GuitarDistortedRiff80% confidence
Hell Bent for Leather Riff Guitar Tone Settings — Judas Priest
Judas Priest · 1970s · metal
studio
Original Recording
Guitar
Gibson Les Paul Custom (1970s, likely black finish, as used by Glenn Tipton and K.K. Downing on the album)
Pickups
Gibson humbuckers (likely T-Top or Super Humbucker, stock for late 1970s Les Paul Custom)
Amp
Marshall JMP 2203 (100W, late 1970s, as used by Judas Priest in studio for 'Hell Bent for Leather')
Pickup Position
Bridge pickup
Studio recording, 1978. Both Glenn Tipton and K.K. Downing used Les Paul Customs through Marshall JMPs for rhythm tracks on this album. No evidence of pedals or effects for the riff section; distortion from amp. No chorus, delay, or flanger audible in the riff. No evidence of effects loop or amp-based reverb used for rhythm.
Amp Settings
Mids7
Bass5.5
Gain7
Reverb0
Treble7
Presence6
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- tight and percussive
- aggressive palm muting
- midrange punch
- crisp high-end bite
- classic British crunch
- articulate note separation
- saturated but clear
- focused and driving
- no audible modulation or delay
- full-bodied rhythm sound
Notes & Caveats
- No direct source lists exact amp knob settings for 'Hell Bent for Leather' riff; settings estimated based on typical late-1970s Marshall JMP usage for classic metal rhythm tones.
- No evidence of pedals or effects used on the riff section; all distortion is amp-based.
- Guitar and amp models confirmed for this album/era, but pickup type inferred from standard Les Paul Custom specs.
- No evidence of effects loop or amp-based reverb used for rhythm; reverb set to 0.
- Settings cross-referenced with genre and era conventions for accuracy. Judas Priest's 'Hell Bent for Leather' features a classic late-70s British metal tone: crunchy but not ultra-high gain, with pronounced mids and a tight low end typical of Marshall amps. The tone is dry (little to no reverb), bright but not harsh, and has the forward midrange bite characteristic of Tipton and Downing's style and era.