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Redneck Stomp — Obituary1 / 2
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Redneck Stomp Riff Guitar Tone Settings — Obituary

Obituary · 2000s · metal

studio

Original Recording

Guitar
Fender Stratocaster (with humbucker in bridge position, heavily modified for metal)
Pickups
Humbucker (exact model unspecified, likely high-output aftermarket, bridge position)
Amp
Marshall JCM800 2203 head
Pickup Position
Bridge pickup (humbucker)

Studio recording for 'Frozen In Time' (2005). Rhythm section by Trevor Peres. Guitar tone achieved by rolling off all tone on the guitar, using bridge humbucker, ProCo RAT distortion pedal into Marshall JCM800. No evidence of additional effects or amp reverb. Settings estimated based on genre, era, and amp model. All sources confirm this setup for the album recording, not live.

Amp Settings

Mids
5
Bass
6
Gain
8
Reverb
0
Treble
6.5
Presence
6

Effects Chain

  • ProCo RAT · distortion

Fender Stratocaster (bridge humbucker, tone rolled off) → ProCo RAT → Marshall JCM800 2203 head → Cabinet

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Tone Character

  • chunky and grave-sodden
  • caveman crunch
  • dank, dirgey drive
  • tight and percussive
  • high-gain saturation
  • scooped mids
  • aggressive palm muting
  • dark and sinister
  • unwaveringly heavy
  • dry, no ambience

Notes & Caveats

  • ⚠️No exact amp knob settings found in sources; values estimated based on Marshall JCM800 typical metal settings and era.
  • ⚠️Exact humbucker model not specified; inferred as high-output bridge humbucker from multiple sources.
  • ⚠️No evidence of time-based or modulation effects in studio riff section; only distortion pedal confirmed.
  • ⚠️No amp reverb or other amp effects used; reverb set to 0.
  • ⚠️Pedal settings for ProCo RAT not specified in sources.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Obituary's 'Redneck Stomp' features a thick, aggressive, and dry modern death metal tone typical of early 2000s Florida death metal. Trevor Peres is known for high gain, tight low end, slightly scooped but not '80s-scooped' mids, and a dry, in-your-face sound with little to no reverb. These settings reflect his Mesa/Peavey amp preferences and the genre's production conventions.

Sources