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Lamb of God’s Ashes of the Wake isn’t just a landmark Metal album — it’s also a masterclass in modern Metal guitar tone.
Released in 2004, the record’s tight, articulate riffing and aggressive sound helped the band on their path to becoming one of the most influential modern Metal bands.
Ashes of the Wake was the band's fourth full length album but their first major label release, and featured some songs that have gone on to become modern Metal classics.
In this deep dive, we’ll explore guitarist Mark Morton’s tone on Ashes of the Wake, looking at his his guitar and amp setup, pickups, tunings, and effects used throughout the recording process. Whether you're a gear nerd, a Lamb of God fan, or just a fan of killer tone, this breakdown gives you the full picture of what powered the album’s punishing soundscape.
Mark Morton of Lamb of God performs at the Mayhem Music Festival on 21st July 2010 in Cincinnati. Credit: Amy Harris / Associated Press / Alamy Stock Photo
During this period there are several main guitars that are associated with Mark. While there is not much documented evidence of the recording process of the album, these guitars were mainstays in Mark's collection at the time so there is a very strong possibility they were used:
This guitar is one of Mark's personal favourites, and he has stated in interviews that Ashes of the Wake was most likely the last album this guitar was used on. The Les Paul features a strong, prominent mid range-heavy tone, so this would have been a great choice of guitar for layering heavy Drop D riffs.
Mark's '75 Goldtop was fitted with a Seymour Duncan '59 Humbucker in the bridge position.
The Les Paul by default has a more classic voice, which would pair well with the more modern guitars used on the album.
In an Instagram post last year, Mark said the following:
“Some of you Lamb of God fans who were early to the party may be familiar with my 1975 Gibson Les Paul Goldtop…originally a Deluxe model, it was converted from mini-humbuckers to full size humbuckers before I acquired it (as a stripped husk with a shoe box full of parts) in the early ‘90s. I toured with it in the earliest BTP/Lamb days, when we slept in our van if we couldn’t sleep on your couch. I eventually retired it from touring, but it’s been used in the studio on every album from BTP through (at least) Resolution, including a heavy presence on the Ashes of the Wake album.”
Mark setting up his '75 Goldtop during the Ashes of the Wake sessions. Credit: @mark.duane.morton / Instagram
Mark's Framus Pro Renegade featured in the music video for the track “11th Hour” off the band's previous studio album, 2003's As the Palaces Burn.
With this being a guitar Mark was using a lot just a year before, there is a good chance this would have featured on Ashes of the Wake too.
Around 2004, Mark was seen using a variety of Jackson guitars, most notably at this point, the SweeTone, a twin humbucker-loaded “Super Strat” style guitar, but with a 3-a-side headstock. This guitar would end up paving the way for what would become the Mark Morton signature Jackson Dominion guitar that was launched in 2006.
Combined with the fact that there are lots of photos of Mark touring with a Jackson SweeTone in 2004, it is widely assumed this was one of Mark's main guitars used on the album.
Mark Morton has always been a prominent user of Mesa Boogie amps and is quoted in an interview with Guitar World as saying that 85% of everything you hear on Lamb of God albums comes from his trusty lineup of Mesa Boogie amps.
It is well documented that the main amp Mark was using in this period was the Mesa Boogie Mark IV. In fact, he was using a pair of Mark IV amps, one running EL34s in the power section and one running 6L6s, to give two similar guitar tones but with some slightly different characteristics.
The 6L6 amp would typically give a tighter low end and more top end sparkle, while the EL34 amp provides a little more midrange push; a great combination for layering heavy guitars.
In the interview with Guitar World, Mark added that a small percentage of tracking was done using a combination of a Mesa Boogie Dual Rectifier and a rack mounted Sansamp.
At this stage in the band's career, they were mostly using straight high gain tones with little to no other effects present. As such, there would not have been much need for a large array of effects pedals during the recording sessions.
The only guitar pedal that is known to definitely have been used by Mark Morton during the Ashes of the Wake sessions is the MXR GT-OD, MXR's take on the Tubescreamer-type circuit.
In his touring rig Mark uses this pedal as a boost for leads, but in the studio it would have been used more like a traditional Tubescreamer, in order to push the front end of the amp a little harder and tighten up the bass response.
If you're chasing the Mark Morton Ashes of the Wake-era guitar tone without breaking the bank, there are some brilliant affordable options on the market to consider. And with this being primarily a straight, higher gain tone, you don't actually need to obtain a massive arsenal of guitar gear – a simple setup, dialled in correctly, will go a long way here.
There are many great brands to choose from that offer modern Metal-ready guitars, and any twin humbucker guitar will get you in the correct ballpark for the Mark Morton tone. Even better if you can get a guitar with a Seymour Duncan 59 in the bridge.
Perhaps the best option for nailing Mark's Ashes of the Wake sound is Jackson's Mark Morton Dominion signature model, clocking in around the £600 mark in the UK.
Mark has been a long time user of Mesa Boogie amps, which as you already know, aren't budget friendly.
The best way to get close to Mark's tone on a budget is to consider a modelling amp. Something like the Blackstar Silverline or Boss Katana will be a good place to start. You'll want an amp that can emulate a higher gain amp.
The Blackstar Silverline has switchable Tube-style emulations, so you can dial in either of Mark's preferred 6L6- or EL34-style high gain tones.
If you prefer to work ‘in the box’, there are various VST plugins to choose from which can emulate Mark's Mesa Boogie setup. Two to consider are AmpliTube MESA/Boogie, and ML Sound Lab ML5.
The only pedal that is known to have been used on this album is the MXR GT-OD and the great news here is it's not a super-expensive pedal. Brand new, you can get one for around £110-120 in the UK, but second-hand market offerings come in at nearly 50% less.
Alternatively you could consider an Ibanez Tubescreamer or another TS-type pedal: the purpose is to tighten up the front end of the amp by boosting the input stage.
DRUNK BEAVER The Forest Song
The Forest Song operates at either 18V or 30V for unrivalled headroom - boosted internally from a standard 9V power supply. The LED display shows the precise voltage the pedal is operating at, and there are 6 clipping modes to choose from.
FORMULA B 4558 OD
Featuring the same Texas Instruments RC4558P chip found in some of the earliest examples of the TS808, the 4558 OD sounds absolutely incredible, with a harmonically rich distortion, a three-dimensional quality and a hint of grit. It features a tweaked EQ to reduce the amount of treble, and a significant volume boost. Additionally, a toggle switch allows you to add in more bass to what is traditionally a mid-range focused sound.
FORMULA B That Screamer Overdrive Pro 4558
Formula B's That Screamer Overdrive Pro 4558 is based on thorough studies of three vintage pedals: a TS808 from 1981, a TS9 from 1982, and a TS10 from 1986. The result is a masterclass in dynamics, with an additional +5dB in volume compared to the originals. Using internal dip switches, select from TS808, TS9, TS10, or combined TS808 & TS10 modes. From classic crunch with a pronounced midrange, to the glassy tones of Stevie Ray Vaughan and low-gain boost of John Mayer, with the That Screamer Overdrive Pro you get the sound of three highly renowned Tube Screamers packed into one box.
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