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Sleepwalking Riff Guitar Tone Settings — Bring Me The Horizon
Bring Me The Horizon · 2010s+ · metal
studio
Original Recording
Guitar
Epiphone Lee Malia Signature Les Paul Custom
Pickups
Bare Knuckle Pickups Warpig (bridge humbucker), P-94 (neck P-90 style single coil)
Amp
Marshall JCM800 2203 head into 4x12 cabinet with Celestion Vintage 30s
Pickup Position
Bridge pickup (Bare Knuckle Warpig humbucker)
Studio recording, 2012-2013 for the album 'Sempiternal'. Lee Malia used his Epiphone signature Les Paul with Bare Knuckle Warpig in the bridge, into a Marshall JCM800 2203 head and 4x12 cab. The main riff is played with high-gain, tight rhythm. No evidence of live rig or alternate guitars for this section.
Amp Settings
Mids5.5
Bass6
Gain8
Reverb1
Treble7
Presence6.5
Effects Chain
- Klon Centaur · boost
Epiphone Lee Malia Les Paul (bridge Warpig) → Klon Centaur (boost, always on) → Marshall JCM800 2203 head → 4x12 cab (Celestion V30s)
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Tone Character
- tight and percussive
- high-gain saturation
- articulate palm-muted chugs
- compressed low end
- slightly scooped upper mids
- bassy but not boomy
- modern metalcore clarity
- aggressive pick attack
- focused and punchy
- minimal ambience
Notes & Caveats
- No direct source for exact amp knob settings; values estimated based on Marshall JCM800 typical metal settings and genre/era.
- No explicit confirmation of pedal use for the riff section; no delay, chorus, or modulation is audible in the main riff.
- Some sources discuss live gear and covers, but only studio recording gear for Sempiternal is included.
- Pickup choice inferred from Lee Malia's known use of bridge Warpig for heavy rhythm on Sempiternal.
- Reverb setting is estimated low (2/10) as the tone is tight and dry, with ambience likely from studio mixing, not amp.
- Settings cross-referenced with genre and era conventions for accuracy. BMTH's 'Sleepwalking' riff uses a modern metal tone: high gain for saturation and sustain, tight but not boomy bass, mids set flat for clarity (not scooped), bright but not harsh treble, and boosted presence for cut. The tone is very dry, with little to no reverb, matching typical 2010s metalcore production.