You Know What They Do To Guys Like Us In Prison — My Chemical Romance1 / 2
Original RigYour Adaptation
GuitarDistortedSolo80% confidence

You Know What They Do To Guys Like Us In Prison Guitar Tone Settings

My Chemical Romance · 2000s · rock

studio

Original Recording

Guitar
Epiphone Les Paul Elitist (Ray Toro's main studio guitar for Three Cheers for Sweet Revenge era)
Pickups
Epiphone stock humbuckers (Alnico V, modeled after Gibson PAF)
Amp
Marshall JCM2000 TSL 100 Triple Super Lead 3-Channel 100-Watt Guitar Amp Head
Pickup Position
Bridge pickup

Studio recording, 2003-2004. Gear confirmed for album era; no explicit source for pedals or pickup position for this solo. No evidence of live/touring substitutions for this section.

Amp Settings

Mids
6.5
Bass
6
Gain
7.5
Reverb
2.5
Treble
7
Presence
6

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

  • singing sustain
  • tight, focused midrange
  • aggressive attack
  • clear note separation
  • slightly compressed
  • saturated solo tone
  • harmonic overtones
  • cutting, bright top end
  • thick, modern punk/rock lead sound
  • punchy, articulate pick attack

Notes & Caveats

  • ⚠️No explicit pedal or effect model is confirmed for this solo section in any source.
  • ⚠️Amp model and guitar are confirmed for album era, but no direct studio documentation for this specific solo.
  • ⚠️Settings are estimated based on typical Marshall JCM2000 usage in 2000s punk/rock studio context.
  • ⚠️No evidence of time-based or modulation effects in the solo; solo appears to be dry except for possible light amp reverb.
  • ⚠️Pickup position inferred from typical lead/solo practice and tone characteristics.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Frank Iero's solo tone on this track is saturated and aggressive but not ultra-modern; likely a Marshall or Mesa with high gain, forward mids, and enough treble/presence to cut through the dense mix, with minimal reverb as per early 2000s post-hardcore production.

Sources