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Hallowed Be Thy Name (1982 Remaster) — Iron Maiden1 / 2
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Hallowed Be Thy Name (1982 Remaster) Guitar Tone Settings

Iron Maiden · 1980s · metal

studio

Original Recording

Guitar
1976 Fender Stratocaster (Dave Murray) or Gibson Les Paul Deluxe (Adrian Smith)
Pickups
DiMarzio Super Distortion (bridge humbucker, Dave Murray); Gibson mini-humbuckers (Adrian Smith Les Paul Deluxe)
Amp
Marshall JMP 100-watt head (likely model 2203) into Marshall 4x12 cabinet
Pickup Position
Bridge pickup (humbucker)

Studio recording, 1982. Both Dave Murray and Adrian Smith played rhythm/riff parts; Murray used his heavily modded Strat with a DiMarzio Super Distortion in the bridge, Smith used a Les Paul Deluxe. No evidence of pedals in the riff section; distortion from amp. Settings inferred from era, amp, and genre. No evidence of effects loop or additional pedals for rhythm/riff. All info specific to studio recording of 'Hallowed Be Thy Name' riff section.

Amp Settings

Mids
7
Bass
6
Gain
7
Reverb
1.5
Treble
7
Presence
6

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Tone Character

  • tight and percussive
  • aggressive bridge humbucker attack
  • classic British high-gain crunch
  • articulate note separation
  • scooped but present mids
  • full-bodied low end
  • bright but not harsh top end
  • minimal ambience/reverb
  • fast, galloping rhythm
  • sustained power chords

Notes & Caveats

  • ⚠️No direct studio documentation or official rig rundown for this specific song/section; gear and settings inferred from era, genre, and known band equipment.
  • ⚠️Forum source suggests bridge humbucker and high bass for Maiden rhythm tone, but does not specify exact amp settings for this song.
  • ⚠️No evidence of pedals or modulation/time-based effects in the riff section; distortion is from amp.
  • ⚠️Settings are estimated based on typical Marshall JMP usage for early 1980s Iron Maiden studio recordings.
  • ⚠️If new evidence emerges (e.g., session notes or isolated tracks), settings may need revision.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Iron Maiden's 'Hallowed Be Thy Name' (1982) features a classic British crunch with high mids and moderate gain, typical of Marshall amps of the era. The tone is present, articulate, and mid-forward, with tight low end, clear but not piercing highs, minimal reverb, and just enough presence to cut through the mix.

Sources