TonesMatch
Dragonaut — Sleep1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

Dragonaut Riff Guitar Tone Settings — Sleep

Sleep · 1990s · metal

studio

Original Recording

Guitar
Gibson Les Paul Custom (3-humbucker, likely early 1990s model)
Pickups
Lace Sensor Matt Pike Dragonaut (bridge and neck), Dirty Hesher (middle)
Amp
Laney Supergroup (likely LA100BL, early 1970s model, cranked)
Pickup Position
Bridge pickup

Studio recording, 1992-1993. Guitar and amp confirmed by multiple sources for Sleep's 'Holy Mountain' era. No evidence of live/touring substitutions for the studio recording.

Amp Settings

Mids
8
Bass
8
Gain
7.5
Reverb
0
Treble
5.5
Presence
5

Effects Chain

  • ProCo RAT · distortion

Guitar → ProCo RAT → Laney Supergroup (no reverb, no time-based effects)

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Tone Character

  • thick and saturated
  • super articulation while maintaining substantial low end
  • beefy, classic stoner rock wall of sound
  • mid-forward and punchy
  • sustains more than modern amps
  • articulate attack
  • riff-heavy and percussive
  • cranked tube amp saturation
  • tight but not scooped
  • raw and organic distortion

Notes & Caveats

  • ⚠️No direct studio knob settings found; amp EQ and gain settings estimated based on genre, era, and forum advice.
  • ⚠️Pedal use for the riff section is inferred from multiple sources and typical genre practice; exact pedal models for the studio recording are not 100% confirmed.
  • ⚠️No evidence of time-based or modulation effects (delay, chorus, flanger, etc.) in the riff section; only distortion/fuzz is clearly audible.
  • ⚠️Pickup choice inferred from tone and artist's typical usage; not explicitly stated for this song.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Sleep's 'Dragonaut' features a massively saturated, fuzzy doom tone with huge low end, thick mids, and rolled-off highs, characteristic of Matt Pike's vintage Matamp/Green amp setup and Big Muff-style fuzz. The tone is dry (no reverb), with presence and treble kept low to avoid harshness, and bass/mids pushed for that iconic stoner/doom wall of sound.

Sources