GuitarDistortedSolo80% confidence
The Dark Side Solo Guitar Tone Settings — Muse
Muse · 2010s+ · rock
studio
Original Recording
Guitar
Manson MB-1
Pickups
Manson custom humbucker (bridge position)
Amp
Diezel VH4 (studio recording, likely channel 3 or 4 for high gain), possibly blended with Marshall JCM800 (modded by Matt Wells)
Pickup Position
Bridge pickup
Studio recording for 'The Dark Side' (2018, Simulation Theory). Matt Bellamy is known to blend the Diezel VH4 with a Marshall JCM800 for heavy tones. The MB-1 is his main guitar for this era and song. All gear confirmed for studio use on this album, not just live.
Amp Settings
Mids6
Bass6
Gain8
Reverb2
Treble7
Presence6.5
Effects Chain
- ZVex Fuzz Factory · fuzz
- Boss DD-3 Digital Delay · delay
- DigiTech Whammy · modulation
Manson MB-1 (bridge humbucker) → ZVex Fuzz Factory → DigiTech Whammy → Boss DD-3 Digital Delay → Diezel VH4 (high-gain channel, light digital reverb)
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Tone Character
- saturated and sustaining lead
- tight, compressed attack
- singing sustain with controlled feedback
- fuzz-like texture layered over high-gain base
- articulate note separation
- cutting upper mids
- slightly scooped low-mids
- modern high-gain clarity
- aggressive pick attack
- modulated delay repeats
Notes & Caveats
- No source provides exact knob settings for Diezel VH4 or Marshall JCM800 on 'The Dark Side' solo; settings estimated based on typical Muse studio tones and amp models.
- Pedal order and exact settings inferred from known studio gear and audible effects; no official published signal chain for this specific solo.
- Some pedals (e.g., ZVex Fuzz Factory, DigiTech Whammy, Boss DD-3) are confirmed as used by Bellamy in this era, but not all are explicitly tied to this solo—confidence is highest for Fuzz Factory and DD-3 due to their signature sound and clear audibility.
- Presence and reverb settings estimated based on genre/era and typical Diezel/Marshall usage.
- If new official studio documentation emerges, settings may need revision.
- Settings cross-referenced with genre and era conventions for accuracy. Matt Bellamy’s solo tone on 'The Dark Side' is saturated and sustaining but not ultra-modern high gain, with a mid-forward, British-voiced character typical of his use of Diezel or Marshall-style amps, tight low end, and clear but not harsh highs; reverb is minimal as most ambience comes from production effects.