Now there are a lot of steps Scholz took to make that sound, so I’m only showing you a very basic method, but it does the trick just fine. You’ll want a Les Paul to do this; singlecoil pickups just don’t have the meat to make this work.

Now what you’ve got to do is set up your signal chain as such:

Start with a big heavy tube overdrive amp, like a Marshall Plexi (‘cause legend has it that’s what Scholz used).

That amp should be mic’d and the signal fed into a 6-band equalizer pedal.

Then that signal should run to another amp, which sounds best on an overdrive channel at lower gain. This amp should be the most powerful in the chain since it’s the end of the line. Crank the volume and go play a show.

Now it HAS to be in that order. Don't run the first amp direct. The key to the sound is having the first cabinet near the beginning of the signal chain. That cab shapes the mids just right for the EQ pedal to finish the job.

Now Scholz had some other steps in there like a compressor, a chorus sort of thing, a pre-distortion equalizer, but like I said, this is the basics. You can take it and run with it.

Here's a step-by-step video demonstrating the process

Now the reason I’m sure this is the way Scholz did it is because of the EQ pedal. The only other way I was able to get close to the Boston sound was hacking away at a 31-band EQ for HOURS and still could never quite get it dialed in. The character was never there. If the 6-band does the trick using the exact same settings that Scholz used, it stands to reason that he used the double cabinets as well. No other combination that I’ve ever tried really worked.

I look at it scientifically: For A, B and C to all equal 100%, when we already know the value of B (the pedal), A and C have to be just right too in order to get the desired result.

For simplicity's sake, all the modern toys like cab sims and stuff make this recipe much less of a hassle than back in the 70s.

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