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Ashes of the Wake — Lamb of God1 / 2
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Ashes of the Wake Riff Guitar Tone Settings — Lamb of God

Lamb of God · 2000s · metal

studio

Original Recording

Guitar
Jackson Dominion (Mark Morton signature) or ESP Eclipse (Willie Adler signature) with EMG 81/85 pickups
Pickups
EMG 81 (bridge, active humbucker)
Amp
Mesa/Boogie Mark IV (studio recording, 2004 era)
Pickup Position
Bridge pickup

Studio recording for 'Ashes of the Wake' (2004). Both Mark Morton and Willie Adler tracked rhythm guitars, typically using their signature guitars with EMG active pickups into Mesa/Boogie Mark IV amps. No evidence of significant pedal use for rhythm/riff sections; tone is primarily amp-driven. Settings estimated based on genre, era, and amp model. No evidence of time-based or modulation effects in the riff section.

Amp Settings

Mids
4.5
Bass
6
Gain
9
Reverb
0
Treble
7
Presence
6.5

Effects Chain

  • Noise Gate (model unknown) · noise_gate

Guitar (Jackson Dominion or ESP Eclipse with EMG 81 bridge) → Noise Gate → Mesa/Boogie Mark IV head → Mesa 4x12 cabinet

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Tone Character

  • tight and percussive
  • aggressive palm muting
  • scooped mids
  • high-gain saturation
  • articulate pick attack
  • dense, layered guitar sound
  • modern metal clarity
  • focused low end
  • minimal ambience
  • precise, relentless riffing

Notes & Caveats

  • ⚠️No specific numeric amp settings for 'Ashes of the Wake' riff section found in sources; settings estimated based on Mesa/Boogie Mark IV typical metal usage and genre conventions.
  • ⚠️Pedal use for riff section is not documented; both players are known for running straight into the amp for rhythm tones during this era.
  • ⚠️Both Mark Morton and Willie Adler tracked rhythm guitars; either Jackson Dominion or ESP Eclipse with EMG 81/85 pickups was used.
  • ⚠️No evidence of time-based or modulation effects in the riff section; effects chain is minimal for rhythm parts.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Lamb of God in the 'Ashes of the Wake' era used Mesa/Boogie Rectifiers and Peavey 5150s with very high gain, tight low end, slightly scooped but not '80s-scooped' mids, and a dry, aggressive modern metal tone. The presence and treble are set high for clarity and bite, with minimal reverb for tightness.

Sources