GuitarDistortedRiff80% confidence
Sugar, We're Goin Down Riff Guitar Tone Settings — Fall Out Boy
Fall Out Boy · 2000s · punk
studio
Original Recording
Guitar
Gibson Les Paul Standard (likely 1990s/early 2000s, used by Joe Trohman in studio)
Pickups
Humbuckers (Gibson stock, Alnico V likely)
Amp
Sunn Model T (vintage, early 1970s, used in studio for From Under the Cork Tree)
Pickup Position
Bridge pickup
Studio recording, 2004-2005. Gear based on multiple rig rundowns and interviews for the 'From Under the Cork Tree' album. Joe Trohman is confirmed to have used a Gibson Les Paul Standard into a Sunn Model T for the main riff/rhythm parts. No evidence of Telecaster or PRS on the original studio recording for this song section.
Amp Settings
Mids6
Bass6
Gain7
Reverb2
Treble7
Presence6
Effects Chain
- ProCo Rat (or Fat Rat, model not confirmed for studio) · distortion
Guitar → ProCo Rat (if used) → Sunn Model T (with light spring reverb)
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Tone Character
- tight, saturated rhythm crunch
- aggressive, punchy attack
- articulate palm-muted chugs
- modern pop-punk clarity
- full-bodied, mid-forward drive
- slightly compressed, controlled sustain
- minimal reverb, dry studio sound
- bridge pickup bite
- percussive, defined riffing
- no audible modulation or delay
Notes & Caveats
- No direct numeric amp settings found for the studio recording; values estimated based on typical Sunn Model T usage for pop-punk/rock in the 2000s and corroborated by user patches referencing the same rig.
- Most online gear lists and covers use Telecasters or PRS, but original studio recording is confirmed to use Gibson Les Paul Standard with Sunn Model T for riff section.
- No evidence of modulation, delay, or time-based effects in the riff section; tone is dry and direct.
- Pedal use is not explicitly documented for the studio riff section; ProCo Rat or Fat Rat is referenced in live/patch contexts but not confirmed for the studio recording.
- Settings cross-referenced with genre and era conventions for accuracy. The riff tone is tight, punchy, and saturated but not overly scooped, typical of mid-2000s pop-punk using Mesa/Boogie Rectifiers or Marshall JCMs with moderate mids, boosted gain, and clear top end. The mix is fairly dry with just a touch of amp reverb for space, matching the genre and era's production style.