The Funeral Of Hearts Riff Guitar Tone Settings — HIM
HIM · 2000s · rock
studio
Original Recording
Studio recording for 'The Funeral Of Hearts' (2003, Love Metal album). Mikko 'Linde' Lindström used a Gibson SG Standard for the left rhythm track and a Fender Telecaster for the right, each through different amp setups. Peavey 5150 is cited as the main rhythm/lead amp for this era. Black Arts Toneworks Pharaoh fuzz and Octafuzz Multiplexer were used for additional saturation. No evidence of live-specific settings or gear for this riff section.
Amp Settings
Effects Chain
- Black Arts Toneworks Pharaoh · fuzz
- Octafuzz Multiplexer · fuzz
Guitar (Gibson SG Standard or Fender Telecaster) → Black Arts Toneworks Pharaoh → Octafuzz Multiplexer (possible) → Peavey 5150 120-Watt Head (with mild room reverb)
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Tone Character
- gritty and saturated
- lush and heavy
- mid-forward
- tight and percussive
- dark and melodic
- ambient with subtle reverb
- aggressive palm muting
- soaring, powerful riff sound
- not scooped, present mids
- slightly compressed attack
Notes & Caveats
- No direct numeric amp settings found for 'The Funeral Of Hearts' studio recording; settings estimated based on Peavey 5150 typical usage for heavy rock/metal and genre/era conventions.
- Pedal usage (Black Arts Toneworks Pharaoh fuzz, Octafuzz Multiplexer) confirmed for this era and player, but not explicitly tied to this song's riff section; included due to strong evidence from gear rundowns.
- No evidence of time-based or modulation effects (delay, chorus, flanger, etc.) in the riff section; only fuzz/distortion and mild ambient reverb are present.
- Pickup selector inferred from typical usage for heavy rhythm (bridge pickup) and audio characteristics.
- Settings reflect studio context; live settings may differ.
- Settings cross-referenced with genre and era conventions for accuracy. HIM's 'The Funeral Of Hearts' riff tone is saturated but articulate, with tight lows and balanced mids, typical of late-90s/early-2000s Finnish gothic rock/metal. Linde Lindström often used high-gain British amps (Laney, Marshall) with moderate mids and presence for clarity, and minimal reverb for a dry, punchy sound.