GuitarDistortedRiff80% confidence
Awake Riff Guitar Tone Settings — Godsmack
Godsmack · 2000s · metal
studio
Original Recording
Guitar
Gibson Les Paul Standard
Pickups
Humbucker (likely Gibson 498T/490R or similar, stock Les Paul Standard for era)
Amp
Mesa/Boogie Triple Rectifier 150W Solo Head
Pickup Position
Bridge pickup
Studio recording, year 2000. Tony Rombola is confirmed to have used a Les Paul Standard and Mesa/Boogie Triple Rectifier for Godsmack's 'Awake' album era. No evidence of live rig or alternate guitars/amps for this specific riff section. No evidence of additional amp layering or alternate amp models for the main riff.
Amp Settings
Mids4.5
Bass6
Gain8.5
Reverb1
Treble6.5
Presence6
Effects Chain
- Noise gate (model unknown) · noise_gate
Guitar → Noise gate → Mesa/Boogie Triple Rectifier (minimal spring reverb)
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Tone Character
- tight and percussive
- scooped mids
- aggressive palm muting
- high-gain saturation
- chunky low end
- articulate pick attack
- compressed and focused
- minimal ambience
- modern nu-metal voicing
- clear note separation under distortion
Notes & Caveats
- No direct numeric amp settings for 'Awake' found in sources; settings estimated based on typical Mesa/Boogie Triple Rectifier use in nu-metal/modern metal context and era.
- No explicit pedal or effect settings for the studio recording of 'Awake' riff section; pedalboard info is general for Tony Rombola, not song-specific.
- No evidence of additional effects (delay, chorus, flanger, phaser, etc.) in the riff section; main tone is dry, high-gain amp distortion.
- Pickup choice inferred from genre and typical Les Paul/Rectifier usage for heavy rhythm sections.
- If more specific studio documentation emerges, settings may need revision.
- Settings cross-referenced with genre and era conventions for accuracy. Godsmack's 'Awake' features a tight, aggressive modern metal tone typical of late 90s/early 2000s nu-metal, with high gain, tight bass, slightly scooped but present mids, and crisp treble/presence. The tone is dry and punchy, with little to no reverb, matching Sully Erna's Mesa/Peavey high-gain amp preferences and production trends of the era.