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Gary Moore’s legendary blues-rock sound was built on a foundation of iconic guitars, powerful amplifiers, and carefully chosen effects pedals. From his early days with Skid Row through his transformation into a blues virtuoso, Moore’s gear evolution tells the story of an artist constantly refining his tone.
What gear did Gary Moore use? Gary Moore’s equipment centered around two 1959 Gibson Les Paul Standards (‘Greeny’ and ‘Stripe’), Marshall tube amplifiers (especially the JTM45), and minimal effects including the Marshall Guv’nor overdrive pedal, creating his signature blues-rock tone that influenced generations of guitarists.
As a Northern Irish guitarist who traversed from hard rock to blues, Moore’s collection spanned vintage Gibsons, custom Charvels, and experimental instruments like the SynthAxe. His journey from Thin Lizzy to his breakthrough “Still Got the Blues” era showcases how the right combination of vintage gear and modern technology can create timeless tones.
This comprehensive guide explores every significant piece of gear Moore used throughout his career, from his first electric guitars to the amplifiers and effects that shaped his sound across different musical periods.
Gary Moore’s association with 1959 Gibson Les Paul Standards represents some of guitar history’s most legendary instruments. These two burst-finished guitars became the cornerstone of his blues sound and remain among the most desirable vintage guitars ever made.
The story of ‘Greeny’ begins with Fleetwood Mac’s Peter Green, who sold this 1959 Les Paul Standard to Gary Moore in 2026 for just £100. What made this guitar extraordinary was its reversed neck pickup (installed out of phase by a repairman), creating a distinctive, hollow midrange tone that became instantly recognizable.
Moore used Greeny extensively during his early solo career and with Thin Lizzy, most notably on tracks like “Parisienne Walkways.” The guitar’s unique tonal characteristics, combined with Moore’s expressive playing, created some of the most memorable blues-rock recordings of the late 1970s and early 1980s.
In 2026, Moore sold Greeny for approximately $750,000-$1.2 million, a testament to both the guitar’s historical significance and Moore’s own contribution to its legacy. The guitar later passed through several collectors before Metallica’s Kirk Hammett acquired it, continuing its remarkable journey through rock history.
Acquired in 1988 from guitar dealer Phil Harris, the ‘Stripe’ Les Paul (serial #9-2227) became Moore’s primary instrument during his blues period. This 1959 Standard featured a highly figured maple top with distinctive stripe patterns, giving it its nickname.
Moore’s technician Graham Liley helped source this guitar just as Moore was transitioning fully to blues music. The Stripe became the voice of Moore’s 1990 breakthrough album “Still Got the Blues,” featured on every track and subsequent world tours.
Unlike Greeny’s reversed pickup configuration, the Stripe maintained standard PAF-style pickups but delivered equally expressive tones through Moore’s touch and choice of amplifiers. The combination of this guitar with a Marshall JTM45 and Marshall Guv’nor pedal created one of the most iconic blues sounds of the 1990s.
Beyond his legendary Les Pauls, Gary Moore’s guitar collection evolved significantly throughout his career, reflecting his musical journey from rock virtuoso to blues master. Each period brought new instruments that shaped his developing style.
Moore’s early days saw him playing a variety of instruments before settling on his signature Gibsons. During his time with Skid Row, he used a 1962 Fender Stratocaster and a Gibson SG Standard, developing the speed and precision that would become his trademark.
The early 1970s found Moore experimenting with Gibson Firebirds and ES-335 models while developing his voice in the Irish rock scene. These guitars provided the foundation for his transition to the bigger stages with Thin Lizzy in 1978-1979, where he first began acquiring vintage Les Pauls.
Moore’s solo career brought significant changes to his guitar collection. The early 1980s saw him embracing the super-strat movement with custom Charvel and Jackson guitars, often modified with EMG 81 pickups for the high-gain sound of albums like “Corridors of Power.”
One notable instrument from this period was his 1961 Fender Stratocaster in fiesta red, acquired during Greg Lake sessions in 1981. Moore used this Strat for his Jimi Hendrix covers and certain live performances, showcasing his versatility beyond Gibson guitars.
