GuitarDistortedRiff80% confidence
Bulls in the Bronx Riff Guitar Tone Settings — Pierce the Veil
Pierce the Veil · 2010s+ · rock
studio
Original Recording
Guitar
ESP LTD EC-1000 (likely, as used by Tony Perry during Collide With The Sky era)
Pickups
EMG 81/60 active humbuckers
Amp
1971 Marshall Super Lead (modded, or clone built by tech Johnny Meyer)
Pickup Position
Bridge pickup
Studio recording for 'Collide With The Sky' (2012). Tony Perry and Vic Fuentes both used Marshall Super Lead heads, with Tony's being a 1971 model modded for extra gain. Guitar model inferred from era and typical studio use; no explicit source ties a specific guitar to this riff, but EC-1000 with EMGs is most likely for the main riff. No explicit pedalboard or amp settings found for this song/section.
Amp Settings
Mids6
Bass5.5
Gain7.5
Reverb1.5
Treble7
Presence6.5
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Tone Character
- tight and percussive
- articulate high-gain
- aggressive palm muting
- clear note separation
- saturated but not muddy
- crisp attack
- slightly scooped mids
- dynamic pick response
- modern post-hardcore clarity
- controlled feedback
Notes & Caveats
- No explicit source lists exact guitar, amp, or pedal settings for the riff section of 'Bulls in the Bronx'; guitar and amp inferred from studio era and typical gear used by Tony Perry and Vic Fuentes.
- No pedalboard or effects chain for the studio recording of this song is available; pedal/effect info is inferred from genre, era, and audible characteristics.
- Amp settings are estimated based on typical Marshall Super Lead usage in modern post-hardcore/rock, not from direct source.
- No evidence of modulation or time-based effects (delay, chorus, flanger, etc.) in the riff section; only amp reverb is included at a low setting.
- Settings cross-referenced with genre and era conventions for accuracy. Pierce the Veil's 'Bulls in the Bronx' riff tone is modern, tight, and articulate with high gain but not overly saturated, a slightly scooped midrange for clarity, and a focused low end to avoid muddiness. The treble and presence are set high enough for cut and definition, while reverb is minimal for a dry, punchy mix typical of 2010s post-hardcore production.