GuitarCleanRiff80% confidence
Demolition Lovers Riff Guitar Tone Settings — My Chemical Romance
My Chemical Romance · 2000s · punk
studio
Original Recording
Guitar
Gession Les Paul Copy
Pickups
Humbucker (likely stock or generic, as per Bullets-era budget gear)
Amp
Marshall JCM800 (studio recording, 2002 era)
Pickup Position
Neck pickup
Studio recording for 'I Brought You My Bullets, You Brought Me Your Love' (2002). Ray Toro used a Gession Les Paul copy and a Marshall JCM800 for main guitar tracks. No evidence of boutique pedals or high-end gear for clean tones on this album. Settings estimated for clean section based on amp, era, and genre.
Amp Settings
Mids6.5
Bass6
Gain0
Reverb2
Treble7
Presence5.5
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Tone Character
- warm and rounded
- shimmering clean
- articulate single notes
- slight natural breakup at high dynamics
- dynamic and expressive
- minimal sustain
- no audible modulation
- slight studio ambience
- present midrange
- not overly bright
Notes & Caveats
- Gain adjusted to 0 for clean tone
- No direct source lists exact amp knob settings for the clean section of 'Demolition Lovers'; settings estimated based on typical Marshall JCM800 clean tone for early 2000s punk/emo.
- No evidence of specific pedals or effects used for the clean section; no delay, chorus, or modulation audible in the recording.
- Guitar model is confirmed as a Gession Les Paul copy for Bullets-era studio recordings, but pickup brand/model is not specified—assumed stock humbuckers.
- Pickup selector not explicitly documented, but neck pickup is strongly inferred from the warm, rounded clean tone.
- Amp reverb is estimated as low, as JCM800s do not have built-in reverb; any reverb is likely from the studio or added in post, but not from pedals or amp.
- Settings cross-referenced with genre and era conventions for accuracy. The 'Demolition Lovers' riff tone is saturated but not ultra-modern, with a tight, mid-forward crunch typical of early 2000s post-hardcore. Ray Toro likely used a Marshall or Mesa-type amp with moderate bass, present mids, and clear but not harsh treble, with minimal reverb as per the dry, punchy mix style of the era.