Lock & Key — Intervals1 / 2
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Lock & Key Solo Guitar Tone Settings — Intervals

Intervals · 2010s+ · metal

studio

Original Recording

Guitar
Mayones Regius Core 7
Pickups
Bare Knuckle Silo humbuckers
Amp
Neural DSP Archetype: Plini (amp sim, likely used for studio recording)
Pickup Position
Bridge pickup

Studio recording, 2020s. Aaron Marshall is known to use Mayones Regius Core 7 with Bare Knuckle Silo pickups and Neural DSP Archetype: Plini plugin for Intervals studio work. No direct evidence for a physical amp or cab in the studio for this track; amp sim is industry standard for this artist/era.

Amp Settings

Mids
6
Bass
5.5
Gain
7.5
Reverb
2.5
Treble
7
Presence
6.5

Effects Chain

  • Delay pedal (model unknown) · delay
  • Reverb pedal (model unknown) · reverb
  • Noise gate (model unknown) · noise_gate

Guitar → Noise gate → Delay → Reverb → Neural DSP Archetype: Plini amp sim

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Tone Character

  • tight and articulate
  • high-gain saturation
  • singing sustain
  • present upper mids
  • defined note separation
  • slight ambient tail
  • percussive attack
  • modern progressive metal clarity
  • no muddiness in low end
  • fast transient response

Notes & Caveats

  • ⚠️No direct source lists exact amp or pedal settings for 'Lock & Key' solo; amp sim and settings estimated based on artist's known studio workflow, genre, and era.
  • ⚠️No explicit pedalboard or effect chain for this specific solo found in sources; effects inferred from audio and typical Intervals setups.
  • ⚠️Mayones Regius Core 7 and Bare Knuckle Silo pickups confirmed for Aaron Marshall in this era, but not explicitly tied to this exact session.
  • ⚠️Neural DSP Archetype: Plini is widely used by Aaron Marshall for Intervals studio tones, but not directly confirmed for this song in sources.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Aaron Marshall of Intervals is known for a tight, articulate modern prog-metal lead tone with enough gain for sustain but not so much that it gets fizzy; mids are balanced (not scooped), bass is tight to avoid muddiness, treble and presence are boosted for clarity and cut, and reverb is minimal as most ambience is added in post-production.

Sources