GuitarDistortedSolo80% confidence
Poisonous Shadows Solo Guitar Tone Settings — Megadeth
Megadeth · 2010s+ · metal
studio
Original Recording
Guitar
Gibson Les Paul (exact model not specified, but used by Ryan Wariner for the solo recording)
Pickups
Humbuckers (stock Gibson Les Paul pickups, exact model not specified)
Amp
Dave Mustaine's rig (exact amp model not specified, likely Marshall or Fractal Axe-Fx based on era and Mustaine's known studio rigs)
Pickup Position
Bridge pickup
Studio recording, 2015-2016 (Dystopia album sessions). Ryan Wariner played the solo using his Gibson Les Paul plugged into Dave Mustaine's rig. No explicit amp or pedal model is confirmed for this solo; no live/tour rig info is relevant.
Amp Settings
Mids4.5
Bass5.5
Gain7.5
Reverb2.5
Treble7
Presence6.5
Effects Chain
- Delay pedal (model unknown) · delay
Gibson Les Paul → Delay pedal (model unknown) → Dave Mustaine's rig (likely Marshall or Fractal Axe-Fx, with digital reverb)
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Tone Character
- singing sustain
- smooth and fluid
- clear articulation
- slightly ambient
- modern metal clarity
- touch-sensitive
- melodic phrasing
- high-gain saturation
- not overly scooped
- expressive vibrato
Notes & Caveats
- No explicit amp model or pedal model is confirmed for the solo; settings are estimated based on typical Megadeth studio tones from the Dystopia era and the genre.
- No numeric amp settings found in sources; values are inferred from typical Marshall/Fractal high-gain metal tones.
- No explicit effects listed in sources; delay and reverb are included due to clear audibility in the solo.
- Exact pickup model not specified; assumed stock Gibson Les Paul humbuckers.
- No pedalboard or effects chain photos or interviews for this specific solo; effects inferred from audio and era.
- Settings cross-referenced with genre and era conventions for accuracy. For 'Poisonous Shadows,' Megadeth's solo tone is high-gain, tight, and modern but still rooted in their classic scooped-mid thrash sound. Dave Mustaine typically uses a scooped EQ (low mids, boosted treble and presence) with moderate bass for definition, and minimal reverb for clarity in fast passages. These settings reflect his common amp approach from the Dystopia era.