[Sxun] How to Recreate the Fear and Loathing in Las Vegas Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Sxun is the guitarist who has supported Fear and Loathing in Las Vegas since its inception, gaining attention for his unique playing style that merges overwhelming speed with digital soundscapes.

His guitar sound embodies the band’s signature blend of loud rock and electronic elements, showcasing a captivating ability to switch between hard-hitting riffs and ethereal clean tones. Iconic tracks like “Just Awake,” “Rave-up Tonight,” and “Let Me Hear” highlight a wide range of sound creation, from heavy high-gain tones during breakdowns to shimmering clean sounds intertwined with synthesizers.

Moreover, his stage performance reflects a commitment to gear selection that balances intense movement with stable playing. By combining custom Schecter models with Bogner amplifiers and the latest digital equipment alongside analog effects, Sxun constructs a multi-layered sound that is both powerful and intricate.

While the music of Fear and Loathing in Las Vegas may initially seem dominated by synthesizers and vocals, it is Sxun’s meticulous guitar sound that serves as its backbone. Understanding his playing style is essential for recreating the essence of the band’s sound.

In the following sections, we will detail the amplifiers, guitars, and effects used by Sxun, explaining how they contribute to his distinctive sound.

▶ Search official YouTube videos of Fear and Loathing in Las Vegas

List of Amplifiers and Features

The main amplifier used by Sxun during his time with Fear and Loathing in Las Vegas is the Bogner Ecstasy. He utilizes two heads in parallel during live performances, paired with a Bogner 4×12 cabinet, achieving a thick and wide-ranging sound. The Ecstasy features a three-channel configuration, allowing for instant transitions between high-gain riffs, sparkling clean tones, and mid-gain cutting sounds. Sxun’s sound design maximizes the versatility of this amplifier.

The Bogner Ecstasy is characterized by its modern high-gain capabilities while maintaining clarity, making it suitable for the thick sound of loud rock and perfectly complementing the band’s unique digital synth sounds. It is likely that Sxun’s settings maintain a solid mid-range to prevent the guitar frequencies from being buried under the synths and vocals, while also ensuring a bright high-end presence.

Additionally, the Fractal Audio Axe-Fx II integrated into his rack plays a crucial role. It is used during live performances for amp cabinet simulation and as a supplementary preamp, allowing for flexible sound creation when combined with the Bogner. It also aids in effect processing and sound crafting for line outputs, showcasing a practical setup typical of modern loud bands.

To ensure stable power supply, Sxun employs a Furman power conditioner. This is particularly important in large venues where power stability can be an issue, ensuring that the Bogner amplifier and rack gear operate safely and effectively.

In summary, Sxun’s amplifier system can be described as a combination of “foundation tone from the Bogner Ecstasy,” “sound expansion via the Axe-Fx II,” and “stability reinforced by power and rack equipment.” This configuration is optimized to express the dynamic compositions typical of Fear and Loathing in Las Vegas.

Types of Guitars Used and Features

Sxun is well-known for his use of Schecter custom models. Notably, his iconic models include the REXY (Sxun Custom) and Hellraiser (Sxun Custom). Both feature stunning green quilt tops and gold hardware, making a strong visual impact on stage.

The REXY Custom is a modified version based on a new product, tailored to Sxun’s specific requirements. It emphasizes visual impact on stage, with a deep green quilt top that harmonizes with the band’s vibrant digital aesthetic. Additionally, the neck shape and pickup choices are designed for playability, allowing for a wide range of expression from high-gain riffs to clean tones.

The Hellraiser Custom is a modified version based on Schecter’s standard model, with some variants featuring a Floyd Rose tremolo system. This setup ensures tuning stability and accommodates aggressive whammy techniques, essential for the fast-paced and aggressive tracks of Fear and Loathing in Las Vegas. Particularly in songs like “Rave-up Tonight” and “Let Me Hear,” the stability of this guitar greatly contributes to the performance.

Both models are characterized by Schecter’s tight low-end and powerful mid-range, creating a sound that stands out when paired with the Bogner Ecstasy. They are also designed with reliability in mind for live performances, incorporating features to minimize potential issues.

While these custom guitars differ significantly from retail models, experimenting with Schecter’s retail lines, such as the Hellraiser and REXY series, can help players get closer to Sxun’s sound. Ultimately, Sxun’s guitars can be described as models that balance “visual impact” and “sound stability.”

Effects and Pedalboard Setup

Sxun’s pedalboard is primarily constructed around Free The Tone products, characterized by a focus on sound quality and stability. Central to his setup is the ARC-53M (programmable switcher), which controls multiple pedals, allowing for instant tone changes during live performances. The songs of Fear and Loathing in Las Vegas demand a wide range of tones, from clean to high-gain, and even ambient sounds that blend with synthesizers, making advanced pedal management essential.

Effects like the Free The Tone Flight Time FT-1Y and Tri Avatar TA-1H are crucial for creating spatial effects. The Tri Avatar, in particular, features a tri-chorus setting that adds depth when interacting with digital synths. Additionally, using EQ and boosters from Free The Tone helps maintain tonal consistency and blend with the overall mix of the band.