The SynthAxe, an innovative MIDI controller guitar, entered Moore’s rig in the mid-1980s. While only producing around 100 units, this futuristic instrument appeared in the “Out in the Fields” video and represented Moore’s interest in pushing technological boundaries.
Moore’s commitment to blues music brought his guitar collection full circle, focusing primarily on vintage Gibson models. Alongside his two 1959 Les Pauls, he frequently used a 1963 Gibson ES-335 for warmer tones on specific songs and during live performances.
In 2000, Gibson released the Gary Moore Signature Les Paul, produced from 2000-2002. Based on his beloved 1959 Standards, this model featured an amber burst finish, no binding, and BurstBucker pickups (with early prototypes using Tom Holmes pickups). This signature model remains sought after by players seeking Moore’s tone without vintage price tags.
Gary Moore’s amplifier choices were as crucial to his sound as his guitars. His journey through various tube amps reflects his search for the perfect tone, from high-gain rock to smooth blues.
During his early career, Moore primarily used Orange and Marshall amplifiers. The Orange OR200 Matamp head, a 200-watt behemoth, powered his sound during the early 1970s Skid Row era, delivering the thick distortion characteristic of British hard rock.
The transition to Marshall amplifiers began in the mid-1970s, using various JMP models. These amps provided the cleaner foundation that would later pair perfectly with his Les Pauls and effects pedals.
Moore’s most significant amplifier discovery was the Marshall JTM45 2245 reissue, which became his primary choice during the blues period. As Moore himself famously advised: “Go out and buy a ’59 Les Paul, a Guv’nor pedal and a JTM45!”
The 1971 Marshall JMP Model 2022, a 20-watt head, featured prominently on albums like “Blues for Greeny” and “Wild Frontier.” Its lower wattage allowed for power tube saturation at more reasonable volumes, perfect for studio recording.
For heavier moments, Moore employed a Soldano SLO100, typically using the clean channel with pedals for gain. This combination provided the headroom needed for his dynamic playing style while maintaining the tonal character of his guitars.
In his final decades, Moore often used Marshall JCM2000 DSL models for their versatility and reliability on tour. These modern Marshalls provided multiple channels and effects loops, accommodating his evolving pedalboard while retaining classic Marshall tone.
Throughout his career, Moore consistently paired his heads with Marshall 4×12 cabinets featuring Celestion Greenback speakers, creating the full-bodied sound that became his signature. This combination of vintage guitars and British tube amplification defined blues-rock guitar tone for generations.
For modern players seeking similar tones, many best guitar amps for achieving classic tones follow this formula of low-to-medium wattage tube heads with efficient speakers.
Gary Moore’s approach to effects pedals was consistently minimal and purposeful. Unlike many of his contemporaries, Moore preferred simple signal chains that enhanced rather than dominated his core guitar and amplifier tones.
The Marshall Guv’nor Mk.1 (1988-1991) stands as Moore’s most famous pedal. This versatile overdrive became the key component of his “Still Got the Blues” tone when paired with the Marshall JTM45 and ‘Stripe’ Les Paul. The Guv’nor’s transparent boost and musical distortion perfectly complemented the vintage amps and guitars.
Earlier in his career, Moore frequently used the Ibanez Tube Screamer TS808, particularly during his hard rock period. This classic pedal provided the smooth overdrive needed for singing lead tones while maintaining clarity.
For single-coil guitars like his Stratocaster, Moore often employed a Boss DS-1 distortion pedal to add the necessary “kick” and presence, balancing the lower output of Fender-style pickups.
Delay and echo formed the backbone of Moore’s ambient sounds. The Roland SDE-3000 digital delay, used from 1984 onwards, provided programmable delay with footswitch control. Its pristine digital repeats perfectly suited Moore’s precise phrasing.
For onstage echo, Moore relied on the Roland SRE-555 Chorus Echo, a tape-based unit that delivered warm, organic delay. He typically kept the echo level low, using it primarily for depth rather than obvious effect.
