GuitarDistortedRiff80% confidence
Drown (New) Riff Guitar Tone Settings — Bring Me The Horizon
Bring Me The Horizon · 2010s+ · rock
studio
Original Recording
Guitar
Gibson Les Paul Custom (Lee Malia signature or similar, as used in studio for 'Drown')
Pickups
Custom humbuckers (Gibson P-94 in neck, Gibson 84T-LM in bridge)
Amp
Marshall JCM800 2203
Pickup Position
Bridge pickup
Studio recording, 2014 (Sempiternal/That's the Spirit era). Lee Malia is confirmed to use his signature Les Paul with custom pickups and a Marshall JCM800 for main rhythm tones in this era. Orange Rockerverb 100 is also seen in his rig, but JCM800 is primary for heavy riff sections. Effects and pedals are based on studio use, not live. No evidence of Kemper or digital amps for main rhythm in studio.
Amp Settings
Mids5.5
Bass6
Gain8
Reverb1.5
Treble7
Presence6
Effects Chain
- Dirt Dog Overdrive · overdrive
- RD-1 Pitch Delay · delay
Guitar → Dirt Dog Overdrive → RD-1 Pitch Delay → Marshall JCM800 2203 (spring reverb on)
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Tone Character
- tight and percussive
- modern high-gain saturation
- articulate palm-muted riffs
- full-bodied midrange punch
- clear note definition under gain
- slightly scooped but not hollow
- aggressive attack
- controlled low end
- crisp, bright top end
- studio-polished clarity
Notes & Caveats
- No direct studio knob settings for 'Drown' found; amp and pedal choices are confirmed for this era and genre, settings estimated based on typical Marshall JCM800 usage in modern rock/metal.
- Pedal models are inferred from Lee Malia's known studio/live rig and audible effects in the recording; no explicit studio pedalboard photo for 'Drown' riff section.
- Orange Rockerverb 100 is also in Lee's rig, but JCM800 is primary for heavy rhythm; settings reflect JCM800.
- Exact pickup selector not confirmed for 'Drown', but bridge pickup is standard for heavy riff sections in BMTH's style.
- No evidence of chorus, flanger, phaser, or wah in the riff section; only overdrive and subtle delay/reverb are audible.
- Settings cross-referenced with genre and era conventions for accuracy. BMTH's 'Drown (New)' riff section uses a modern, saturated high-gain tone with tight low end, balanced mids (not scooped), and enough treble/presence for clarity without harshness. The production is dry and punchy, typical of mid-2010s metalcore/post-hardcore, with minimal reverb and amp settings tailored for tight, articulate rhythm guitars.