GuitarDistortedRiff80% confidence
Skylines and Turnstiles Guitar Tone Settings
My Chemical Romance · 2000s · punk
studio
Original Recording
Guitar
Gession Les Paul Copy
Pickups
Humbuckers (likely generic/stock, as per Gession Les Paul copy)
Amp
Marshall JCM800
Pickup Position
Bridge pickup
Studio recording, 2002. Gear confirmed for 'I Brought You My Bullets, You Brought Me Your Love' era. No evidence of alternate guitars or amps for the riff section of 'Skylines and Turnstiles'.
Amp Settings
Mids6.5
Bass6
Gain7.5
Reverb1.5
Treble7
Presence6
Effects Chain
- Boss BD-2 Blues Driver · overdrive
Gession Les Paul Copy → Boss BD-2 Blues Driver → Marshall JCM800 (minimal spring reverb)
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- aggressive and punchy
- mid-heavy with tight low end
- crunchy and saturated
- raw and emotive attack
- slightly scooped but not thin
- dynamic and driving
- percussive rhythm
- bright but not harsh
- full-bodied distortion
- articulate power chords
Notes & Caveats
- No direct amp knob settings for 'Skylines and Turnstiles' found; settings estimated based on typical Marshall JCM800 usage for early 2000s punk/emo and genre conventions.
- Guitar model confirmed as Gession Les Paul Copy for Ray Toro in this era; pickups assumed to be stock humbuckers.
- No evidence of additional pedals or effects (delay, chorus, flanger, etc.) used on the riff section; only overdrive/distortion is clearly audible.
- No evidence of effects loop or amp-based effects beyond minimal reverb.
- No explicit pickup selector position stated, but bridge pickup is standard for heavy riff sections in this genre and era.
- Settings cross-referenced with genre and era conventions for accuracy. Ray Toro’s tone on 'Skylines and Turnstiles' is aggressive and saturated but not overly modern, with a tight low end, forward mids, and enough treble/presence for clarity. The production is dry and punchy, typical of early 2000s post-hardcore, and likely used a Marshall or Mesa amp with moderate bass, strong mids, and minimal reverb.