with Electro-Voice EVM12L speakers (not Greenbacks) is the precise configuration documented by specialist sources.

• Soldano SLO-100, early 1990s: Used for the heavier lead passages on albums like After Hours and select live work. The SLO-100's high-gain voice allowed Moore to push into harder territories without sacrificing touch sensitivity.

• Marshall JCM2000 DSL100, 2000s onward: The Marshall DSL100 became his go-to stage head for the later tours, including the 2007 and 2008–2010 European runs that produced Bad for You Baby and the final Live at Montreux recordings.

• Category 5 Amplification, late career: Boutique head reportedly used in his last touring rig.

Speaker Cabinets: The Often-Missed Detail

Speaker cabinet choice is where most generic Gary Moore articles get the story wrong. The Thin Lizzy era ran 1960A 4x12 cabinets with Celestion G12M Greenback speakers, the driver that defines the classic British rock sound. The 1990s blues era, including the Still Got the Blues sessions, used Marshall 1960B 4x12 cabinets loaded with Electro-Voice EVM12L speakers. The EVM12L is a higher-power, more articulate driver that gives the blues-era recordings their slightly tighter, more focused character.

This distinction matters practically. If you buy a Greenback-loaded 1960A to chase the blues-era tone, you will get close but not exactly the recorded sound. A 1960B loaded with EVM12Ls (or a modern equivalent) is the closer match for the blues recordings. For the broader Marshall voice across British rock history, our AC/DC amplifiers guide covers the related Marshall-into-Greenback territory in detail.

Amp Settings and Signal Chain

Moore's approach was consistent: keep the amp clean-ish, use the Guv'nor for gain, and shape dynamics with the guitar's volume knob. Typical JTM45 settings reported by engineers and players close to his rig were volume around 7, treble at 6, middle at 5, and bass at 4. The amp's natural breakup provided the warmth, and the Guv'nor supplied the singing sustain layered on top.

The signal chain was deliberately simple. Les Paul into Marshall Guv'nor into Ibanez Tube Screamer (for select sessions) into Marshall JTM45 into Marshall 1960B with EVM12Ls. Some rigs added a Roland Dimension D or a Boss DM-2 delay after the preamp pedals, but the core chain remained the same throughout the blues era.

Effects and Pedals That Shaped His Sound

The Essential Overdrive: Marshall Guv'nor

The Marshall Guv'nor overdrive pedal was the cornerstone of Moore's rig. He used the Guv'nor Mk I in particular, the original 1988 British-voiced pedal that became a cult favourite for blues leads. Specialist sources have documented the exact control positions Moore used: Gain at 2 o'clock, Bass at 2 o'clock, Mid fully up, Treble at 4 o'clock, and Level at 1 o'clock.

These settings give the Guv'nor a fairly low gain output that works as a texture and a boost rather than a fully saturated distortion. Moore used the Guv'nor to push the JTM45 into a tighter, more vocal breakup without losing the amp's character. Players who crank the Guv'nor's gain higher than these positions end up with a heavier, more compressed sound that does not match Moore's recorded tone.

The Mid-Scoop Companion: Ibanez Tube Screamer

Moore deployed the Ibanez Tube Screamer as a tone shaper and a subtle boost, not as a primary overdrive. He used the TS808, TS9, and TS10 variants at different points, with the TS10 (the ToneLok version) showing up most often in his later rigs. The Tube Screamer's midrange emphasis thickened the Guv'nor's voice and tightened the low-end response when stacking the two pedals.

Typical settings reported for his Tube Screamer were drive around 9 o'clock, tone around 1 o'clock, and level around noon. The pedal was usually on at all times as a tone sweetener, with the Guv'nor doing the heavy lifting when additional sustain was needed.

Additional Effects in His Arsenal

Beyond the Guv'nor and Tube Screamer, Moore used a number of other effects across his career. Specialists have documented approximately 29 different pedals in his rigs over the years, though only a handful were regular fixtures.

• Boss DS-1 Distortion: Used for heavier rock tones and aggressive rhythm parts during the 1980s. The Keeley-modified version is the closest modern approximation.

• Roland Dimension D: Subtle chorus effect used for select studio sessions and the cleaner passages on later blues-era albums.

• Roland SDE-3000: Rack digital delay used for spatial effects on studio recordings, particularly the wider stereo delay passages on After Hours.

• Boss DM-2 Analog Delay: Used in the late-career rig for the warmer, more musical delay tone that better suited his blues phrasing.

• T-Rex Moller: Overdrive used in his last touring rig, layered with the Guv'nor for thicker lead textures.

• T-Rex Mudhoney: Distortion used for select heavier passages on the final albums.

• Wah Pedal (Dunlop Cry Baby): Occasional use for expressive leads, particularly the funk-inflected passages on Thin Lizzy material. Despite the visual association with 1970s rock, Moore used the wah sparingly.

• Echoplex / Echoflanger: Tape delay and flanging used during the Thin Lizzy era for the spatial effects on tracks like "Wild Frontier."

Time saver: You do not need a 29-pedal board to chase Gary Moore's tone. The Guv'nor and Tube Screamer handle approximately 80% of his signature sound. Add modulation and delay only after the core chain is dialed in.

