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Iron Maiden - Wasting Love Janick Gers's - Guitar Solo Tab

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Key A minor
Iron Maiden - Wasting Love Janick Gers's guitar tab video
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Classic Rock

Gain6
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Mid7
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Master7
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Iron Maiden Heavy Metal A minor
Capo Advisor 0 A minor · Original key

About Wasting Love Janick Gers's

Janick Gers's guitar part in "Wasting Love" sits in a different world from the usual Iron Maiden gallop. The song is a slow, brooding ballad in A minor at 120 BPM, and that moderate tempo puts every note under a microscope. Gers leans heavily on melodic lead phrasing and clean to lightly overdriven tones, so your vibrato and string bending need to be polished rather than just fast. The challenge here is not speed but control: sustaining notes cleanly in E Standard tuning, keeping dynamics expressive, and nailing the emotional phrasing of the solo sections. Those solo passages involve smooth legato runs and singing bends, and the transitions between them can feel awkward at first. Use the Practice Toolbar to loop those phrases slowed down until the fingering becomes second nature. This is a great song for a heavy metal player who wants to develop feel and melodic sensitivity alongside their technique.

  • The song is played in E Standard tuning in the key of A minor, placing the lead work in a very guitar-friendly position on the neck.
  • At 120 BPM this ballad rewards focused attention to vibrato and bending accuracy rather than picking speed or stamina.
  • The solo sections use smooth legato phrasing and sustained bends, making clean left-hand technique the main thing to practise.

How to Play Wasting Love Janick Gers's

Tuning: E Standard · Key: A minor · Tempo: 120 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 120 BPM to build it up to tempo.

Fender Stratocaster
Guitar

Fender Stratocaster

Iron Maiden's signature choice for heavy metal, the Strat's bright single-coils in neck and middle positions deliver the glassy, articulate tone that defines their melodic passages. Dave Murray and Adrian Smith pair bridge humbuckers with this platform to preserve pick dynamics and note definition rather than drowning in compressed gain.

Marshall JCM800
Amp

Marshall JCM800

The backbone of Maiden's iconic sound, the JCM800's moderate gain structure lets the power tubes sing without preamp saturation, preserving the punch and harmonic clarity that makes their riffs cut through a mix. Murray and Smith set gain moderately to maintain definition while pushing the amp into natural tube breakup.

Seymour Duncan JB
Pickup

Seymour Duncan JB

Adrian Smith's weapon of choice, the JB's balanced output drives Marshall amps into singing sustain without over-compressing dynamics, allowing his lead lines to breathe with clarity and snap. This moderate-output humbucker maintains the attack and articulation essential to Maiden's punchy, defined metal tone.

DiMarzio Super Distortion
Pickup

DiMarzio Super Distortion

Dave Murray's bridge pickup at 13k output strikes the perfect balance, hitting the Marshall hard enough for thick sustain yet retaining enough dynamics for expressive bending and harmonic control. It's hot enough to sing but not so overwound that it flattens the natural Strat character underneath.

Boss SD-1 Super Overdrive
Pedal

Boss SD-1 Super Overdrive

Murray and Smith use this clean boost to push their Marshalls harder during solos, adding aggression without relying on pedal distortion, keeping the tube amp saturation as the true tone source. The SD-1 preserves their natural playing dynamics while giving leads extra presence and cut.

ISP Decimator Noise Gate
Pedal

ISP Decimator Noise Gate

Smith occasionally employs this noise gate to manage feedback and hum from his high-output rig without sacrificing sustain, staying true to Maiden's philosophy of minimal pedal intervention. It's a practical tool for live performance that doesn't color the natural tube amp tone.

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