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Funeral Hymn Riff Guitar Tone Settings — Exodus
Exodus · 2000s · metal
studio
Original Recording
Guitar
ESP Eclipse (Gary Holt signature, likely used for recording)
Pickups
EMG 81 (bridge, active humbucker)
Amp
Peavey 5150 (studio recording, 2007 era)
Pickup Position
Bridge pickup
Studio recording for 'Funeral Hymn' (The Atrocity Exhibition: Exhibit A, 2007). Gary Holt is known to have used Peavey 5150 amps with EMG-loaded ESP guitars for this album. No direct evidence of live rig or alternate amps for the studio session. No evidence of additional guitars or amp blending for the riff section.
Amp Settings
Mids4.5
Bass6
Gain8.5
Reverb0
Treble7
Presence6.5
Effects Chain
- Noise gate (model unknown) · noise_gate
ESP Eclipse (EMG 81 bridge) → Noise gate → Peavey 5150 head → Cabinet (likely Mesa/Boogie 4x12)
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Tone Character
- tight and percussive
- scooped mids
- aggressive palm muting
- razor-sharp attack
- modern thrash saturation
- crushing rhythm sound
- articulate note separation
- dry, no ambience
- high output, compressed
- filthy, nasty distortion
Notes & Caveats
- No direct source gives exact amp knob settings for 'Funeral Hymn'; settings estimated based on typical Peavey 5150 usage in 2000s thrash metal and genre conventions.
- No explicit mention of pedals or effects for the riff section; no audible time-based or modulation effects in the recording.
- Some sources mention EVH 5150III in later years, but for the 2007 studio recording, Peavey 5150 is most likely.
- No evidence of alternate guitars or blended amps for the riff section; all evidence points to EMG-loaded ESP Eclipse into Peavey 5150.
- Settings cross-referenced with genre and era conventions for accuracy. Exodus's 'Funeral Hymn' features a modern thrash tone: extremely high gain for tight, aggressive palm mutes; tight but not boomy bass; slightly scooped mids for clarity and bite; bright, cutting treble; boosted presence for attack; and a bone-dry, reverb-free mix typical of 2000s Bay Area thrash production.