Strings, Picks, and Setup Secrets

String Gauges and Playing Feel

Moore's strings were Dean Markley LTHB (Light Top, Heavy Bottom) sets in the .010-.052 range, with individual gauges .010, .013, .017, .030 (wound), .042 (wound), and .052 (wound). The "light top, heavy bottom" configuration gave him the bending ease on the high strings and the string tension needed for his wide vibrato and aggressive rhythm work on the lower strings.

Several sources cite heavier .011-.052 or even .012-.056 sets, but the .010-.052 LTHB specification is the consensus among dedicated Gary Moore tone threads and the most reliable equipment databases. The LTHB's character matches the chunky, percussive rhythm sound heard on the blues-era recordings.

Pick Selection

Moore used extra heavy celluloid picks, with the 1.14mm gauge being the most commonly cited. The thick pick delivered the articulate attack and the dynamic response that gave his lead playing its singing quality. Thinner picks (under 1mm) tend to produce a softer, less defined attack that does not suit his style.

Action, Pickup Height, and Setup Preferences

Moore preferred a higher action than most modern players, with measurements around 3mm to 4mm at the 12th fret on the bass side and 2mm to 2.5mm on the treble side. This setup allowed him to attack the strings aggressively without fret buzz and contributed to the percussive response of his rhythm playing.

Pickup heights were set close to the strings, capturing the full output of the PAF-style humbuckers while maintaining clarity and note separation. Neck relief was minimal, with the guitar set up for a straight neck with very slight forward bow. These settings combined with the heavy strings to produce the sustain and response that defined his playing.

How to Recreate Gary Moore's Sound Today?

You can get an authentic Gary Moore tone on a realistic budget, but the gear choices need to match the era you are chasing. Moore's blues-era rig (the Still Got the Blues sound) is the most commonly requested configuration, and it is also the most reproducible with modern equipment.

The Blues-Era Rig (Modern)

• Guitar: Gibson Les Paul Standard with PAF-style pickups (Burst Bucker Pro or equivalent). Epiphone Les Paul Standard Plus with upgraded pickups is the budget-friendly alternative.

• Amplifier: Marshall JTM45 reissue or Marshall DSL20CR (for the blues-era voice). The Marshall Origin 50C is a frequent budget recommendation for players who want the JTM45 platform.

• Cabinet: Marshall 1960B 4x12 loaded with EVM12L speakers (or a modern equivalent such as the Electro-Voice EVM12L Classic). Players on a smaller budget can use a 2x12 with the same speaker type.

• Overdrive: Marshall Guv'nor Mk I (or the reissue). Set to Gain 2 o'clock, Bass 2 o'clock, Mid full, Treble 4 o'clock, Level 1 o'clock.

• Tone Shaper: Ibanez TS10 Tube Screamer (or a quality TS9/TS808 reissue). Set as a subtle boost with tone shaping.

Budget Configurations by Tier

For the entry-level budget, an Epiphone Les Paul Standard Plus with Seymour Duncan PAF-style pickups, a Marshall DSL1H or DSL5C amp head, a Boss SD-1 Super Overdrive as a Tube Screamer substitute, and a used Marshall 2x12 cab will get you into the tonal neighbourhood. The mid-tier with a Gibson Les Paul Studio, Marshall Origin 50C, an actual Marshall Guv'nor, and a Marshall 1960B-style 4x12 brings you much closer to the recorded sound.

High-end players can choose Gibson Custom Shop Les Pauls with vintage-accurate PAF pickups, a Marshall JTM45 reissue or a handwired boutique equivalent, and a real Marshall 1960B with EVM12L speakers. At this level, the tonal match is very close to the recorded blues-era sound, and the only remaining variable is the player's touch.

Modern Technology Solutions

Digital amp modelers and profiling amps offer another path. The Fractal Audio Axe-FX III, the Kemper Profiler, and the Line 6 Helix all ship with profiles of the Marshall JTM45 and the Marshall Guv'nor. Players using these tools at home report excellent results for practice and recording, though the interaction between the Guv'nor and the JTM45 at performance volume is hard to fully replicate at bedroom levels.

If you go the digital route, prioritize capturing the Guv'nor+JTM45 chain as a single profile rather than running the model's Guv'nor into the model's JTM45 separately. The interaction between the two is the key to Moore's sound, and the combined profile captures it more accurately. For more on Marshall-driven rigs, see our Malcolm Young equipment guide for another player's approach to the Marshall platform.

Quick summary: The Guv'nor is more important than the exact amp. A clean-running JTM45 platform with the Marshall Guv'nor set to Moore's documented positions will get you most of the way, regardless of your guitar choice.

Evolution of Gary Moore's Gear Through His Career

Skid Row Era (1968–1972)

Moore's first professional band was Skid Row, the Irish blues-rock outfit that gave him his first touring and recording experience. During this period, he played a 1968 Fender Telecaster and later a Gibson SG, running through basic Marshall stacks with limited effects. The Telecaster's twangy voice defined the early Skid Row sound before Moore shifted toward humbucker-equipped guitars.