Moore occasionally employed modulation effects like the Boss CE-2 Chorus for added depth on certain tracks. The Boss OC-2 Octave pedal appeared in his early 80s rig, providing the synth-like textures heard on some recordings.
During his SynthAxe period, Moore’s pedalboard expanded to include various MIDI processors and controllers, though this remained a specialized part of his setup rather than a permanent fixture.
Understanding proper pedal order was crucial to Moore’s approach. His signal chain typically followed: guitar -> tuner -> overdrive/distortion -> delay -> amplifier, maintaining a simple path that preserved the natural tone of his instruments.
For players seeking similar textures, modern octave pedals like the Boss OC-2 can replicate Moore’s early 80s sounds, while guitar synth options provide modern alternatives to the SynthAxe.
The small details in Gary Moore’s setup contributed significantly to his signature sound. His choice of strings, picks, and accessories supported his dynamic playing style across different musical periods.
Moore endorsed Dean Markley strings throughout much of his career, typically using sets ranging from .009 to .042 gauge for rock and .010 to .046 for blues. The heavier gauge strings provided the tension and low-end response needed for his powerful bending and vibrato techniques.
His picks were typically medium to heavy gauge Ibanez models, providing the precision needed for his fast alternate picking while allowing for the nuanced dynamics of his blues playing.
Like many professional guitarists, Moore preferred high-quality cables and reliable straps for touring. While these items receive less attention than guitars and amps, they formed the essential infrastructure that made his performances possible.
Gary Moore’s favorite guitar was his 1959 Gibson Les Paul Standard known as ‘Stripe,’ which he used extensively during his blues period and on the album ‘Still Got the Blues.’ While he also owned the legendary ‘Greeny’ Les Paul previously owned by Peter Green, the Stripe became his primary instrument for nearly two decades and defined his blues sound.
For the ‘Still Got the Blues’ album and tour, Gary Moore primarily used a Marshall JTM45 2245 reissue amplifier paired with a Marshall Guv’nor overdrive pedal. This combination, when played through his ‘Stripe’ 1959 Les Paul, created the smooth yet powerful blues tone that defined this period of his career. He often used the amp’s clean channel with the Guv’nor providing the overdrive.
Gary Moore sold his famous ‘Greeny’ 1959 Les Paul (previously owned by Peter Green) in 2026 for approximately $750,000-$1.2 million. This sale reflected both the guitar’s historical significance and its association with Moore’s own contributions to guitar history. The guitar later sold for even higher amounts in subsequent private transactions.
Gary Moore’s ‘Greeny’ Les Paul had its original PAF pickups with the neck pickup installed out of phase, creating its unique hollow tone. The ‘Stripe’ Les Paul maintained its original PAF-style pickups throughout Moore’s ownership. His Gibson Signature Les Paul model featured BurstBucker pickups, with early prototypes using Tom Holmes pickups for authentic vintage tone.
While Gary Moore maintained consistency between his live and studio setups, he sometimes made minor adjustments. In the studio, he might use smaller amplifiers like the 20-watt Marshall JMP for better control at lower volumes. Live performances typically featured larger setups like the JTM45 or JCM2000 for projection. His guitar choices remained consistent, with the ‘Stripe’ Les Paul being his primary instrument in both settings during his blues period.
Gary Moore’s gear journey reflects the evolution of a true guitar master, from hard rock virtuoso to blues icon. His careful selection of instruments, amplifiers, and effects created a timeless tone that continues to inspire players decades later.
For modern guitarists seeking to capture Moore’s sound, the key lies in understanding the synergy between his elements: vintage Les Pauls, low-to-medium wattage tube amplifiers, and minimal, high-quality effects. Rather than exact replication, consider how these principles can inform your own tone journey.
Whether you’re a blues player seeking emotional expression or a rock guitarist wanting to add dynamic sensitivity, Gary Moore’s approach to gear offers valuable lessons in simplicity, quality, and the endless pursuit of perfect tone.
