Waiting for the End Solo Guitar Tone Settings — LINKIN PARK
LINKIN PARK · 2010s+ · rock
studio
Original Recording
Studio recording for 'Waiting for the End' (2010, A Thousand Suns). Hiwatt Lead 100 was specifically miked for this song in studio; Ibanez RGT3120 with D-Sonic bridge pickup was used for B tuning songs in this era. Mesa/Boogie Dual Rectifier and 4x12 cabs are seen live but not confirmed for this solo's studio recording.
Amp Settings
Effects Chain
- Boss CS-3 Compression Sustainer · compression
- Boss CE-5 Chorus Ensemble · chorus
- EarthQuaker Devices Disaster Transport Sr. · delay
- Boss NS-2 Noise Suppressor · noise_gate
Ibanez RGT3120 (bridge pickup) → Boss CS-3 Compression Sustainer → Boss CE-5 Chorus Ensemble → EarthQuaker Devices Disaster Transport Sr. Delay → Boss NS-2 Noise Suppressor → Hiwatt Lead 100 amp (spring reverb on, miked with Marshall 1960A cab)
Tone Matcher
Match This Tone to Your Gear
Tell us your guitar and amp — we’ll calculate the exact settings translated to your specific rig.
Adapt to MY Gear →7-day free trial · Cancel anytime.
Tone Character
- clear and articulate
- slightly compressed sustain
- moderate gain with clarity
- present midrange for solo cut
- tight low end
- smooth top end, not harsh
- delicate delay repeats
- chorus shimmer
- studio-polished
- modern rock solo
Notes & Caveats
- No direct amp knob settings for 'Waiting for the End' solo found; settings estimated based on Hiwatt Lead 100 typical use in modern rock and studio context.
- Ibanez RGT3120 with D-Sonic bridge pickup is confirmed for B tuning songs in this era, but not explicitly named for this solo; high confidence due to era and tuning.
- Mesa/Boogie Rectifier and 4x12 cabs are confirmed for live use, but Hiwatt Lead 100 is specifically cited for 'Waiting for the End' studio recording.
- Effects chain is inferred from pedalboard evidence and clear audio cues (delay, chorus) in the solo; specific pedal models are based on Brad Delson's known pedalboard from this era.
- No explicit pickup selector position stated, but bridge pickup is most likely for solo cut and clarity.
- Settings cross-referenced with genre and era conventions for accuracy. Brad Delson's solo tone on 'Waiting for the End' is a modern, slightly compressed high-gain sound with tight lows, balanced mids, and crisp but not harsh highs. The production is polished and relatively dry, matching Linkin Park's 2010s nu-metal/alt-rock style and typical amp settings for articulate, radio-friendly leads.