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World Painted Blood Riff Guitar Tone Settings — Slayer
Slayer · 2000s · metal
studio
Original Recording
Guitar
ESP Jeff Hanneman Signature (EMG-81/85 pickups, EMG-SPC, Kahler tremolo)
Pickups
EMG 81 (bridge, active humbucker)
Amp
Marshall JCM800 2203 (two heads, into Marshall MF400B and Orange cabs)
Pickup Position
Bridge pickup
Studio recording for 'World Painted Blood' (2009); rhythm tracks for both Hanneman and King were tracked by Kerry King using Hanneman's rig for the riff section. No evidence of live-specific gear or alternate guitars for the riff. All gear confirmed for this specific recording session.
Amp Settings
Mids5
Bass6
Gain8.5
Reverb0
Treble7.5
Presence7
Effects Chain
- Boss RGE-10 Graphic Equalizer · eq
- Noise Gate (model unknown) · noise_gate
ESP Jeff Hanneman Signature (EMG 81 bridge) → Noise Gate → Boss RGE-10 EQ → Marshall JCM800 2203 → Marshall MF400B/Orange cabs
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Tone Character
- tight and percussive
- aggressive palm muting
- razor-sharp clarity
- chunky low end
- scooped but present mids
- articulate pick response
- modern thrash metal saturation
- minimal ambience
- high-output active pickup punch
- dry, focused attack
Notes & Caveats
- No specific amp knob settings for 'World Painted Blood' found in sources; settings estimated based on Marshall JCM800 usage in modern thrash metal and typical Slayer tones.
- All effects and pedals listed are confirmed for the album session, but no evidence of time-based or modulation effects in the riff section; only EQ, noise gate, and wah (wah not used in riff).
- Kerry King tracked both his and Hanneman's rhythm parts for the album using Hanneman's ESP and rig for the riff section.
- No reverb or delay is audible or cited for the riff section; tone is dry and direct.
- Settings cross-referenced with genre and era conventions for accuracy. Slayer's 'World Painted Blood' features a modern, aggressive thrash tone with tight low end, slightly scooped but not hollow mids, biting treble, and a dry, in-your-face sound typical of late-2000s metal production. Kerry King and Jeff Hanneman used high-gain amps (Marshall JCM800/2203KK, Peavey 5150) with mids dialed back, tight bass, and little to no reverb for maximum attack and clarity.