First Date

The recording

The track was recorded at Cello Studios in Hollywood and Larrabee Sound Studios in North Hollywood under producer Jerry Finn, with Tom DeLonge’s guitars tracked through a split into a Mesa Boogie Triple Rectifier and a Marshall JCM900 4100, each routed to 4×12 cabinets. Isolated multitrack stems show separate left and right electric guitar tracks, confirming the dual‑guitar layering used in the mix.

Reported gear

1999 Gibson ES-333 Tom DeLonge Signature

Guitar

DeLonge recorded his parts on a 1999 Gibson ES-333 Tom DeLonge Signature guitar, equipped with a Seymour Duncan SH‑5 Custom bridge humbucker, giving the track its thick, articulate punch.

TC Electronic G-Force (1990s)

Multi-FX

A TC Electronic G‑Force rack unit supplied reverb and subtle delay, adding depth while keeping the high‑gain tone tight.

Mesa Boogie Triple Rectifier (1990s)

Amp

The core high‑gain crunch comes from a Mesa Boogie Triple Rectifier, delivering the saturated low‑end and tight midrange heard on the verses.

Marshall JCM900 4100 (1990s)

Amp

A Marshall JCM900 4100 contributed bright top‑end bite, blending with the Mesa to shape the final tone.

4×12 Guitar Cabinet (unspecified)

Cabinet

Both amps were routed into 4×12 speaker cabinets, captured with close miking to retain the aggressive, full‑range sound.

Alternatives

Epiphone ES-333

Budget alternative · for the 1999 Gibson ES-333 Tom DeLonge Signature

$500 to $700

Marshall JCM800 2203

Budget alternative · for the Marshall JCM900 4100 (1990s)

$600 to $800

TC Electronic Hall of Fame 2 Reverb

Modern equivalent · for the TC Electronic G-Force (1990s)

$120 to $150

2×12 Guitar Cabinet (Celestion V30)

Budget alternative · for the 4×12 Guitar Cabinet (unspecified)

$150 to $250

Peavey 6505

Modern equivalent · for the Mesa Boogie Triple Rectifier (1990s)

$500 to $700

Practical playing approach

Recreation guidance, not a claim about undocumented studio control positions.

1. 1.Palm‑mute the verses tightly, using precise downstrokes.
2. 2.Select the bridge pickup for the bright, cutting tone.
3. 3.Attack the rhythm chords with fast alternate picking for tight aggression.
4. 4.Add subtle vibrato on sustained lead notes for expression.