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Bat Country — Avenged Sevenfold1 / 2
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Bat Country Riff Guitar Tone Settings — Avenged Sevenfold

Avenged Sevenfold · 2000s · metal

studio

Original Recording

Guitar
Schecter Synyster Gates Custom
Pickups
Seymour Duncan SH-8 Invader humbuckers
Amp
Bogner Uberschall 120-Watt Tube Guitar Amp Head
Pickup Position
Neck pickup

Studio recording, 2004-2005 for 'City of Evil'. Clean sections likely used the same guitar and amp as the main riff, but with lower gain and effects engaged for clarity. No evidence of alternate guitar or amp for clean sections.

Amp Settings

Mids
5.5
Bass
5.5
Gain
0
Reverb
1.5
Treble
7
Presence
6.5

Effects Chain

  • MXR ZW38 Black Label Chorus · chorus
  • ISP Technologies Decimator Noise Reduction · noise_gate
  • MXR Custom Comp · compression

Guitar → ISP Decimator → MXR Custom Comp → MXR ZW38 Black Label Chorus → Bogner Uberschall (clean channel, digital reverb on)

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Tone Character

  • crystal-clear
  • slightly compressed attack
  • chimey and articulate
  • tight low end
  • present but not harsh highs
  • subtle chorus shimmer
  • studio-polished clarity
  • modern metal clean tone
  • no audible breakup
  • controlled dynamics

Notes & Caveats

  • ⚠️Gain adjusted to 0 for clean tone
  • ⚠️No direct source specifies amp knob settings for the clean section; values are estimated based on typical Bogner Uberschall clean settings for modern metal and the song's genre/era.
  • ⚠️No explicit confirmation of pickup selector for clean part; neck pickup inferred based on typical clean tone practice and audio characteristics.
  • ⚠️No evidence of alternate guitar or amp for clean section; assumed same as main riff but with lower gain and effects engaged.
  • ⚠️Chorus effect confirmed for 'Bat Country' clean parts via Premier Guitar rig rundown.
  • ⚠️No direct evidence of amp reverb setting; estimated at moderate level based on studio production norms.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Synyster Gates' 'Bat Country' tone is a tight, modern high-gain sound with clear note separation, moderate mids (not scooped), bright but not harsh treble, and minimal reverb for a dry, punchy mix. These settings reflect his typical Mesa/Peavey amp approach and the mid-2000s metalcore production style.

Sources