TonesMatch
11th Hour — Lamb of God1 / 2
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11th Hour Solo Guitar Tone Settings — Lamb of God

Lamb of God · 2000s · metal

studio

Original Recording

Guitar
Framus Renegade Pro (Burgundy, as seen in '11th Hour' video)
Pickups
Seymour Duncan Invader SH-8 (humbucker, bridge position)
Amp
Mesa/Boogie Mark IV
Pickup Position
Bridge pickup

Studio recording, 2003 (As the Palaces Burn album). Mark Morton played the solo. Amp confirmed by multiple interviews and Equipboard for this era. Framus Renegade Pro and SH-8 Invader confirmed by video and Equipboard. No evidence of alternate guitars or amps for the solo section.

Amp Settings

Mids
4.5
Bass
6
Gain
8
Reverb
0
Treble
7
Presence
6.5

Effects Chain

  • MXR GT-OD · overdrive
  • MXR Carbon Copy Analog Delay · delay
  • DBX 266XL Compressor/Gate · compression

Guitar → DBX 266XL Compressor/Gate → MXR GT-OD → Mesa/Boogie Mark IV → (FX Loop) → MXR Carbon Copy Analog Delay → Mesa/Boogie 4x12 cab

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Tone Character

  • tight and percussive
  • saturated high-gain
  • singing sustain
  • articulate note separation
  • slightly scooped mids
  • aggressive pick attack
  • cutting upper mids
  • minimal ambience (dry)
  • focused and direct
  • fluid legato runs

Notes & Caveats

  • ⚠️No direct amp knob settings for '11th Hour' solo found; settings estimated based on typical Mark IV usage for Lamb of God in this era and genre.
  • ⚠️No explicit pedal settings for the solo; pedal use inferred from interviews and typical Lamb of God lead tones.
  • ⚠️No evidence of reverb or modulation effects in the solo section; solo is dry and direct.
  • ⚠️Framus Renegade Pro and SH-8 Invader confirmed by video and Equipboard for this song/era.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Lamb of God's '11th Hour' solo section features a tight, aggressive modern metal tone with high gain, controlled bass for clarity, slightly scooped but not hollow mids, and pronounced treble/presence for articulation. The production is very dry with no audible reverb, matching both the genre and the band's typical amp settings of this era (Mesa/Boogie Rectifier or Peavey 5150/6505).

Sources