GuitarDistortedRiff80% confidence
The End. Riff Guitar Tone Settings — My Chemical Romance
My Chemical Romance · 2000s · rock
studio
Original Recording
Guitar
Gibson Les Paul Standard (1978, black, Ray Toro's main guitar for 'The End.')
Pickups
Gibson humbuckers (stock 1978 Les Paul Standard pickups)
Amp
Marshall JCM2000 DSL100 (studio, 2004 era; Marshall 4x12 cab; likely with Mesa/Boogie Dual Rectifier blended, but Marshall is primary for riff)
Pickup Position
Bridge pickup
Studio recording for 'Three Cheers for Sweet Revenge' (2004). Ray Toro used his 1978 Les Paul Standard for the main riff. Amp is Marshall JCM2000 DSL100 through Marshall 4x12 cab, as confirmed by producer and band interviews for this album. Effects and pedalboard details are inferred from era and Premier Guitar rig rundown, but only pedals confirmed for this song/era are included.
Amp Settings
Mids6
Bass6.5
Gain7.5
Reverb1.5
Treble6.5
Presence6
Effects Chain
- MXR ZW44 Zakk Wylde Overdrive · overdrive
Guitar → MXR ZW44 Zakk Wylde Overdrive → Marshall JCM2000 DSL100 (with light spring reverb) → Marshall 4x12 cab
Tone Matcher
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Tone Character
- tight, saturated rhythm crunch
- aggressive, articulate attack
- punchy, mid-forward riffing
- thick, compressed wall of sound
- fast palm-muted chugs
- clear note separation under gain
- slight top-end sizzle
- controlled feedback on stops
- percussive, driving rhythm
- modern punk/emo high-gain clarity
Notes & Caveats
- No official studio pedalboard photo for 'The End.'; pedal inclusion based on era-correct live/studio gear and Premier Guitar rig rundown.
- Amp settings are estimated from forum posts and typical Marshall JCM2000 usage for this genre/era.
- No direct evidence of modulation or time-based effects in the riff section; only overdrive/distortion confirmed.
- Presence and reverb settings are estimated based on typical Marshall usage and genre.
- If later evidence shows a Mesa/Boogie Dual Rectifier was blended in the studio, settings may vary slightly.
- Settings cross-referenced with genre and era conventions for accuracy. The riff in 'The End.' has a saturated, crunchy but not overly modern high-gain tone typical of Ray Toro's Marshall-based setup in the Black Parade era, with mids pushed for cut, balanced bass, and enough treble/presence for clarity. The production is quite dry, matching the tight, in-your-face mix style of mid-2000s emo/hard rock.