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Stockholm Syndrome — Muse1 / 2
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Stockholm Syndrome Riff Guitar Tone Settings — Muse

Muse · 2000s · metal

studio

Original Recording

Guitar
Manson MB-1
Pickups
Manson custom humbuckers (likely MBK-2 or PF-1, bridge position)
Amp
Diezel VH4
Pickup Position
Bridge pickup

Studio recording, 2003. Matt Bellamy used the Diezel VH4 for virtually everything on the 'Absolution' album, including 'Stockholm Syndrome' riff. Guitar is a Manson MB-1 with custom humbuckers. No evidence of live/tour gear or alternate guitars for the studio riff section.

Amp Settings

Mids
5.5
Bass
6
Gain
9
Reverb
0
Treble
6.5
Presence
6

Effects Chain

  • Fuzz pedal (model unknown, likely Zvex Fuzz Factory or similar) · fuzz
  • Phaser pedal (model unknown) · phaser

Manson MB-1 (bridge humbucker) → Fuzz pedal → Phaser pedal → Diezel VH4 amp (no reverb)

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Tone Character

  • fuzzed-out saturated distortion
  • tight and percussive
  • aggressive attack
  • crushing low end
  • mid-scooped modern metal edge
  • articulate note separation
  • clear pick attack
  • sustained power chords
  • slight single-coil 'shine' from pickup voicing
  • minimal ambience (dry, no reverb)

Notes & Caveats

  • ⚠️Amp settings (gain, bass, mid, treble) are sourced from a user tab (Ultimate Guitar), not an official interview; presence is estimated based on typical Diezel VH4 usage for this genre/era.
  • ⚠️No official documentation of exact pedal models used in the studio; fuzz and modulation effects are included based on audio evidence and typical Bellamy gear for this era.
  • ⚠️No evidence of amp reverb or delay used on the riff section; reverb set to 0.
  • ⚠️Pickup type is inferred from Manson MB-1 specs and era; some sources mention P90s or coil splits, but for the Absolution era, custom humbuckers are most likely.
  • ⚠️No explicit mention of effects loop usage in studio.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Matt Bellamy's 'Stockholm Syndrome' riff tone is extremely saturated and aggressive, with tight low end, pronounced mids, and a cutting top end typical of his Diezel VH4 and Marshall amp blend. The tone is very dry (no reverb), and the presence is boosted for clarity, matching the modern alt/prog rock production.

Sources