GuitarDistortedRiff80% confidence
Dear Agony Riff Guitar Tone Settings — Breaking Benjamin
Breaking Benjamin · 2000s · metal
studio
Original Recording
Guitar
ESP LTD EC-1000 VB Duncan
Pickups
Seymour Duncan JB (bridge), '59 (neck) humbuckers
Amp
Randall RM50 (likely with high-gain module, e.g., Ultra or Recto)
Pickup Position
Bridge pickup
Studio recording, 2009. Gear confirmed for Dear Agony era by Equipboard. Randall RM50 was the primary amp for rhythm tracks. Guitar model and pickups based on Equipboard and era-specific interviews. No evidence of alternate guitars or amps for the main riff section.
Amp Settings
Mids5
Bass6
Gain8
Reverb1.5
Treble6.5
Presence6
Effects Chain
- Noise gate (model unknown) · noise_gate
Guitar → Noise gate → Randall RM50 (minimal digital reverb)
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Tone Character
- tight and percussive
- aggressive palm muting
- thick, saturated distortion
- controlled low end
- scooped mids
- articulate attack
- modern metal clarity
- dense and layered
- minimal ambience
- focused rhythm punch
Notes & Caveats
- No direct studio amp settings found; amp and guitar confirmed for era and genre, settings estimated based on typical Randall RM50 high-gain usage and modern metal production.
- No pedal or effect models confirmed for the studio recording; pedalboard and live gear lists are not specific to this song/section.
- No evidence of time-based or modulation effects in the riff section; noise gate is likely but not confirmed for the studio recording.
- Tuning confirmed as Drop C for 'Dear Agony' by multiple sources.
- Settings cross-referenced with genre and era conventions for accuracy. Breaking Benjamin's 'Dear Agony' riff uses a modern, saturated high-gain tone typical of late-2000s post-grunge/alt-metal, with tight low end, balanced mids (not scooped), and clear but not harsh highs. Their Mesa/Peavey-style amps are set for punch and clarity, with minimal reverb for a dry, aggressive mix.