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À Tout le Monde — Megadeth1 / 2
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À Tout le Monde Riff Guitar Tone Settings — Megadeth

Megadeth · 1990s · metal

studio

Original Recording

Guitar
Jackson Kelly KE1 (Dave Mustaine signature, 1994 studio recording)
Pickups
Seymour Duncan JB (bridge humbucker), Seymour Duncan '59 (neck humbucker)
Amp
Custom Audio Electronics CAE 3+ SE preamp into VHT 2150 power amp (studio), likely into Marshall 4x12 cabinet
Pickup Position
Bridge pickup

Studio recording, 1994. Gear confirmed for Youthanasia album sessions. No evidence of live/touring substitutions for this specific recording.

Amp Settings

Mids
4.5
Bass
6
Gain
7.5
Reverb
1
Treble
7.5
Presence
6.5

Effects Chain

  • Overdrive/boost pedal (model unknown, likely used for tightening) · overdrive

Jackson Kelly KE1 → Overdrive/boost pedal (model unknown) → CAE 3+ SE preamp → VHT 2150 power amp → Marshall 4x12 cabinet (studio plate reverb added at mix or via rack unit)

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Tone Character

  • tight and percussive
  • saturated but clear
  • articulate under high gain
  • aggressive palm muting
  • scooped but present mids
  • crisp, bright top end
  • controlled low end
  • focused modern metal rhythm
  • minimal ambience
  • fast attack

Notes & Caveats

  • ⚠️No direct numeric amp settings for 'À Tout le Monde' found in sources; settings estimated based on typical CAE 3+ SE/VHT 2150/Marshall setup for 1990s Megadeth studio rhythm tones.
  • ⚠️Guitar and amp models confirmed for Youthanasia album, but no explicit pedalboard photo or session notes for this specific song's riff section.
  • ⚠️No evidence of chorus, flanger, or phaser on the riff section; only high-gain rhythm with possible subtle studio reverb.
  • ⚠️Effects inferred from genre, era, and audible characteristics; no explicit pedal model confirmed for distortion/boost.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Megadeth's 'À Tout le Monde' (mid-90s) features a tight, high-gain, scooped-mid thrash tone typical of Dave Mustaine's Marshall/ADA preamp era. The bass is tight but not boomy, mids are scooped for clarity, treble and presence are high for cut, and the tone is very dry with no audible reverb.

Sources