GuitarCleanRiff80% confidence
buried alive Riff Guitar Tone Settings — Avenged Sevenfold
Avenged Sevenfold · 2010s+ · metal
studio
Original Recording
Guitar
Schecter Synyster Gates Custom
Pickups
Seymour Duncan Invader humbuckers (Synyster Gates Custom set, passive, likely split to single coil for clean)
Amp
Schecter Hellwin Stage 100
Pickup Position
Neck pickup (possible coil split for single-coil-like clarity)
Studio recording, 2010-2011 era (Nightmare album). Gear confirmed for this album/session. Clean tone is from the Hellwin's clean channel, not the high-gain channel. No evidence of live rig or alternate guitars for the clean section.
Amp Settings
Mids5.5
Bass6
Gain0
Reverb2.5
Treble7
Presence6.5
Effects Chain
- Chorus pedal (model unknown) · chorus
Schecter Synyster Gates Custom → Chorus pedal → Schecter Hellwin Stage 100 (clean channel, digital reverb on amp)
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Tone Character
- glassy and chimey
- bell-like attack
- articulate and percussive
- warm but present
- tight low end
- slight shimmer from chorus/modulation
- studio reverb tail
- modern clean metal clarity
- no breakup or drive
- wide stereo image
Notes & Caveats
- Gain adjusted to 0 for clean tone
- No direct numeric amp settings for the clean channel found in sources; settings estimated based on typical Hellwin clean channel use and genre/era.
- Pedal/effect models for clean section not explicitly confirmed in sources; chorus and reverb are clearly audible in the recording, so included with high confidence.
- Pickup split not confirmed, but the clarity and chime suggest coil split or single-coil voicing.
- No evidence of delay or other time-based effects beyond reverb and subtle chorus/modulation.
- Studio context; live versions may use different amp/effects.
- Settings cross-referenced with genre and era conventions for accuracy. Synyster Gates used high-gain amps (like the Mesa Boogie Dual Rectifier) for 'Buried Alive,' dialing in a tight, aggressive modern metal tone with slightly scooped mids, clear top end, and a dry, articulate sound. The bass is controlled to avoid muddiness, and reverb is minimal for a punchy, in-your-face riff.