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At this stage John was using a pair of Fender Twins, and then a single Twin paired with the Boogie. The Twins are a really clean amp and most of the drive came from his Tubescreamer and Fuzzface. When he added the Boogie he used it in a rather interesting way because it came after the reverbs and delays in his Midiverb. Because drive can sound a bit weird after reverb etc he tended to run the Boogie pretty clean then occasionally switch to the Lead channel for more drive but with the volume low compared to the Twin. This meant that the drive sound only really came through once the reverb had decayed enough to not sound weird.
So, a good place to start with your amp would be to run it fairly clean and use pedals for the drive but as you’re probably not using a Midiverb you could get away with little more drive than full clean. Don’t want to go overboard with it though.
Best option is to listen to something like the Blackpool Ballroom gig or some of the other bootlegs from around that time and try to make you’re set up sound similar. There’s a great bootleg from Lancaster Sugarhouse in 1989 that is well worth listening to as John’s guitar is pretty well up in the mix
Also, it’s well worth knowing that John used the middle pickup position a lot so try that on your Epiphone
Getting hold of a TS-9 with a JRC chip would be a good move too. Im pretty sure the fuzz was mainly used on the Strat. A Boss BF2 was used for the occasional big sweeps you can hear on the Blackpool gig. With regard to using a Marshall, that will likely sound very prominent in the midrange compared to a MKIII Boogie so I would experiment with scooping it out. He also used a Jen wah with vintage bypass which would have loaded down the highs. This was compensated for on the amp which may account for the high treble setting you mentioned above. Where did you get that info btw?
I would also add the John Squire is one the funkiest most rhythmic players Ive ever heard and his left hand work was also very agile, subtle and nuanced. An all-round lovely, characterful player and much of that sound simply came from his hands.
The Capo is pretty important on the early stuff too but I would assume you've probably figured that out already. Sorry if garbled myself away from your original question
http://www.pdmcauley.co.uk/guitaristpages/settings/SETTINGS.HTML
I’m just not sure where I should have my EQ settings as a 335 into a Marshall is different to a fully hollow gretsch into a Mesa and overdriven twins.