GuitarDistortedRiff80% confidence
The Lasting Dose Riff Guitar Tone Settings — Crowbar
Crowbar · 2000s · metal
studio
Original Recording
Guitar
ESP Viper (likely custom, as used by Kirk Windstein in studio early 2000s)
Pickups
EMG 81/85 active humbuckers
Amp
Randall RG100ES solid state head
Pickup Position
Bridge pickup
Studio recording, 2001 (Sonic Excess in Its Purest Form). Gear confirmed for era and band interviews; pedal and amp details inferred from genre, era, and forum discussions. No evidence of live rig or alternate guitars for this specific song/section.
Amp Settings
Mids5.5
Bass7.5
Gain9
Reverb0
Treble6
Presence6
Effects Chain
- Boss Metal Zone MT-2 · distortion
ESP Viper (EMG 81/85) → Boss Metal Zone MT-2 → Randall RG100ES head → cabinet
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Tone Character
- crushing wall of sound
- sludgy, saturated distortion
- tight, percussive chugs
- massive low end
- compressed and thick
- aggressive palm muting
- mid-heavy punch
- minimal clarity, maximum heaviness
- dry, no ambience
- focused, heavy rhythm
Notes & Caveats
- No direct studio documentation of exact amp or pedal settings for 'The Lasting Dose' riff section found; settings estimated based on genre, era, and known Crowbar gear from interviews and forums.
- No explicit photo or interview confirming exact ESP Viper model or pickup configuration for this track, but EMG 81/85 is standard for Kirk Windstein in this era.
- No evidence of time-based or modulation effects in riff section; distortion pedal (Boss Metal Zone) is referenced in general Crowbar/Down discussions but not confirmed for this specific track.
- Settings are estimated based on typical Randall RG100ES usage in sludge/doom metal and the audible tone on the recording.
- No evidence of amp or pedal reverb/delay/chorus/flanger/phaser in the riff section; tone is dry and direct.
- Settings cross-referenced with genre and era conventions for accuracy. Crowbar's 'The Lasting Dose' features a thick, saturated, sludgy tone typical of Kirk Windstein's style—high gain, boosted bass for doom heft, mids kept neutral to avoid scooping, and restrained treble/presence to keep the sound dark and crushing. The recording is very dry, with no audible reverb, matching the genre's production norms.