GuitarDistortedRiff60% confidence
Six Riff Guitar Tone Settings — All That Remains
All That Remains · 2000s · metal
studio
Original Recording
Guitar
PRS Custom 24
Pickups
PRS 59/09 humbuckers
Amp
EVH 5150III 15W Lunchbox Tube Guitar Amp Head
Pickup Position
Bridge pickup
Studio recording, 2006. Gear confirmed for era and band member (Mike Martin), but not explicitly tied to 'Six' recording session. No evidence of alternate guitars/amps for riff section. No evidence of live rig differing from studio for this song.
Amp Settings
Mids4.5
Bass6
Gain9
Reverb1
Treble6.5
Presence6
Effects Chain
- Noise gate (model unknown) · noise_gate
Guitar → Noise gate → EVH 5150III amp (minimal reverb) → Cabinet
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Tone Character
- tight and percussive
- scooped mids
- aggressive palm muting
- high-gain saturation
- articulate note separation
- chunky low end
- modern metalcore tone
- clear pick attack
- minimal ambience
- focused and controlled
Notes & Caveats
- No direct source confirms the exact amp/guitar used on the studio recording of 'Six' riff, but PRS Custom 24 with 59/09 pickups and EVH 5150III are confirmed for Mike Martin in this era.
- No numeric amp settings found in sources; settings estimated based on typical 5150III usage for 2000s metalcore and forum discussions.
- No explicit pedalboard or effects chain for the 'Six' riff section found; effects inferred from genre and audio.
- No evidence of time-based or modulation effects in the riff section; only high-gain distortion and possible noise gate.
- Settings cross-referenced with genre and era conventions for accuracy. All That Remains' 'Six' features a very saturated, modern metal tone with tight low end, slightly scooped but present mids, and crisp highs. The band typically used Peavey 5150/6505 amps with high gain, moderate bass, and mids set just below noon for clarity and aggression, with little to no reverb for a dry, punchy mix.