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Waiting for the End — LINKIN PARK1 / 2
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Waiting for the End Riff Guitar Tone Settings — LINKIN PARK

LINKIN PARK · 2010s+ · rock

studio

Original Recording

Guitar
Ibanez Prestige RGT3120 (with DiMarzio D-Sonic bridge pickup)
Pickups
DiMarzio D-Sonic (bridge humbucker, replaced stock pickup)
Amp
Hiwatt Lead 100 through Marshall 1960A cabinet (studio recording)
Pickup Position
Bridge pickup (DiMarzio D-Sonic humbucker)

Studio recording for 'A Thousand Suns' (2010); Hiwatt Lead 100 was miked with Sennheiser MD 421 and Shure SM57; Mesa/Boogie Dual Rectifier also used on other tracks but Hiwatt is primary for 'Waiting for the End' riff; Ibanez RGT3120 with D-Sonic bridge pickup confirmed for this era and tuning.

Amp Settings

Mids
5.5
Bass
5.5
Gain
7
Reverb
1.5
Treble
7
Presence
6

Effects Chain

  • Boss CS-3 Compression Sustainer · compression
  • Boss CE-5 Chorus Ensemble · chorus
  • Boss NS-2 Noise Suppressor · noise_gate

Ibanez Prestige RGT3120 (bridge pickup) → Boss CS-3 Compression Sustainer → Boss CE-5 Chorus Ensemble → Boss NS-2 Noise Suppressor → Hiwatt Lead 100 → Marshall 1960A cab (miked)

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Tone Character

  • tight and percussive
  • articulate midrange
  • slightly compressed attack
  • clear note separation
  • subtle chorus shimmer
  • modern alternative rock clarity
  • moderate gain, not saturated
  • dynamic response to picking
  • studio-polished
  • no excessive low end

Notes & Caveats

  • ⚠️No explicit amp knob settings found for Hiwatt Lead 100 on this song; settings estimated based on typical Hiwatt usage for modern rock and the song's tone.
  • ⚠️Guitar and pickup confirmed for this era and tuning, but not visually confirmed for this exact session.
  • ⚠️Pedalboard lists several pedals, but only chorus and compression are likely audible in the riff section; delay and noise gate are not clearly heard in the riff.
  • ⚠️Mesa/Boogie Dual Rectifier was used on other tracks, but Hiwatt Lead 100 is specifically cited for 'Waiting for the End' riff.
  • ⚠️No evidence of amp-based effects except possibly light reverb; chorus effect is pedal-based.
  • ⚠️All pedal settings are estimated; no explicit knob values found.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Brad Delson's tone on 'Waiting for the End' is tight, modern, and high-gain but not oversaturated, with a controlled low end, balanced mids, and enough treble/presence for clarity. The production is dry and punchy, matching Linkin Park's late-2000s nu-metal/alternative rock style and typical amp settings.

Sources