The hail to the king by Avenged Sevenfold guitar tone is built on a Bogner Uberschall 120-Watt Tube Guitar Amp Head, dialed in at gain 7.5/10, bass 6, mid 5, treble 7, presence 6.5 (community-researched baseline). Full breakdown below — then adapt every knob to your exact guitar and amp, free.
tight and percussive, aggressive palm muting, high-gain saturation, chunky low end, articulate pick attack, modern metal clarity, scooped but present mids, dry, focused distortion, minimal ambience, no audible modulation or delay
Recording context
studio
How it’s played
straight, medium tempo, loud dynamics · high-gain distortion. This shapes how hard the amp is pushed and where the EQ sits for the hail to the king sound.
What makes the hail to the king part tricky
tight palm muting, precise alternate picking, syncopated rhythm patterns. GuitarToneAdapt gets the tone right so you can focus on the playing.
Note: No direct source for exact amp knob settings; values estimated based on typical Bogner Uberschall settings for modern metal and Avenged Sevenfold's genre/era., No evidence of additional pedals or effects used on the main riff section; no modulation, delay, or reverb audible in the recording., Pedalboard listings for Synyster Gates exist, but no evidence ties any pedal (boost, overdrive, etc.) to the main riff recording of 'Hail to the King'., Pickup and amp model confirmed for this album/era, but not for every individual song section; bridge pickup inferred from tone and genre., Settings cross-referenced with genre and era conventions for accuracy. Assuming 'Hail to the King' refers to Avenged Sevenfold, the riff tone is modern metal: high gain, tight bass, slightly scooped but present mids, and clear treble/presence for articulation, with minimal reverb for a dry, punchy sound typical of 2010s metal production.