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I'm Not Okay (I Promise) — My Chemical Romance1 / 2
Original RigYour Adaptation
GuitarDistortedRiff80% confidence

I'm Not Okay (I Promise) Guitar Tone Settings

My Chemical Romance · 2000s · punk

studio

Original Recording

Guitar
Epiphone Les Paul Elitist (Ray Toro's main studio guitar for Three Cheers for Sweet Revenge era)
Pickups
Epiphone stock humbuckers (Alnico V, likely modeled after Gibson 498T/490R set)
Amp
Marshall JCM2000 TSL 100 Triple Super Lead 3-Channel 100-Watt Guitar Amp Head
Pickup Position
Bridge pickup

Studio recording, 2004. Ray Toro used the Epiphone Les Paul Elitist into a Marshall JCM2000 TSL100 for the main riff section. No evidence of Frank Iero's guitar being the primary rhythm in the studio riff section. No confirmed pedal use for the riff section; Boss BF-2 Flanger is associated with the album but not clearly audible or confirmed for the riff. No evidence of Crate Blue Voodoo being used on the studio recording (only seen in music video/live).

Amp Settings

Mids
6.5
Bass
6
Gain
7.5
Reverb
1.5
Treble
7
Presence
6.5

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Tone Character

  • tight and saturated
  • aggressive and percussive
  • chunky low end
  • present upper mids
  • articulate attack
  • slightly scooped mids
  • modern pop-punk clarity
  • minimal ambience
  • dry, upfront mix
  • bridge pickup bite

Notes & Caveats

  • ⚠️No direct studio amp knob settings found; values estimated based on Marshall JCM2000 typical pop-punk settings and era.
  • ⚠️No pedal use confirmed for riff section; Boss BF-2 Flanger is associated with the album but not clearly audible or cited for the riff.
  • ⚠️Crate Blue Voodoo amp is seen in music video/live but not confirmed for studio recording.
  • ⚠️Guitar model and pickup type inferred from era and studio documentation; no direct photo/video of exact take.
  • ⚠️Minimal reverb inferred from dry, upfront mix; Marshall JCM2000 has reverb but likely set low.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. The riff tone is saturated and aggressive but not ultra-modern; Ray Toro and Frank Iero used Marshall and Mesa amps with high gain, tight low end, forward mids, and a cutting but not harsh top. The production is dry and punchy, matching early 2000s emo/punk conventions.

Sources