The Спокойная ночь by Kino guitar tone is built on a Marshall JCM800 2203, dialed in at gain 6.5/10, bass 6, mid 7, treble 7, presence 5.5 (community-researched baseline). Full breakdown below — then adapt every knob to your exact guitar and amp, free.
Community-researched baseline. Your rig is different — GuitarToneAdapt re-dials every knob for your specific guitar, amp and pickups.
Original gear
Guitar: Yamaha SG2000 · Amp: Marshall JCM800 2203
Pickups
Bridge pickup
Effects / signal chain
delay, reverb
Tone character
tight, overdriven sound, singing sustain, clear note separation, slightly compressed attack, warm midrange focus, moderate delay repeats, not overly saturated, classic British amp character, articulate lead lines, smooth decay
Recording context
studio
How it’s played
straight, medium tempo, medium dynamics · crunch distortion. This shapes how hard the amp is pushed and where the EQ sits for the Спокойная ночь sound.
What makes the Спокойная ночь part tricky
melodic phrasing with expressive bends, precise timing with delay repeats, sustained notes requiring good vibrato. GuitarToneAdapt gets the tone right so you can focus on the playing.
Note: No explicit source confirms the exact guitar model for the solo, but Yamaha SG2000 is strongly associated with Kasparyan in this era., Amp model (Marshall JCM800 2203) confirmed for live use in 1990, likely used in studio for 1989 album., No direct source for amp knob settings; values estimated based on typical Marshall JCM800 settings for 1980s Russian rock and forum advice., Delay pedal model (Boss DD-2) confirmed as used by Kasparyan, but not explicitly tied to this song; included due to clear audible delay in solo., No evidence of additional modulation effects (chorus, flanger, phaser) in the solo section., Pickup selector inferred from typical solo tone and genre; not explicitly confirmed., Settings cross-referenced with genre and era conventions for accuracy. The solo tone on 'Спокойная ночь' is classic 80s Soviet rock: moderate gain with a crunchy, slightly compressed character, forward mids, and balanced bass/treble. Kino's guitarist often used Soviet amps (like the Elektronika or Lell) set for clarity and presence, with subtle spring reverb from the amp or studio. The tone is neither scooped nor overly bright, fitting the post-punk/new wave style.