left behind amp settings — Laney LH50

The slipknot guitar tone for “left behind”, dialed in for a Laney LH50 with a Jackson JS22 Dinky. Studio version, Iowa (2001)

Original rig

Mick Thomson: Diezel Herbert, Jackson Soloist with Seymour Duncan Blackouts. Jim Root: Orange Rockerverb, EMG 81 pickups. Both tuned to Drop B.

Heavily saturated, tight low-end, scooped mids, aggressive high-gain metal with grinding attack

Amp settings — Laney LH50

CHANNELDrive channel (HI input)BRIGHToff

Knob	Setting (0–10)
Gain	8
Bass	6
Mid	4
Treble	7
Presence	6
Reverb	0
Master	5

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Guitar

PICKUPbridge TONE10 VOLUME10

Signal chain

01Noise Gate (RECOMMENDED — not currently owned)

RECOMMENDED — Essential for Iowa-era tightness. Boss NS-2 or ISP Decimator. High-gain metal without a gate = muddy chugs.

Threshold 6 · Decay 3

02Tube Screamer (TS9 or clone) (RECOMMENDED — not currently owned)

RECOMMENDED — Use as a boost to tighten low-end, not for additional gain. Cuts mud on Drop B tuning. If you add this, drop amp gain to 6.

Drive 1 · Tone 6 · Level 7

Why these settings

The Laney LH50 is EL34-based British voicing with natural midrange, closer to Jim Root's Orange than Mick's tighter Diezel. Mids at 4 (scooped) compensates for Laney's mid-forward character. Your JS22's passive high-output humbuckers are darker than Thomson's active Blackouts — treble at 7 and presence at 6 add the cut and attack that actives deliver naturally. Gain at 8 because passives hit the preamp softer than active EMGs/Blackouts.

PRO TIPTune to Drop B (B-F#-B-E-G#-C#) and use the thickest gauge strings your nut can handle (12-54 minimum). Palm mute directly over the bridge saddles, not near the neck — Iowa's chunk comes from extremely tight, percussive picking with the mute almost choking the string.

Get this tone on your amp

These settings are for a Laney LH50. ToneAdapt matches any song to whatever amp, guitar and pedals you own — first match is free.

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