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Cemetary Gates — Pantera1 / 2
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Cemetary Gates Riff Guitar Tone Settings — Pantera

Pantera · 1990s · metal

studio

Original Recording

Guitar
Dean ML (likely 1980s/early 1990s, Bill Lawrence L-500XL bridge pickup, Seymour Duncan '59 neck pickup, Floyd Rose tremolo)
Pickups
Bill Lawrence L-500XL (bridge), Seymour Duncan '59 (neck)
Amp
Randall RG100ES solid-state head
Pickup Position
Neck pickup

Studio recording, 1990 (Cowboys from Hell album). Dimebag used his Dean ML with the neck pickup for the clean intro/riff. Amp is Randall RG100ES, with Furman PQ-3 parametric EQ and MXR 6-band EQ in the signal chain. No evidence of chorus or delay pedals in the clean section. Some subtle reverb likely from the amp or studio. No evidence of live/touring gear for this section.

Amp Settings

Mids
4.5
Bass
5.5
Gain
0
Reverb
1.5
Treble
7
Presence
6

Effects Chain

  • Furman PQ-3 Parametric EQ · eq
  • MXR 6-Band EQ · eq

Dean ML (neck pickup) → Furman PQ-3 Parametric EQ → MXR 6-Band EQ → Randall RG100ES (clean channel, spring reverb)

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Tone Character

  • glassy and bell-like
  • warm and rounded
  • articulate note separation
  • slight reverb ambience
  • dynamic and touch-sensitive
  • no breakup or crunch
  • percussive attack
  • studio-polished clean
  • no modulation swirl
  • clear low end

Notes & Caveats

  • ⚠️Gain adjusted to 0 for clean tone
  • ⚠️No direct source gives exact clean amp settings for the intro/riff; values estimated based on typical Randall RG100ES clean settings and Dimebag's known EQ preferences.
  • ⚠️No evidence of chorus, delay, or modulation effects in the clean section; only subtle reverb is audible, likely from amp or studio.
  • ⚠️Guitar model and pickup choice inferred from Dimebag's known gear and interviews about the Cowboys from Hell recording.
  • ⚠️If new evidence of effects or alternate gear emerges, settings may need revision.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Dimebag Darrell's tone on 'Cemetary Gates' is classic early 90s Pantera: high gain and tight, with scooped mids, aggressive treble and presence for cut, and a dry, in-your-face sound. These settings reflect his Randall amp approach and the genre's production style.

Sources