Modern pop-punk: thick, saturated, tight palm mutes with enough mids to cut through. Ultra Gain channel with the Tube Screamer as a low-end tightener (low drive, as a boost) — the classic high-gain recipe.
Front of amp: Cheeky Pint (off) → TS Mini (on, tightener) · FX loop: GE-7 (on) → Spark Mini (leads).
Resonance at 6 gives the palm-mute chunk. If Lead 1 isn't saturated enough with the TS in front, try Lead 2 and drop gain to 5.5.
Drive low, level above unity: this tightens the low end and firms up palm mutes without adding mush. Standard high-gain trick.
Off — the amp gain is already compressing plenty. Stacking a compressor here just adds noise.
Mostly off — kick it on for the lead fills and the outro so they poke over the rhythm wall. Pure volume, no change to the saturation.
Off — pop-punk rhythm stays bone dry; delay smears the fast changes.
Off for rhythm. If the room is dead, a whisper of reverb (Reverb at 2) on leads only.
Small 200 Hz cut keeps fast chord changes clear; the upper-mid lift adds the glassy pop-punk edge over the bass player. In the loop these cuts act on the distorted signal, so the 200 Hz cut actually removes mud instead of just changing how the amp clips.
Neck pickup full, a little bridge for definition. Pop-punk bass needs punch first, edge second.
Pick, driving 8ths on the roots. P Bass tone at ~70% — bright enough to cut, not clanky. Lock with the kick drum, not the guitar. (Mix stays at min — it's the line-in blend, not part of your tone.)
Opens in a new window — Songsterr blocks embedding in other sites (X-Frame-Options), so it can't be shown inline. Start with the "Chris Burney | Lead Guitar" track.