Lamb of God’s Mark Morton designed the DiMarzio Dominion pickups in his signature Jackson guitars. He started with the EVO as a base model and made his own tweaks for “a smooth, even breakup on rhythm.” Photo by Atlas Icons / Chris Schwegler

Mark Morton’s Gear

Guitars
Jackson Dominion signature model

Amps
Mesa/Boogie Royal Atlantic RA100
Mesa/Boogie Mark IV
Mesa/Boogie Mark V

Effects
MXR Carbon Copy
MXR Il Torino
MXR GT-OD
MXR Phase 90
DBX 266XL

Strings and Picks
Dunlop custom set strings (.010–.048)
Dunlop Tortex 1.14 mm picks
Levy’s 2” leather strap
Mogami cables

Willie Adler's Gear

Guitars
ESP signature model

Amps
Mesa/Boogie Mark V
Mesa/Boogie Mark IV
Mesa/Boogie 4x12 cabinets

Effects
Mesa Five-Band Graphic EQ

Strings and Picks
SIT strings (.010–.048 and .011–.050)
Dunlop Tortex 1 mm picks
Levy’s straps

John Campbell’s Gear

Basses
ESP signature model

Amps
Mesa/Boogie 400+ amp
Mesa/Boogie Powerhouse cabinet

Effects
Tech 21 SansAmp
EBS MultiComp compressor

Strings, Picks, Accessories
DR DDT strings (.045–.105)
InTune 1.14 mm GrippX picks
Dunlop plain black nylon strap

Mark and Willie, what effects do you use?
Morton: I use a lot of MXR stuff—the Carbon Copy, Phase 90, and a new overdrive pedal called the Il Torino, which I used a lot on the new album. I love that pedal—it’s currently my favorite overdrive. Before that, I was using the GT-OD—not for rhythm stuff, but for a little more cut on leads, almost like a line boost.

With the gain set low?
Morton:
Yeah, because there’s so much gain coming from those Boogie amps anyway.

Adler: Live, I run straight off the head I’m using. At home, I use the Mesa Five-Band Graphic on the Royal Atlantic.

Are you setting the EQ with a scooped “V” shape like many players do?
Adler:
I actually up the mids, which is crazy for me. I haven’t really gone that route before, but lately I find myself adding a bit more mids. The Royal Atlantic’s low end is unbeatable.

Morton: Yeah, both Willie and I tend to add midrange frequencies to our tones. The guitar is a midrange-oriented instrument. If you suck all that out, you choke the natural sound of the instrument. There was a trend in the 2000s where people were sucking all the mids out to get that silky, smooth breakup I was talking about earlier, but you lose clarity. For me, it’s a balance to find the right spot.

Willie, why don’t you take the Royal Atlantic on the road?
Adler:
I don’t know. Maybe it’s just one of those things, like keeping my favorite guitars at home [laughs].

Can’t you just ask Mesa/Boogie to send you another for the road?
Adler: I’m working on it. There are definitely going to be some changes in my rig. But I don’t want to give anything away.

With a system like the Axe-Fx, you’d save a ton by not having to lug amps around.
Morton: You sound like my tour manager [laughs].

Final question: How will VII: Sturm und Drang figure in the Lamb of God lineage?
Morton:
We’ve had so many albums, and it would be silly to say this is our heaviest, our best, or whatever. It’s really just a snapshot of what we sound like right now, and I’m pretty excited about that.

Campbell: That question makes me wonder something for the first time: “What if we had three more records, and I was looking back at this one?” I guess it partly depends on how it’s received by the public. I think it’s our most focused, well written, and produced record. Some old fans may be bummed by some aspects of our development, but I think more people will be shocked, surprised, and pleased.

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Lamb of God whips the crowd into a frenzy with “Walk with Me in Hell” at Bloodstock 2013. Mark Morton takes a hellacious, Randy Rhoads-inspired solo starting at 3:37.