Whether you intend to emulate a reference from yourself or a client, you seek a starting point, or you are crafting a cover and aim for an audio/tone match as close as possible, or simply for practice, replicating guitar tones serves as an effective means to hone your tone-shaping skills. Consequently, let us delve into the fundamental elements that contribute to the distinctive guitar tone in the metal genre.
1. The Amplifier
When categorizing distortion, three distinct types can be identified based on geographical origin: the United States, the United Kingdom, and Germany. It is important to note that this categorization does not imply that American, British, or German companies cannot produce specific distortion types; rather, it categorizes “distinctive distortion tones resulting from brands and their iconic models.”
American amps:
American metal amplifiers are renowned for their iconic status and are widely prevalent in both classic and contemporary metal music scenes. These amplifiers encompass renowned models such as the Super Lead Overdrive (Soldano SLO), the iconic 5150, and the Mesa Boogie Mark/Rectifier series. American amplifiers are characterized by their ability to strike a harmonious balance across all frequency ranges, particularly delivering a distinctive low-end rumble.
British amps:
British amplifiers are the cornerstone of the contemporary British metal genre, with Marshall at the forefront. Marshall’s Plexi, JCM800, and Ironheart have earned their reputation through a mid-focused audio approach, reduced gain amps, and a less polished sound that leverages front-end boosting to achieve high gain. (Modern companies such as Bogner, Fryette, and Friedman draw inspiration from British topology and develop it in a contemporary manner.)
German amps:
German amplifiers offer a distinct and well-defined distortion characteristic while preserving a high-gain tone with a primary emphasis on the upper frequency range. This characteristic results in a “fizzy” sound, characterized by a pronounced emphasis around 6 KHz, resulting in a more aggressive tone compared to British amplifiers. Brands such as Diezel and ENGL are widely recognized for their ability to produce this specific audio quality.
2. The speaker/mic (or IR):
It is widely acknowledged that the speaker plays a pivotal role in shaping the guitar signal path. While it is true that a high-quality speaker can significantly enhance the tone, it is equally important to consider the entire signal chain.
For instance, even with a top-of-the-line amplifier, the quality of the speaker can greatly impact the final sound. Conversely, using a subpar speaker with a mediocre amplifier can result in a disappointing tone.
To achieve a better sound, it is recommended to experiment with different equipment. For example, using a practice amplifier with the IR emulation disabled (if applicable) and capturing the signal with a high-quality IR emulation can yield a more accurate representation of the guitar’s tone. Alternatively, using a cabinet with superior speakers can also provide a more refined sound.
By implementing these strategies, guitarists can achieve a better tone without incurring the expense of purchasing multiple amplifiers and pedals.
3. Execution:
Given our understanding of tone replication, how can we effectively achieve it? The process is quite straightforward. Begin by researching sources, including forum discussions. Ensure you verify the information and prioritize those that provide visual or audio samples. Next, consider the release date of the source. For this example, let’s focus on Megadeth’s “Countdown to Extinction,” an album released in 1993.
From studio photographs, we can deduce the equipment used: Hafler/Bogner Triple Giant for rhythmic guitars and Bogner Fish for lead tones. The lead tones are American preamps with a British-type distortion, powered by a VHT 2150 power amp and equipped with a Marshall 1960A loaded with Celestion G12T-75s.
Now, the critical step: selecting the microphone to replicate the tone as accurately as possible. While relying solely on your ears can be challenging, there are widely accepted practices and knowledge that can guide your decision. For instance, the Celestion G12T-75s may not produce a desirable sound when paired with an SM57. The mid-high frequency response of the SM57 can result in a dense high-end.
To address this issue, consider using a more versatile balanced microphone, such as an MD421 or an E609. These microphones offer a more natural sound that avoids excessive high-end emphasis.
Personally, I prefer to approach tone replication in a systematic manner, starting with the most significant components and working my way down. This approach minimizes the time required for dialing and tweaking adjustments.
Therefore, let’s proceed with the following steps:
- Open PRISM and locate a 4×12 Marshall 1960A equipped with G12T-75s that have been recorded using an MD421.
- The plugin provides comprehensive information, eliminating the need for extensive guessing. Utilize the search function to locate the cabinet and load it into the plugin.
Having secured our cab, the Max 1960A, we can now specify our search parameters and locate the microphone (Dyn and Cond refer to Dynamic and Condenser) and the speaker (Dyn and Cond refer to Dynamic and Condenser). Once these settings are established, we proceed to the amplifier. Any Marshall emulation will suffice for this purpose. To emulate Bogner’s distinctive “nastiness,” we adjust the amplifier to the brink of distortion and introduce an overdrive, amplifying the signal to the maximum extent while incorporating a subtle amount of drive to enhance the warmth and spice. Subsequently, we apply minor EQ adjustments (which should be conservative in nature) to achieve a balanced tone. By following these steps, we successfully replicate a guitar tone. However, there is a more significant aspect that we will discuss in our forthcoming article: the bass.
General Advice
Important Dates: The Vintage 30 was released in 1986. Therefore, unless Marty McFly released an album, it will not be featured in any recordings prior to 1986.
IRs and Speakers: Approximately 80% of the tone is produced by the speaker/mic combination. Therefore, it is crucial to select a suitable combination. PRISM is a particularly useful tool for this purpose, as it provides a vast library of impulse responses (IRs) and additional useful data. Additionally, some speakers are direct clones or revisions of older models, or even re-issues. In such cases, it may be more advantageous to choose the original product rather than the clone (e.g., V30s and Alnico G12H series).
Choosing Amps: The specific model and brand of the amplifier are not the most important factors. However, the topology and how the circuit handles distortion are more significant. While pedals and equalization (EQ) can provide close approximations, it is generally more effective to select an amplifier with a suitable topology.
