GuitarDistortedRiff80% confidence
Thank You for the Venom (2025 Mix) Guitar Tone Settings
My Chemical Romance · 2000s · punk
studio
Original Recording
Guitar
Epiphone Elitist Les Paul Custom (likely Ray Toro's main studio guitar for this era)
Pickups
Seymour Duncan SH-6 Distortion (bridge), SH-2 Jazz (neck) humbuckers
Amp
Marshall JCM2000 DSL100 head into Marshall 1960A 4x12 cabinet
Pickup Position
Bridge pickup
Studio recording for 'Thank You for the Venom (2025 Mix)', riff section. Gear based on established studio rig for the original 'Three Cheers for Sweet Revenge' era, as no direct 2025 Mix studio documentation is available. No evidence of live/touring substitutions for this recording.
Amp Settings
Mids6
Bass6
Gain7.5
Reverb1.5
Treble7
Presence6
Effects Chain
- Distortion pedal (model unknown, possibly Boss DS-1 or similar) · distortion
Guitar → Distortion pedal (if used) → Marshall JCM2000 DSL100 → Marshall 1960A 4x12 (minimal amp reverb)
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Tone Character
- tight and saturated
- aggressive palm-muted chugs
- articulate attack
- slightly scooped mids
- percussive rhythm
- compressed high-gain
- minimal ambience
- clear note separation
- dry and direct
- modern punk/metal
Notes & Caveats
- No direct studio documentation for the 2025 Mix; gear and settings inferred from original album era and multiple rig rundowns.
- No explicit numeric amp settings found; values estimated based on typical Marshall JCM2000 usage for this genre/era and forum discussions.
- No evidence of time-based or modulation effects in the riff section; distortion is amp-based with possible boost from pedal, but no pedal model confirmed for this exact recording.
- Pickup choice inferred from genre and tone; bridge humbucker is standard for this riff.
- Pedalboard and amp details from Premier Guitar and Equipboard reference the band's general studio setup for this song's era, not specifically the 2025 Mix session.
- Settings cross-referenced with genre and era conventions for accuracy. The 2025 mix of 'Thank You for the Venom' retains the aggressive, saturated high-gain sound typical of Ray Toro's and Frank Iero's rig (Marshall/Boogie style amps, mid-forward but not scooped, tight bass for clarity, and a bright but not harsh top end). The tone is dry and punchy with minimal reverb, fitting modern punk/alt-metal conventions.