TonesMatch
Misery Business — Paramore1 / 2
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Misery Business Solo Guitar Tone Settings — Paramore

Paramore · 2000s · rock

studio

Original Recording

Guitar
Fender Classic Series '72 Telecaster Thinline
Pickups
Wide Range Humbuckers
Amp
Unknown (likely Marshall JCM800 or similar high-gain British amp, but not confirmed for studio recording)
Pickup Position
Bridge pickup

Studio recording, 2007. Gear confirmed for Taylor York, but amp model for the studio session is not explicitly documented in available sources. Guitar and pedalboard info from Equipboard photos and interviews. No direct evidence of live rig being used in studio.

Amp Settings

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

Effects Chain

  • Visual Sound Garagetone Chainsaw Distortion · distortion
  • Boss CE-1 Chorus Ensemble · chorus
  • Maxon AD-999 Pro Analog Delay · delay

Fender Classic Series '72 Telecaster Thinline → Visual Sound Garagetone Chainsaw Distortion → Boss CE-1 Chorus Ensemble → Maxon AD-999 Pro Analog Delay → Amp

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Tone Character

  • bright and saturated
  • cutting lead tone
  • tight and articulate
  • singing sustain
  • crisp attack
  • modern pop-punk edge
  • not overly compressed
  • clear note separation
  • present upper mids
  • slightly scooped low-mids

Notes & Caveats

  • ⚠️No direct source confirms the exact amp model or settings for the studio recording; amp settings estimated based on genre, era, and typical pop-punk tones.
  • ⚠️Pedalboard evidence is from live and general gear photos, not explicitly tied to the studio session for the solo.
  • ⚠️No explicit pickup selector documentation, but bridge pickup is highly likely for solo cut and clarity.
  • ⚠️No direct evidence of amp effects (reverb, delay, chorus) being used from the amp itself; all effects listed are pedal-based or inferred from audio.
  • ⚠️Delay and chorus are audible in the solo, but specific pedal settings are not documented.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Paramore's 'Misery Business' solo uses a tight, modern high-gain tone typical of mid-2000s pop-punk/emo, likely from a Mesa/Boogie Dual Rectifier or similar amp with moderate bass, forward mids for cut, and slightly boosted treble/presence for clarity. Reverb is minimal, as is common in punchy, radio-ready rock mixes of the era.

Sources