| Bulls in the Bronx · riff | Riff · distorted | ESP LTD EC-1000 (likely with EMG pickups, as used by Tony Perry on Collide With The Sky era) | Marshall JMP 1959 Super Lead 100-Watt (modded, as used by Tony Perry in studio) | 7.5 |
| Circles · riff | Riff · distorted | Gibson Les Paul (exact model unknown, likely Standard or Custom based on era and artist's typical studio use) | Unknown high-gain tube amp (exact model not specified; likely Mesa/Boogie Dual Rectifier or similar, based on genre and era) | 7.5 |
| Hell Above · riff | Riff · distorted | Gibson SG Standard (exact model for Vic Fuentes on Collide With The Sky era, as seen in live/studio photos and performances) | Orange Rockerverb 100 MKII Tube Guitar Amp Head | 8 |
| So Far So Fake · riff | Riff · distorted | Gibson Les Paul (likely Standard or Custom, as referenced in forum and consistent with band/era) | Orange Rockerverb MKII 100-Watt Tube Guitar Amp Head | 8 |
| Caraphernelia · riff | Riff · distorted | ESP LTD EC-1000 (likely, as used by Tony Perry during 'Collide With The Sky' era) | Marshall JMP 1959 Super Lead 100-Watt Head | 8 |
| Today I Saw the Whole World · riff | Riff · distorted | ESP E-II Eclipse | Neural DSP Quad Cortex (amp modeler, likely modeling Mesa/Boogie Dual Rectifier or similar high-gain amp) | 8 |
| Death of An Executioner · riff | Riff · distorted | ESP Viper Custom | Marshall JMP 1959 Super Lead 100-Watt | 9.5 |
| Hold on Till May (feat. Lindsey Stamey) · riff | Riff · distorted | ESP LTD EC-1000 | Marshall JMP 1959 Super Lead 100-Watt Head | 7 |
| Yeah Boy and Doll Face · riff | Riff · distorted | Fender Blacktop Series Jaguar HH | Unknown (no explicit studio amp info found for this song/recording) | 8 |
| dive in pierce the veil · riff | Riff · distorted | ESP Viper Custom | Kemper Profiler (profiled high-gain amp, likely Mesa/Boogie Dual Rectifier or similar) | 8 |
| One Hundred Sleepless Nights · solo | Solo · distorted | ESP LTD EC-1000 (likely, based on era and artist's main studio guitar for solos) | Marshall JMP 1959 Super Lead 100-Watt head | 7.5 |
| Besitos · riff | Riff · distorted | ESP Viper (likely custom shop, as used by Tony Perry during 'Selfish Machines' era) | Marshall JMP 1959 Super Lead 100-Watt Head | 7.5 |
| Bulletproof Love · riff | Riff · distorted | ESP LTD Viper-1000 | Marshall 1971 Super Lead (modded) | 7.5 |
| Bulls in the Bronx · solo | Solo · clean | Nylon-string classical guitar (exact model unknown, likely studio instrument) | None (direct mic or DI recording, no amp used for solo section) | 0 |
| Bulls in the Bronx · solo | Solo · distorted | Gibson Explorer (likely, based on era and artist's known studio guitars) | 1971 Marshall Super Lead (modded, as used in studio for Collide With The Sky) | 7.5 |
| Bulls In The Bronx · clean | Clean · clean | Sterling by Music Man SUB Ray5 | Ampeg VST (studio mini head, likely modeled after SVT) | 0 |
| Bulls In The Bronx · distorted | Distorted · distorted | Sterling by Music Man SUB Ray5 | Ampeg VST (mini VST Ampeg amp, likely SVT emulation in studio) | 5.5 |
| Caraphernelia · solo | Solo · distorted | Taylor SB-1X | Marshall JMP 1959 Super Lead 100-Watt | 7.5 |
| Currents Convulsive · clean | Clean · clean | Music Man StingRay | Ampeg SVT-810E 8x10 Bass Cabinet (likely paired with Ampeg SVT head) | 0 |
| Currents Convulsive · riff | Riff · distorted | ESP LTD EC-1000 (likely, based on era and artist's gear for 'A Flair for the Dramatic') | Marshall Super Lead (1971, modded; studio recording profile per Tony Perry interview) | 8 |
| Damn the Man, Save the Empire · riff | Riff · distorted | Gibson Les Paul Custom (likely 2000s/2010s, as used by Vic Fuentes on 'Collide With the Sky') | Mesa/Boogie Dual Rectifier (studio recording era, 2012) | 7.5 |
| Diamonds and Why Men Buy Them · riff | Riff · distorted | ESP E-II Eclipse | Marshall JMP 1959 Super Lead 100-Watt | 7.5 |
| Disasterology · solo | Solo · distorted | ESP LTD Viper-1000 | Marshall JMP 1959 Super Lead 100-Watt (modded, likely 1971 model) | 7.5 |
| Disasterology · riff | Riff · distorted | ESP Viper (likely Standard or Custom Shop, as used by Tony Perry and Vic Fuentes in studio) | Marshall Super Lead (modded 1971, as per Tony Perry's studio preference) | 9.5 |
| Flawless Execution · riff | Riff · clean | ESP LTD EC-1000 | Mesa/Boogie Dual Rectifier | 0 |
| Gold Medal Ribbon · riff | Riff · distorted | ESP Custom Shop Viper | Marshall JMP 1959 Super Lead 100-Watt | 7.5 |
| Gold Medal Ribbon · solo | Solo · distorted | ESP LTD EC-1000 (likely, based on Tony Perry's known studio guitars for this era) | Marshall JMP 1959 Super Lead 100-Watt (studio, likely used for album recording) | 7 |
