Riff Tone
Breaking the Habit
LINKIN PARK
Guitarrock2000s
Original Gear
GuitarPRS Custom 24 (likely, but not confirmed for this track)
AmpMesa/Boogie Dual Rectifier with Mesa/Boogie Rectifier 4x12 cabinet
PickupsPRS humbuckers (exact model unknown)
Amp Settings
gain6
bass5.5
mid6
treble6.5
reverb2.5
presence6
Effects & Signal Chain
No effects used for this tone
Notes
Studio recording, 2003 (Hybrid Theory/Meteora era). No direct evidence for exact guitar model or pickup position for this song, but PRS Custom 24 and Mesa/Boogie Dual Rectifier are Brad Delson's main studio rig for this era. No evidence of live-specific changes for the riff section.
Tone Character(10)
bright and articulateclean and percussiveopen, ringing chordsminimal distortionmid-focused claritydynamic, expressive attackslightly compressedstudio-polishednot harsh or scoopedwarm, present highs
Difficulty
The riff requires clean, articulate playing with syncopated chord changes and dynamic control, but does not involve advanced techniques or fast tempo.
Sources
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Create Free AccountGuitarrock2000s
Original Gear
GuitarPRS Custom 24 (likely, but not confirmed for this track)
AmpMesa/Boogie Dual Rectifier with Mesa/Boogie Rectifier 4x12 cabinet
PickupsPRS humbuckers (exact model unknown)
Amp Settings
gain6
bass5.5
mid6
treble6.5
reverb2.5
presence6
Effects & Signal Chain
No effects used for this tone
Notes
Studio recording, 2003 (Hybrid Theory/Meteora era). No direct evidence for exact guitar model or pickup position for this song, but PRS Custom 24 and Mesa/Boogie Dual Rectifier are Brad Delson's main studio rig for this era. No evidence of live-specific changes for the riff section.
Tone Character(10)
bright and articulateclean and percussiveopen, ringing chordsminimal distortionmid-focused claritydynamic, expressive attackslightly compressedstudio-polishednot harsh or scoopedwarm, present highs
Difficulty
The riff requires clean, articulate playing with syncopated chord changes and dynamic control, but does not involve advanced techniques or fast tempo.
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