GuitarDistortedRiff80% confidence
Laser Cannon Deth Sentence Guitar Tone Settings
Metalocalypse: Dethklok · 2000s · metal
studio
Original Recording
Guitar
Gibson Explorer (Epiphone 'Thunderhorse' or Gibson USA, as used by Brendon Small for Dethklok rhythm parts)
Pickups
EMG 81/85 active humbuckers
Amp
Krank Krankenstein (most likely, as confirmed for Dethklok rhythm tones in this era; some debate between Krankenstein and Revolution, but Krankenstein is most cited for rhythm)
Pickup Position
Bridge pickup
Studio recording, Dethalbum II era (2009). Guitar and amp choice based on Brendon Small's confirmed rhythm setup for Dethklok in this period. No evidence of live rig or alternate guitars for this specific riff section.
Amp Settings
Mids4.5
Bass6
Gain9
Reverb0
Treble7
Presence6.5
Effects Chain
- MXR Smart Gate (likely, for noise reduction) · noise_gate
Guitar → MXR Smart Gate (likely) → Krank Krankenstein amp (high gain channel, no reverb)
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Tone Character
- super saturated
- tight and percussive
- aggressive palm muting
- scooped mids
- razor-sharp articulation
- crushing low end
- modern metal clarity
- high output
- minimal ambience
- focused attack
Notes & Caveats
- No direct source lists exact knob settings for 'Laser Cannon Deth Sentence' riff; amp and pedal choices are inferred from multiple gear rundowns and interviews for Dethalbum II era.
- Krank Krankenstein is the most cited amp for Dethklok rhythm tones, but some forum debate exists between Krankenstein and Revolution models.
- Pedal use for the riff section is minimal; distortion is primarily from amp and active pickups.
- Settings are estimated based on typical metal tones for this amp/guitar/pickup combination and genre/era.
- No evidence of time-based or modulation effects in the riff section; only noise gate is likely but not confirmed.
- Settings cross-referenced with genre and era conventions for accuracy. Dethklok's 'Laser Cannon Deth Sentence' features a hyper-tight, modern metal tone with extreme gain, tight low end, scooped mids, and aggressive treble/presence for clarity. The production is dry with no audible reverb, matching Brendon Small's typical use of high-gain amps (often boosted) and genre conventions for 2000s extreme metal.