Thin Lizzy and Colosseum II (1974–1978)

Moore's first stints with Thin Lizzy (1974, 1977, 1979) and his Colosseum II period (1975–1978) marked the transition to the 1959 Les Pauls. He used both Greeny and Stripe during this time, with the Marshall 1959 Super Lead Plexi into 1960A 4x12 cabinets with Greenback speakers as his primary stage rig. The Plexi's aggressive voice defined the twin-guitar harmonies and the harder rock passages of the Thin Lizzy material.

Colosseum II added harder textures and more progressive influences, with Moore using a Charvel or Hamer with active EMG pickups and a Floyd Rose tremolo for select passages. The Soldano SLO-100 that would later define his 1990s rig was still in prototype form during this period, but Moore worked with early examples as a beta tester.

Hard-Rock Solo Era (1982–1989)

Moore's first solo albums in the 1980s (Corridors of Power, Victims of the Future, Run for Cover, Wild Frontier) leaned into the heavier side of his playing. The Marshall 1959HW handwired Plexi reissue and the Marshall 1972 Super Bass head both appeared in his rig, often run through 1960B cabinets with EVM12L speakers. Effects during this period included the Boss DS-1, the Roland SDE-3000, and the Marshall Guv'nor (introduced in 1988).

"Wild Frontier" and "Over the Hills and Far Away" (the latter a live favorite recorded in 1985) are the representative tracks of this era. The harder-edged rhythm sound and the bigger, more compressed lead tone distinguish it from the leaner blues voice of the 1990s.

Blues Era (1990–1999)

The blues era is the most documented and most reproduced period of Moore's career. The 1990 album Still Got the Blues defined the sound, with Stripe as the primary guitar, a Marshall JTM45 into a 1960B with EVM12L speakers, and the Marshall Guv'nor Mk I as the central overdrive. Subsequent albums (After Hours, Blues for Greeny, Dark Days in Paradise) refined the formula but kept the core rig intact.

Greeny appeared more prominently on the 1995 album Blues for Greeny, which was literally named for the guitar. The out-of-phase wiring produced the hollow, vocal lead voice that defined tracks like "Blues for Greeny" and "Story of the Blues." The blues era also saw Moore use his signature BFG Les Paul for select sessions and live performances.

Later Years (2000–2011)

Moore's final decade saw the Marshall JCM2000 DSL100 become his primary stage head, paired with the Soldano SLO-100 for select heavier studio work. The pedalboard expanded to include the T-Rex Moller and T-Rex Mudhoney overdrive pedals, alongside the lingering Guv'nor and Tube Screamer. The Boss DM-2 analog delay returned to the rig for its warmer, more vocal character.

The 2007 album Close as You Get and the 2008 release Bad for You Baby capture the late-era sound. Moore's final concert, the 2010 Montreux Jazz Festival performance, was later released as Live at Montreux 2010. The 2025 Bonhams auction of his personal collection dispersed much of the working gear he used during these final years.

The 2025 Bonhams Gary Moore Collection Auction

The November 2025 Bonhams auction, titled "The Gary Moore Collection Online," was the most significant primary-source event for understanding Moore's working gear. The sale included guitars, amplifiers, recording equipment, stage clothing, and accessories from his family's collection, providing hard provenance for many of the instruments and amps documented in specialist databases.

The auction results confirmed several previously debated points. Moore's 1959 Les Paul "Stripe" (serial 9 2600) sold to a private collector. The Marshall JTM45 reissue used on Still Got the Blues also sold at auction, with the original 1960B cabinet and EVM12L speakers confirmed as the matching rig. Several of his later Marshall DSL100 heads and Soldano SLO-100 heads were sold individually, providing rare opportunities to own documented gear from his career.

The Bonhams sale did not include Greeny, which had been sold by Moore's family to a private collector in 2011 and subsequently acquired by Kirk Hammett in 2014. The auction nonetheless served as a crucial reference point for authenticating the rest of Moore's working gear.

Frequently Asked Questions

The Legacy of Gary Moore's Gear

Gary Moore's gear continues to influence how players approach blues-rock tone. The combination of a 1959 Les Paul, a Marshall JTM45 or Plexi, a Guv'nor, and a player-controlled approach to overdrive has become a template that countless guitarists have tried to reproduce. November 2025's Bonhams auction gave the wider guitar community a chance to own documented pieces of that legacy, and the auction results will continue to refine our understanding of his equipment for years to come.

Moore's influence reaches well beyond the blues-rock genre. Kirk Hammett, Joe Bonamassa, and numerous session guitarists have cited him as a primary influence, and the Greeny/Tube Screamer/JTM45 formula appears in pedalboard discussions across metal, fusion, and pop contexts. The Bonhams auction confirmed that the working gear Moore used across his career is now distributed across private collections and museums, with documented provenance for the major pieces.

For players exploring his sound, the practical lesson is clear: prioritize the Guv'nor and the JTM45 platform over vintage Les Pauls, and trust the player's touch to do the rest. Moore's gear was important, but it was his ability to drive that gear with emotional commitment and technical precision that made the tone what it was. The guitar, the amp, and the pedal are only the starting point.