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F.C.P.R.E.M.I.X. Riff Guitar Tone Settings — The Fall of Troy
The Fall of Troy · 2000s · rock
studio
Original Recording
Guitar
Gibson Les Paul Studio Baritone
Pickups
Gibson humbuckers (stock, likely 490R/498T or similar)
Amp
Budda Superdrive 80 Series II Head
Pickup Position
Bridge pickup (likely for clarity and attack in clean riff)
Studio recording, Doppelganger album (2005); evidence from Equipboard and pedalboard photos. No direct evidence of alternate guitars or amps for clean sections. All gear listed is confirmed for this album era.
Amp Settings
Mids6
Bass5.5
Gain0
Reverb1.5
Treble7
Presence6.5
Effects Chain
- Boss DD-3 Digital Delay · delay
Guitar → Boss DD-3 Digital Delay → Budda Superdrive 80 Series II Head (with spring reverb)
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Tone Character
- glassy and articulate
- tight and percussive attack
- clear note separation
- slightly compressed
- dynamic response to picking
- bright but not harsh
- short delay repeats
- no audible drive or breakup
- math rock clarity
- responsive to playing dynamics
Notes & Caveats
- Gain adjusted to 0 for clean tone
- No direct source lists exact amp knob settings for the clean section; values estimated based on typical Budda Superdrive clean settings for this genre/era.
- Guitar model and amp are confirmed for the album era, but not explicitly for the clean section of this song.
- Pickup position is inferred from tone clarity and attack in the recording.
- Delay pedal model is inferred from era and known pedalboard, but settings are not confirmed.
- No evidence of chorus, flanger, or phaser in the clean section; only delay is clearly audible.
- Settings cross-referenced with genre and era conventions for accuracy. Thomas Erak's tone on 'F.C.P.R.E.M.I.X.' is very high-gain, tight, and articulate, with a modern post-hardcore/metalcore edge—likely using a Peavey 5150 or similar amp with mids set neutral, tight bass, and bright, cutting treble/presence. The recording is dry with no audible amp reverb, matching the genre and era.