Shogun Solo Guitar Tone Settings — Trivium
Trivium · 2000s · metal
studio
Original Recording
Studio recording, 2008. Gear confirmed for Shogun era via Equipboard and interviews. Corey Beaulieu likely used Jackson King V 7-string with Seymour Duncan Blackouts, but Matt Heafy's solo tone is most associated with the Dean MKH 7-string and EMG 81-7. No evidence of live Kemper or EVH 5150 III for this album. No explicit pedalboard for this solo, but Maxon OD808 and Boss NS-2 were standard for tightening the high-gain sound. Effects inferred from audio and era.
Amp Settings
Effects Chain
- Maxon OD808 Overdrive · overdrive
- Boss NS-2 Noise Suppressor · noise_gate
- Delay pedal (model unknown) · delay
Dean MKH 7-String → Maxon OD808 → Boss NS-2 → Peavey 6505+ Head → Mesa/Boogie 4x12 (Celestion V30s) → Delay pedal (in effects loop or post-amp for solo)
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Tone Character
- tight and saturated
- singing sustain
- clear note separation
- aggressive pick attack
- articulate under fast alternate picking
- slight mid scoop
- modern metal clarity
- percussive palm muting
- fluid legato
- minimal ambient reverb
Notes & Caveats
- No direct source lists exact amp knob settings for Shogun solo; values estimated based on typical Peavey 6505+ metal settings and Trivium's genre/era.
- Pedal use (Maxon OD808, Boss NS-2) is inferred from standard Trivium studio rigs and interviews, but not explicitly confirmed for this specific solo.
- Delay is clearly audible in the solo section; model not confirmed, but likely a digital delay pedal or rack unit.
- Guitar model is confirmed for Shogun era, but Corey and Matt sometimes swapped gear; this profile is for Matt Heafy's solo tone.
- Presence and reverb settings are estimated based on genre and amp type; Peavey 6505+ has no built-in reverb, so any reverb is likely post-amp or added in mix.
- Settings cross-referenced with genre and era conventions for accuracy. Trivium's 'Shogun' solo section features a saturated, articulate modern metal lead tone with tight low end, slightly scooped but present mids, and enough treble/presence for clarity. The band used Peavey 6505/5150 amps in this era, favoring high gain, moderate bass, and minimal reverb for a dry, punchy sound.