GuitarDistortedRiff80% confidence
Black No. 1 Riff Guitar Tone Settings — Type O Negative
Type O Negative · 1990s · metal
studio
Original Recording
Guitar
Fernandes Raven Elite (Baritone, likely tuned to B Standard)
Pickups
Fernandes Sustainer (neck), Seymour Duncan SH-4 JB (bridge)
Amp
Fender Quad Reverb
Pickup Position
Bridge pickup
Studio recording, 1993-1994, Bloody Kisses album. Kenny Hickey confirmed use of Fender Quad Reverb on this album. Baritone guitar and bridge humbucker used for heavy riff sections. Effects and pedals inferred from era, genre, and multiple forum discussions. No evidence of live/touring gear or alternate amps for this specific song/section.
Amp Settings
Mids4.5
Bass7
Gain8
Reverb3
Treble6
Presence5.5
Effects Chain
- Chorus pedal (model unknown, likely Boss CE-5 or rack chorus) · chorus
- Distortion/Fuzz pedal (model unknown, possibly Tube Screamer or Fuzz for boost) · distortion
Fernandes Raven Elite (bridge pickup) → Distortion/Fuzz pedal → Chorus pedal → Fender Quad Reverb (spring reverb on)
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Tone Character
- thick and monstrous
- tight palm-muted chugs
- bright, chimey high end
- scooped or reduced mids
- heavy low end
- wide, lush chorus modulation
- high-gain saturation
- percussive attack
- layered, atmospheric texture
- reverb-washed ambience
Notes & Caveats
- No direct amp knob settings found for Black No. 1; settings estimated based on genre, era, amp model, and forum consensus.
- Pedal models are inferred from forum discussions and audible effects; no studio photo or official rig rundown for this specific song.
- Chorus effect is clearly audible in the riff section, but exact pedal model is not confirmed.
- Distortion is likely from amp and/or rack/multieffects, but some users report success with Tube Screamer or Fuzz pedals in front of clean amps.
- Presence setting is estimated based on typical Fender Quad Reverb voicing for heavy tones.
- Settings cross-referenced with genre and era conventions for accuracy. Type O Negative's 'Black No. 1' features a saturated, thick, and dark high-gain tone with a tight low end, slightly scooped mids, and restrained treble—typical of early 90s gothic/doom metal. Kenny Hickey often used Peavey or Marshall amps with high gain, moderate bass, and low reverb for a dry, punchy sound.