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Welcome Home Riff Guitar Tone Settings — Coheed and Cambria

Coheed and Cambria · 2000s · metal

studio

Original Recording

Guitar
Gibson Les Paul Studio Vintage Sunburst (EMG pickups)
Pickups
EMG 81 (bridge), EMG 85 (neck) active humbuckers
Amp
Bogner Uberschall 100W Head into Mesa/Boogie 4x12 cab with Celestion Vintage 30s
Pickup Position
Bridge pickup (EMG 81)

Studio recording, 2005 (Good Apollo, I'm Burning Star IV, Vol. 1: From Fear Through the Eyes of Madness). Travis Stever played the main riff section with this setup. Claudio Sanchez used a Gibson EDS-1275 for other parts, but the main riff is confirmed to be Travis on the Les Paul with EMGs through the Bogner Uberschall. No evidence of Axe-FX or digital modeling on the original studio recording.

Amp Settings

Mids
4
Bass
6
Gain
7.5
Reverb
1.5
Treble
7
Presence
6

Effects Chain

  • Boss NS-2 Noise Suppressor · noise_gate
  • Dunlop Cry Baby Wah · wah

Gibson Les Paul Studio (EMG 81 bridge) → Boss NS-2 Noise Suppressor → Bogner Uberschall 100W Head → Mesa/Boogie 4x12 cab

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Tone Character

  • tight and saturated
  • aggressive palm muting
  • articulate pick attack
  • chunky low end
  • slightly scooped mids
  • modern high-gain clarity
  • clear note separation
  • sustained power chords
  • active pickup punch
  • percussive rhythm

Notes & Caveats

  • ⚠️No direct studio amp knob settings found; amp settings estimated based on Bogner Uberschall typical usage for modern metal and forum-reported settings.
  • ⚠️Pedalboard lists include many pedals, but no evidence most were used on the original studio riff section. Only noise gate and wah are confirmed relevant.
  • ⚠️Presence and reverb settings estimated based on genre and amp; reverb likely minimal, as is typical for tight metal rhythm.
  • ⚠️Some sources mention Axe-FX and digital rigs, but these are for later live performances, not the original studio recording.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Claudio Sanchez used a high-gain Mesa/Boogie Dual Rectifier for 'Welcome Home,' dialing in a thick, saturated distortion with tight lows and present mids. The tone is aggressive but not scooped, with enough treble and presence for clarity, and the production is quite dry, matching mid-2000s alt-prog metal conventions.

Sources