GuitarDistortedRiff80% confidence
The Antichrist Riff Guitar Tone Settings — Slayer
Slayer · 1980s · metal
studio
Original Recording
Guitar
BC Rich Bich (early 1980s, likely stock pickups)
Pickups
DiMarzio Super Distortion humbuckers (bridge position, ceramic magnet, high output)
Amp
Marshall JCM800 2203 head into Marshall 4x12 cabinet (likely Celestion G12-65 speakers)
Pickup Position
Bridge pickup
Studio recording, 1983. Gear based on Slayer's known studio setup for 'Show No Mercy' era. No evidence of pedal use for distortion; amp distortion is primary. No evidence of effects loop or additional rack gear for this song's riff section.
Amp Settings
Mids4
Bass5.5
Gain8.5
Reverb0
Treble7.5
Presence6.5
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Tone Character
- tight and percussive
- scooped mids
- aggressive palm muting
- razor-sharp pick attack
- high-gain saturation
- minimal ambience
- dry, in-your-face
- fast attack
- chunky low end
- articulate rhythm definition
Notes & Caveats
- No direct studio documentation for 'The Antichrist' riff section; gear and settings are estimated based on era, genre, and known Slayer setups from interviews and rig rundowns.
- No evidence of pedal use for distortion on the original studio recording; distortion is from cranked Marshall JCM800.
- No evidence of reverb, delay, or modulation effects in the riff section; tone is dry and direct.
- Pickup model inferred from typical BC Rich Bich and Slayer's known pickup choices in early 1980s.
- Amp settings estimated based on typical Marshall JCM800 usage for early thrash metal and Slayer's genre-defining tone.
- Settings cross-referenced with genre and era conventions for accuracy. Slayer's 'The Antichrist' (from 1983's 'Show No Mercy') features a raw, high-gain, scooped-mid thrash tone typical of early 80s metal. Kerry King and Jeff Hanneman used Marshall JCM800s with high gain, tight bass, scooped mids, and biting treble/presence, with little to no reverb for a dry, aggressive attack.