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Coming Home — Avenged Sevenfold1 / 2
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Coming Home Riff Guitar Tone Settings — Avenged Sevenfold

Avenged Sevenfold · 2010s+ · metal

studio

Original Recording

Guitar
Schecter S-1 (Zacky Vengeance signature, likely used on 'Hail to the King' album era)
Pickups
Seymour Duncan SH-4 JB (bridge humbucker), SH-1 '59 (neck humbucker)
Amp
Hughes & Kettner TriAmp MK II
Pickup Position
Bridge pickup

Studio recording, 2013 ('Hail to the King' album). No evidence of pedals for the main riff; amp and guitar do most of the work. No explicit mention of effects loop or additional rack gear for the riff section.

Amp Settings

Mids
5.5
Bass
6
Gain
8
Reverb
1.5
Treble
7
Presence
6.5

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Tone Character

  • tight and percussive
  • articulate high-gain rhythm
  • aggressive palm muting
  • scooped but present mids
  • modern metal saturation
  • clear note separation
  • focused and punchy
  • minimal ambience
  • no audible modulation
  • controlled low end

Notes & Caveats

  • ⚠️No explicit studio documentation of exact pedal or amp knob settings for 'Coming Home' riff; amp settings estimated based on genre, era, and typical Hughes & Kettner TriAmp MK II usage for Avenged Sevenfold.
  • ⚠️No evidence of pedals or effects used on the main riff; sources and audio confirm a dry, high-gain rhythm tone.
  • ⚠️Pickup and guitar model inferred from Equipboard and era-correct live/studio photos; no direct studio session confirmation.
  • ⚠️Settings are averaged from forum recommendations and typical metal amp practices for this amp and genre.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Synyster Gates and Zacky Vengeance used high-gain amps (often Peavey 6505 or Mesa/Boogie) with tight, modern metal settings: high gain, moderate bass for punch, mids not scooped but not boosted, and enough treble/presence for clarity. The tone is dry and articulate, with minimal reverb, matching early 2010s metal production.

Sources