GuitarDistortedRiff80% confidence
Now You've Got Something to Die For Guitar Tone Settings
Lamb of God · 2000s · metal
studio
Original Recording
Guitar
Gibson Les Paul Custom
Pickups
EMG 81/85 active humbuckers
Amp
Mesa/Boogie Dual Rectifier (Rackmount, Rev F or G, likely with Svetlana 6L6 power tubes)
Pickup Position
Bridge pickup
Studio recording, 2004 (Ashes of the Wake). Mark Morton and Willie Adler both used Gibson Les Paul Customs with EMG active pickups. Mesa/Boogie Dual Rectifier amps were the primary studio amps for the heavy rhythm tone. No evidence of live rig or alternate amps for this specific song's recording. Minimal pedal use in studio for rhythm sections.
Amp Settings
Mids5
Bass6
Gain8.5
Reverb0
Treble6.5
Presence6.5
Effects Chain
- Ibanez TS9 Tube Screamer · overdrive
- Noise Gate (model unknown) · noise_gate
Guitar → Ibanez TS9 Tube Screamer → Noise Gate → Mesa/Boogie Dual Rectifier (no reverb, no effects loop)
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Tone Character
- tight and percussive
- scooped but present mids
- aggressive palm muting
- high-gain saturation
- razor-sharp attack
- articulate note separation
- compressed and modern
- minimal ambience
- punchy low end
- fast, staccato riffing
Notes & Caveats
- No direct numeric amp settings for this song's studio recording found; settings estimated based on genre, era, and typical Mesa/Boogie Dual Rectifier usage in 2000s metal.
- Pedal/effects use for the riff section is inferred as minimal based on interviews and typical Lamb of God rhythm tones; no evidence of time-based or modulation effects in the riff.
- Guitar and pickup models are confirmed for the album era but not tied to a specific take; both Morton and Adler used Les Paul Customs with EMGs in studio.
- If more specific studio notes or isolated track analysis become available, update settings accordingly.
- Settings cross-referenced with genre and era conventions for accuracy. Lamb of God’s 'Ashes of the Wake' era tones are tight, aggressive, and modern, using Mesa/Peavey high-gain amps with moderate bass, slightly scooped but not hollow mids, clear treble, and boosted presence for articulation; the tone is bone-dry with no reverb for maximum punch.