That's What You Get

The recording

Recorded in 2007 with producer David Bendeth, the guitars were tracked through a Marshall stack, likely a JCM2000 driving a 4×12 cabinet. Taylor York’s 1972 Telecaster Thinline was set to the neck pickup with the tone knob rolled back, delivering a clear, cutting rhythm tone that sits tight in the mix. The production favours a punchy, mid‑range focused distortion that supports Hayley Williams’s vocal dynamics without overpowering them.

Tuning Standard E A D G B E

Original gear

Fender Classic Series '72 Telecaster Thinline (1972)

Guitar

Taylor York's Telecaster Thinline provided the bright, articulate single‑coil tone that drives the chord‑strumming sections of “That’s What You Get”, recorded with the neck pickup rolled back for a tighter sound.

Marshall JCM2000 Dual Super Lead (2000s)

Amp

The amp’s high‑gain lead channel was used to push the rhythm guitars into a thick, mid‑focused crunch that sits behind the vocals.

Marshall 1960A Angled 4x12 Cabinet (1960)

Cabinet

A 4×12 1960A cabinet miked with a Shure SM57 captured the aggressive, tight low‑end and articulate highs heard on the mix.

Alternatives

Practical playing approach

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

1. 1.Use the neck pickup on a Telecaster Thinline and roll back the tone knob for a tighter, less bright sound.
2. 2.Position the guitar slightly off‑centre and use a moderate pick attack to accentuate the percussive strumming.
3. 3.If a low‑gain overdrive pedal is available, set it low to add sustain while retaining clarity.
4. 4.Double‑track the rhythm part and pan one copy left and the other right for a wider stereo image.