Prove — ONE OK ROCK1 / 2
Original RigYour Adaptation
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Prove Riff Guitar Tone Settings — ONE OK ROCK

ONE OK ROCK · 2010s+ · rock

studio

Original Recording

Guitar
PRS Custom 24 (Toru Yamashita signature, likely 2010s spec)
Pickups
PRS HFS Treble (bridge) and Vintage Bass (neck) humbuckers
Amp
Friedman Brown Eye 100W Tube Guitar Amp Head
Pickup Position
Bridge pickup

No direct studio documentation for 'Prove', but Toru's main studio and live rig for the 2010s (including the 'Ambitions' era, which matches the song's release) is the PRS Custom 24 into a Friedman BE-100. No evidence of alternate guitars or amps for this riff section. Settings estimated based on genre, amp type, and era. Studio context assumed based on song release.

Amp Settings

Mids
6
Bass
6
Gain
7
Reverb
2
Treble
7
Presence
6

Effects Chain

  • MI Audio Megalith Delta · distortion

PRS Custom 24 → MI Audio Megalith Delta → Friedman BE-100 (minimal spring reverb)

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Tone Character

  • tight and percussive
  • modern high-gain saturation
  • articulate and clear
  • focused low end
  • crisp high end
  • aggressive pick attack
  • dense and layered
  • minimal ambience
  • punchy rhythm
  • clear note separation

Notes & Caveats

  • ⚠️No direct studio documentation for 'Prove' found; gear and settings inferred from Toru's main rig during the 'Ambitions' era (2017) and typical Friedman BE-100 usage.
  • ⚠️No explicit pedal or effect settings for this song/section; pedalboard info is from live rig and not confirmed for this studio recording.
  • ⚠️Amp settings estimated based on Friedman BE-100 typical rock/modern settings and genre conventions.
  • ⚠️No evidence of modulation or time-based effects in the riff section; only core gain/distortion and minimal reverb inferred.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. The riff in 'Prove' features a tight, modern high-gain tone typical of Toru's use of Mesa/Boogie or Marshall amps, with a balanced EQ (slightly scooped but not extreme), clear mids, and a cutting top end. The reverb is minimal, as is common for modern Japanese rock production, to keep the riff punchy and up front.

Sources