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Waking the Demon — Bullet for My Valentine1 / 2
Original RigYour Adaptation
GuitarDistortedSolo72% confidence

Waking the Demon Guitar Tone Settings — Bullet for My Valentine

Bullet for My Valentine · 2000s · metal

studio

Original Recording

Guitar
ESP LTD MP-600 Michael Paget Signature
Pickups
EMG 81 (bridge, active humbucker)
Amp
Peavey 5150
Pickup Position
Bridge pickup

Studio recording, 2007-2008. Guitar tuned to Drop C. Michael Paget played the solo. Ibanez Tubescreamer used as a boost into a Peavey 5150. Wah pedal used for solo. Settings are for studio recording, not live.

Amp Settings

Mids
4
Bass
5.5
Gain
8.5
Reverb
0.5
Treble
7
Presence
6.5

Effects Chain

  • Ibanez TS9 Tube Screamer · overdrive
  • Morley Bad Horsie Wah · wah
  • Delay pedal (model unknown, likely digital) · delay

ESP LTD MP-600 → Ibanez TS9 Tube Screamer → Morley Bad Horsie Wah → Delay pedal (digital) → Peavey 5150

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Tone Character

  • tight and percussive
  • scooped mids
  • aggressive palm muting
  • singing sustain
  • razor-sharp attack
  • articulate note separation
  • high output, modern metal saturation
  • cutting lead presence
  • wah sweep for expressive phrasing
  • compressed, focused high-gain

Notes & Caveats

  • ⚠️No direct studio amp knob photos for this specific solo; amp settings estimated based on genre, era, and multiple sources.
  • ⚠️Peavey 5150 confirmed as main amp for album, but some sources mention possible use of other amps live.
  • ⚠️Ibanez Tubescreamer confirmed as boost, but exact pedal settings not found.
  • ⚠️Wah pedal confirmed for solos, but both Dunlop SW95 Slash Wah and Morley Bad Horsie Wah are cited for this era; model likely Morley Bad Horsie based on era and multiple sources.
  • ⚠️Delay is not explicitly mentioned in sources, but a short digital delay is clearly audible in the solo section.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Bullet for My Valentine in 'Waking the Demon' (solo) uses a modern, saturated high-gain tone with tight low end, slightly scooped but present mids, and bright, cutting treble for note clarity. Their typical Mesa/Peavey-style amps favor boosted presence and minimal reverb for a dry, articulate lead sound.

Sources