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Into Oblivion Riff Guitar Tone Settings — Lamb of God
Lamb of God · 2010s+ · metal
studio
Original Recording
Guitar
Gibson Mark Morton Signature Les Paul or 1969 Les Paul Custom
Pickups
Seymour Duncan JB (bridge) and '59 (neck) humbuckers
Amp
Mesa/Boogie Rectifier Badlander
Pickup Position
Bridge pickup
Studio recording for 'Into Oblivion' riff section (2022); rhythm tracks used the Badlander with a vintage Ibanez Tube Screamer in front, gain maxed, overdrive at minimum. Mark Morton confirmed this setup specifically for the rhythm/riff parts of this song.
Amp Settings
Mids5
Bass6
Gain8.5
Reverb0
Treble7
Presence6.5
Effects Chain
- Ibanez Tube Screamer (vintage, likely TS9 or TS808) · overdrive
Guitar → Ibanez Tube Screamer (gain max, overdrive min) → Mesa/Boogie Rectifier Badlander (no reverb, high-gain settings)
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Tone Character
- tight and percussive
- aggressive palm muting
- scooped but present mids
- articulate pick attack
- high-gain saturation
- chunky low end
- razor-sharp clarity
- modern metal rhythm
- dry, no audible reverb
- focused, compressed sound
Notes & Caveats
- No exact amp knob numbers found; settings estimated based on typical Mesa Rectifier Badlander use in modern metal and Mark Morton's stated approach.
- Pedal settings for Tube Screamer are from direct quote: 'gain all the way up and the overdrive all the way down'.
- Guitar model alternates between Mark Morton Signature Les Paul and 1969 Les Paul Custom; both confirmed for this recording.
- No evidence of time-based or modulation effects in the riff section; only overdrive pedal used.
- No amp reverb or built-in effects used; tone is dry and tight.
- Pickup choice inferred from genre and tone (bridge humbucker for rhythm).
- Settings cross-referenced with genre and era conventions for accuracy. Lamb of God’s 'Into Oblivion' features a modern, tight, high-gain tone typical of Mark Morton and Willie Adler’s Mesa/Peavey setups from the mid-2000s, with mids slightly scooped for clarity, tight bass, and pronounced treble/presence for aggression. The tone is dry and punchy, with little to no reverb, matching genre and era conventions.