GuitarDistortedRiff80% confidence
My Way Riff Guitar Tone Settings — Limp Bizkit
Limp Bizkit · 2000s · metal
studio
Original Recording
Guitar
Ibanez Musician MC150PW (custom 4-string, tuned F#, F# (octave), B, E)
Pickups
Ibanez Super 58 humbuckers (stock on MC150PW, likely used)
Amp
Selmer Zodiac Twin 30 (1965, studio recording)
Pickup Position
Bridge pickup
Studio recording for 'My Way' (2000/2001). Guitar is a custom 4-string Ibanez Musician MC150PW. Amp is a 1965 Selmer Zodiac Twin 30, as confirmed by Wes Borland for this track. Effects include Maestro solid-state Echoplex (delay) and Ibanez CF7 Flanger (Wack’d setting).
Amp Settings
Mids5.5
Bass5.5
Gain7.5
Reverb1
Treble7
Presence6
Effects Chain
- Maestro solid-state Echoplex · delay
- Ibanez CF7 Flanger (Wack’d setting) · flanger
Ibanez Musician MC150PW → Maestro Echoplex (delay) → Ibanez CF7 Flanger (Wack’d) → Selmer Zodiac Twin 30 (spring reverb low)
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Tone Character
- tight and percussive
- aggressive, modern nu-metal distortion
- processed, studio-polished rhythm
- flanger-modulated attack
- delayed, spacey feel
- crisp, defined low end
- trebly, high-end focused breakdown
- thick, layered guitar sound
- slightly scooped mids
- articulate pick attack
Notes & Caveats
- No explicit numeric amp knob settings found for Selmer Zodiac Twin 30 on 'My Way'; values estimated based on typical classic rock/metal settings for this amp and era.
- Guitar model and amp confirmed for studio recording; pickup type inferred from stock MC150PW specs and typical Wes Borland usage.
- Pedal settings (delay/flanger) not specified; effect models confirmed but knob values estimated.
- Signal chain order inferred from typical Wes Borland rig and source descriptions.
- No direct pickup selector position stated, but bridge pickup is most likely for main riff based on tone and genre.
- Settings cross-referenced with genre and era conventions for accuracy. Wes Borland's tone on 'My Way' is a tight, modern high-gain sound with a slightly scooped midrange, tight bass, and clear but not harsh treble, typical of nu-metal production circa 2000. The amp is likely a Mesa/Boogie Dual Rectifier or similar, set for aggressive saturation, with minimal reverb to keep the riff dry and punchy in the mix.