| Hell Above · solo | Solo · distorted | Gibson Les Paul Standard (likely, based on era and band interviews; exact model for solo not confirmed in sources) | Orange Rockerverb MKII 100-Watt Tube Guitar Amp Head | 7.5 |
| Hold On Till May (feat. Lindsey Stamey) · solo | Solo · distorted | Fender Stratocaster (SSS configuration) | Unknown (no explicit amp model confirmed for studio recording; likely high-headroom clean amp typical for Pierce the Veil's studio tones, possibly Fender or Marshall; see warnings) | 7 |
| Hold On Till May (feat. Lindsey Stamey) · distorted | Distorted · distorted | Fender Precision Bass (likely, based on era, genre, and band history) | Ampeg SVT Classic (inferred from genre, era, and typical post-hardcore bass rigs) | 6 |
| I Don't Care If You're Contagious · riff | Riff · distorted | Fender Blacktop Jaguar HH | Marshall Origin 50 | 8 |
| I'd Rather Die Than Be Famous · riff | Riff · distorted | ESP LTD EC-1000 (likely, based on era and band interviews for debut album) | Mesa/Boogie Dual Rectifier (likely, based on genre, era, and band’s known studio use for debut album) | 8 |
| I'm Low on Gas and You Need a Jacket (Alternate Mix) · riff | Riff · distorted | Fender Blacktop Jaguar HH | Mesa/Boogie Dual Rectifier | 8 |
| Karma Police · riff | Riff · distorted | ESP LTD EC-1000 | Marshall JMP 1959 Super Lead 100-Watt | 7 |
| Kissing in Cars (Bonus Track) · riff | Riff · clean | Fender Blacktop Series Jaguar HH | Marshall Origin 50 | 0 |
| One Hundred Sleepless Nights · riff | Riff · distorted | ESP LTD EC-1000 (likely, as used by Tony Perry on 'Collide With The Sky' era) | Custom-built amp head (Marshall-based, as referenced by Vic Fuentes and Tony Perry for studio use on 'Collide With The Sky') | 8 |
| Props & Mayhem · solo | Solo · distorted | Fender Blacktop Series Jaguar HH | Friedman BE-100 (likely, based on era and Tony Perry's known studio/live use) | 7.5 |
| Props & Mayhem · riff | Riff · distorted | ESP LTD EC-1000 | Mesa/Boogie Dual Rectifier | 8 |
| She Sings in the Morning · riff | Riff · distorted | ESP LTD EC-1000 (likely, based on era and band interviews for 'A Flair for the Dramatic') | Mesa/Boogie Dual Rectifier (likely, based on genre, era, and band’s known studio gear for this album) | 7.5 |
| So Far So Fake · distorted | Distorted · distorted | Fender Precision Bass (likely, not confirmed for this track) | Ampeg SVT (likely, based on genre/era/band typical use) | 6.5 |
| So Far So Fake · solo | Solo · distorted | ESP LTD EC-1000 (likely, based on artist's studio use for this era and genre) | Marshall JCM800 (likely studio amp for this genre/era, no direct confirmation for this song/solo) | 7.5 |
| Song for Isabelle · riff | Riff · distorted | ESP LTD EC-1000 | 1971 Marshall Super Lead (modded, profiled via Kemper Profiler) | 7.5 |
| Southern Constellations · solo | Solo · distorted | ESP LTD EC-1000 | Mesa/Boogie Dual Rectifier | 7.5 |
| Stained Glass Eyes And Colorful Tears · riff | Riff · distorted | Gibson Les Paul Custom (likely Vic Fuentes' main studio guitar for Collide With The Sky era) | Marshall (custom-modded, likely JCM800 or similar high-gain Marshall head, as referenced in interviews for this album) | 7.5 |
| Stay Away from My Friends · riff | Riff · distorted | ESP LTD EC-1000 (likely, based on era and artist's known studio guitars) | Mesa/Boogie Dual Rectifier (likely, based on genre, era, and band’s known studio amps) | 7 |
| The Boy Who Could Fly · riff | Riff · distorted | ESP LTD EC-1000 (likely, based on era and band interviews for Selfish Machines) | Mesa/Boogie Dual Rectifier (likely, based on band’s known studio gear for this album/era) | 7.5 |
| The Boy Who Could Fly · distorted | Distorted · distorted | Fender Mark Hoppus Signature Jazz Bass | Ampeg SVT-CL (Classic) with Ampeg 8x10 cabinet (studio VST emulation) | 6.5 |
| The Jaws of Life · riff | Riff · distorted | Fender Blacktop Series Jaguar HH | Marshall Super Lead (modded, likely 1971 or reissue, as per Tony Perry's known studio amp for this era) | 8 |
| The Jaws of Life · solo | Solo · distorted | ESP LTD EC-1000 (likely, based on Tony Perry's studio use in this era) | Mesa/Boogie Dual Rectifier (likely, based on band/era and genre) | 8 |
| The Sky Under the Sea · riff | Riff · distorted | ESP LTD EC-1000 | Mesa/Boogie Dual Rectifier | 8 |
| Today I Saw the Whole World (Acoustic Version) · riff | Riff · clean | Taylor 814ce | Fishman Loudbox Artist | 0 |
| Wonderless · riff | Riff · clean | Fender American Professional Jazzmaster | Marshall JMP 1959 Super Lead 100-Watt Head | 0 |
| Wonderless · riff | Riff · distorted | ESP LTD Viper-1000 | Marshall JCM2000 DSL100 | 8 |
| Yeah Boy and Doll Face · riff | Riff · clean | Fender Blacktop Jaguar HH | Unknown (studio amp not specified for this song/section) | 0 |