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Bleed It Out — LINKIN PARK1 / 2
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Bleed It Out Riff Guitar Tone Settings — LINKIN PARK

LINKIN PARK · 2000s · rock

studio

Original Recording

Guitar
PRS Custom 24 (likely, as used by Brad Delson on Minutes to Midnight era studio recordings)
Pickups
PRS HFS Treble (bridge) and Vintage Bass (neck) humbuckers
Amp
Mesa/Boogie Dual Rectifier (studio recording, Minutes to Midnight era)
Pickup Position
Bridge pickup

Studio recording, 2007 (Minutes to Midnight). Brad Delson is known to use PRS guitars and Mesa/Boogie amps for this era. No direct studio photo evidence for 'Bleed It Out', but this matches period-correct interviews and rig rundowns. No evidence of pedals or effects other than amp distortion for the riff section.

Amp Settings

Mids
4
Bass
6
Gain
8
Reverb
1
Treble
7
Presence
6

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Tone Character

  • tight and percussive
  • aggressive palm muting
  • modern high-gain saturation
  • scooped mids
  • chunky low end
  • articulate attack
  • compressed and focused
  • minimal ambience
  • clear note separation
  • punchy rhythm

Notes & Caveats

  • ⚠️No direct studio documentation for 'Bleed It Out' riff section; gear and settings inferred from era-correct interviews, typical Brad Delson setups, and genre conventions.
  • ⚠️Source 1 provides amp knob positions (o'clock) but not amp model; converted to 0-10 scale and matched to Mesa/Boogie Dual Rectifier typical settings.
  • ⚠️No evidence of pedals or modulation/time-based effects in riff section; distortion is amp-based.
  • ⚠️Pickup choice inferred from typical nu-metal rhythm practices and Brad Delson's known habits.
  • ⚠️Settings are estimated based on genre, era, and available forum discussions; no official studio sheet or direct quote for this song's riff.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Linkin Park's 'Bleed It Out' riff uses a modern, tight high-gain tone typical of Brad Delson's Mesa/Boogie Rectifier amps, with moderate bass for punch, balanced mids (not scooped), and clear but not harsh treble/presence. The recording is very dry, with little to no amp reverb, matching the nu-metal production style of the mid-2000s.

Sources