Supermassive Black Hole Solo Guitar Tone Settings — Muse
Muse · 2000s · rock
studio
Original Recording
Studio recording, 2006. Guitar is most likely the Manson MB-1 with built-in ZVex Fuzz Factory circuit, but Ampeg Dan Armstrong Plexi was used in the music video. Diezel VH4 is widely cited as the main amp for Black Holes and Revelations era studio tones. Fuzz Factory and DigiTech Whammy are confirmed for solo. No evidence of time-based or modulation effects in the solo section.
Amp Settings
Effects Chain
- ZVex Fuzz Factory · fuzz
- DigiTech Whammy · pitch
Manson MB-1 (bridge pickup) → ZVex Fuzz Factory (built-in or pedal) → DigiTech Whammy → Diezel VH4 amp (channel 3/4, high gain, light reverb)
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Tone Character
- extreme fuzz saturation
- synth-like sustain
- glitchy, gated fuzz texture
- octave pitch-shifting
- aggressive, compressed attack
- tight, focused midrange
- razor-sharp articulation
- broad, harmonically rich arpeggios
- cutting, modern rock solo tone
- pronounced upper harmonics
Playing Technique
- Play the pitch before the effect · difficulty 4/5Fret and pick each target note cleanly before adding wide bends or pitch movement. The effect should exaggerate an intentional phrase, not disguise an uncertain one.
- Use the bar or pedal as a phrase tool · difficulty 4/5Move pitch effects at the end of a phrase and return to the centre before the next rhythmic accent. Slow, deliberate sweeps sound dramatic; constant motion makes the groove lose its anchor.
- Keep the picking hand compact · difficulty 3/5Use short alternate-picked strokes and mute unused strings with the palm. High-gain fuzz magnifies stray noise, while compact picking preserves the riff's dance-like precision.
- Leave space after the dramatic hit · difficulty 3/5Stop or release the note before the next groove accent when the phrase calls for it. The contrast between an extreme effect and a clean gap makes the solo feel larger.
Sources
Tone Story / Why This Tone Works
- Style and eraBlack Holes and Revelations placed Muse in a 2006 glam-rock, funk, and electronic crossover era with a deliberately futuristic edge.
- Matt Bellamy's voiceBellamy combines theatrical phrasing with tight rhythmic control, using effects as compositional instruments rather than post-production gloss.
- Why the solo needs focusForward mids and controlled low end let Fuzz Factory-style saturation and Whammy movement stay intelligible instead of collapsing into noise.
- Why it is iconicThe lead sounds almost synthetic while its pick attack remains human, turning a short section into a dramatic event over a danceable groove.
What Fans Are Saying About This Tone?
Every time I listen to this I can't help but picture a bunch of vampires playing baseball...
Vote your takeI don't think we truly realize how damn iconic this tune is.
Vote your takeThis is the skin of a killer, Bella
Vote your take50% of the comments: that one kaeya edit; the other 50%: the baseball scene in twilight
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