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Take the Veil Cerpin Taxt — The Mars Volta1 / 2
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Take the Veil Cerpin Taxt Guitar Tone Settings — The Mars Volta

The Mars Volta · 2000s · rock

studio

Original Recording

Guitar
Ibanez RG series (likely RG2550 or similar, early 2000s spec, stock pickups)
Pickups
Ibanez/DiMarzio HSH (stock or DiMarzio/IBZ, ceramic magnet humbuckers and single coil)
Amp
Mesa/Boogie Dual Rectifier (early 2000s revision, likely Trem-O-Verb head)
Pickup Position
Bridge humbucker

Studio recording, 2002-2003. Omar Rodríguez-López was known to use Ibanez RG guitars and Mesa/Boogie Dual Rectifier amps for De-Loused in the Comatorium sessions. No direct source for exact serial/model, but this is widely documented for this album era. No evidence of alternate guitars or amps for this riff section.

Amp Settings

Mids
6.5
Bass
6
Gain
7.5
Reverb
1.5
Treble
7
Presence
6.5

Effects Chain

  • Distortion pedal (model unknown) · distortion

Ibanez RG → Distortion pedal (model unknown, possibly fuzz or overdrive) → Mesa/Boogie Dual Rectifier (spring reverb low)

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Tone Character

  • molten, saturated distortion
  • harmonic richness
  • aggressive attack
  • tight and percussive
  • complex, layered overtones
  • liquid-like runs
  • satisfyingly scrambled squelch
  • dense and hallucinatory
  • edgy and experimental
  • snarling, rabid riffing

Notes & Caveats

  • ⚠️No source provides explicit amp knob settings for this song; settings estimated based on typical Mesa/Boogie Dual Rectifier usage for heavy, harmonically rich riffing in early 2000s progressive rock.
  • ⚠️No direct confirmation of exact pickup model or selector position; inferred from Omar's known gear and the aggressive, cutting tone.
  • ⚠️No explicit pedal or effect model is confirmed for the riff section; only general references to experimental pedal use in the studio.
  • ⚠️No evidence of effects loop usage or specific pedal order for this riff section.
  • ⚠️No evidence of modulation or time-based effects (delay, chorus, flanger, etc.) in the main riff section; only high-gain amp distortion is clearly audible.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Omar Rodriguez-Lopez typically used high-gain British-style amps (like Orange or Marshall) with pronounced mids and a tight, aggressive attack for this era. The riff tone is saturated but not overly scooped, with clear midrange bite, moderate bass for definition, and minimal reverb as per the dry, in-your-face production style of 'De-Loused in the Comatorium.'

Sources