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Change (In the House of Flies) — Deftones1 / 2
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Change (In the House of Flies) Guitar Tone Settings — Deftones

Deftones · 2000s · rock

studio

Original Recording

Guitar
ESP Viper VP-200
Pickups
Seymour Duncan Alnico II Pro HB (bridge position)
Amp
Vox AC30 Guitar Combo Amp
Pickup Position
Bridge pickup

Studio recording for 'Change (In the House of Flies)' (White Pony, 2000). Gear confirmed for riff section by Equipboard and live video from White Pony release era. No evidence of alternate guitars/amps for this section in studio. Pedalboard evidence from era supports delay pedal use.

Amp Settings

Mids
6
Bass
6
Gain
6.5
Reverb
1.5
Treble
6
Presence
6

Effects Chain

  • Boss DD-7 Digital Delay · delay

ESP Viper VP-200 (bridge pickup) → Boss DD-7 Digital Delay → Vox AC30 (spring reverb low)

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Tone Character

  • dark and atmospheric
  • medium gain with clarity
  • ambient, haunting sustain
  • lush and layered
  • clear note separation
  • slightly compressed
  • not overly saturated
  • present mids
  • delay repeats add space
  • dynamic response to picking

Notes & Caveats

  • ⚠️No official amp knob settings for studio recording found; settings estimated based on typical Vox AC30 usage for modern rock/Deftones context.
  • ⚠️Pedalboard photo confirms Boss DD-7 Digital Delay was used by Chino Moreno, but exact settings for delay are not available.
  • ⚠️No evidence of additional modulation (chorus, flanger, phaser) or reverb pedals; amp reverb likely set low or off.
  • ⚠️Pickup position inferred from typical Deftones tone and pickup model; not explicitly stated in sources.
  • ⚠️Presence control estimated, as Vox AC30 presence is not always available on all models.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Deftones' 'Change' riff tone is thick, saturated, and dark, with moderate mids and a controlled low end, reflecting Stephen Carpenter's use of high-gain Mesa/Boogie amps and 7-string guitars in the late '90s/early 2000s. The production is dry and focused, with minimal reverb, and the EQ avoids harshness, favoring a slightly subdued treble and presence for a haunting, massive sound.

Sources