Moreover, unique effects pedals such as the Electro-Harmonix POG2 (octaver) and Freeze are also part of his setup. The POG2 effectively expands the guitar’s frequency range, creating thick layers reminiscent of synth sounds, while the Freeze allows for infinite sustain, enhancing ambient sections of the music.

Standard Boss pedals are also utilized, with the PS-6 Harmonist and DD-7 Digital Delay chosen for their reliability and versatility. The PS-6 can perform pitch shifting with harmonies, reinforcing the synth-like approach, while the DD-7 serves as a standard delay, adding depth to the overall sound.

Additionally, expression pedals like the Morley Bad Horsie 2 (wah) and Ernie Ball VP Jr. (volume pedal) are incorporated, expanding the range of Sxun’s playing style. Supporting these pedals is the Free The Tone PT-3D (power supply), ensuring stable power delivery that forms the foundation of his sound quality.

Overall, Sxun’s effects board is structured around three key points: “control via programmable switcher,” “high-quality design centered on Free The Tone products,” and “a fusion of digital and analog.” This setup is deemed optimal for reproducing the complex sounds of Fear and Loathing in Las Vegas during live performances.

Tone Settings, EQ, and Mixing Approaches

A defining characteristic of Sxun’s sound design is the extreme clarity in switching between clean tones and high-gain settings. The music of Fear and Loathing in Las Vegas often places synthesizers and vocal effects at the forefront, necessitating that the guitar serves both as a supportive background and as a prominent riffing instrument. Therefore, it is likely that Sxun meticulously crafted his settings for each song and even for different sections within a single track.

In terms of EQ settings, adjustments centered around the Bogner Ecstasy amp are likely as follows:

• Clean Tone: Slightly cut bass, flat mids, and a slight boost in treble to ensure transparency even when overlapping with synths.
• Rhythm/High-Gain: Maintain bass at around 50-60%, keep mids strong, and lower treble. This is to emphasize the clarity of distortion, creating a “wall” of sound when heard with the band.
• Lead/Solo: Use a booster (Free The Tone Gigs Boson GB-1V) to emphasize mids, enhancing attack and clarity.

Switching between amp channels plays a significant role during live performances. The clean channel of the Ecstasy takes advantage of its sparkling clarity, while the blue channel handles mid-gain cutting, and the red channel delivers heavy high-gain riffs. This is managed collectively through the switcher (Free The Tone ARC-53M), allowing for instant transitions between tones for different sections.

The use of effects is also a key aspect of Sxun’s sound design. For instance, delays (Free The Tone Flight Time FT-1Y and Boss DD-7) add depth to leads and arpeggios, expanding the band’s overall spatial sound. The chorus (Tri Avatar TA-1H) plays a role in merging clean tones with synths, while the POG2 and PS-6 are crucial for giving the guitar a synth-like resonance. The Freeze pedal extends sound during breaks or ambient sections, creating seamless transitions.

From a mixing perspective, Sxun’s guitar is likely placed in a frequency range that does not interfere too much with synths or vocals. Engineering-wise, the low-end of the guitar would be relegated to instruments dedicated to low frequencies (bass, kick drum), while EQ adjustments would focus on the mid-range. Given that Fear and Loathing in Las Vegas has a very high overall sound pressure, making the guitar too prominent could risk disrupting the balance of the mix. Thus, Sxun’s settings are designed to be “present but not overpowering,” achieving a delicate balance.

Furthermore, in studio recordings, it is highly probable that a blend of amp miking and line (Axe-Fx II) was employed. This would allow for the powerful presence of the amp in live settings while achieving a tighter and more organized tone in recordings.

In summary, Sxun’s sound design revolves around three key elements: “the transparency of clean tones,” “the wall-like thickness of high-gain,” and “the exquisite placement of mid-range frequencies,” functioning as a cornerstone supporting the sound of Fear and Loathing in Las Vegas.

Affordable Alternatives to Recreate the Tone

The gear actually used by Sxun includes high-end items like Schecter custom guitars, Bogner amplifiers, and Free The Tone effects, which may be challenging for beginners or budget-conscious players to acquire. However, by focusing on the essential elements of Fear and Loathing in Las Vegas’s sound—”sparkling clean tones,” “thick high-gain,” and “digital ambient processing”—it is possible to achieve a similar sound with relatively affordable commercial products.

For guitars, mid-range Schecter models like the “Hellraiser” or “C-1 Platinum” are good candidates. Models equipped with EMG pickups tend to align closely with the tight, high-gain sound Sxun sought. Choosing a model with a Floyd Rose will also accommodate aggressive whammy techniques.

As for amplifiers, modeling amps or pedals can serve as alternatives to the Bogner Ecstasy. The BOSS “Katana series” and Line 6’s “HX Stomp” can handle a wide range of tones from high-gain to clean, making them suitable for creating a Las Vegas-like sound. Additionally, using small tube amps from VOX or Marshall as a base, supplemented with pedals, can be effective.

When it comes to effects, since Free The Tone products are expensive, it is practical to substitute with standard BOSS pedals. For example, the DD-8 Digital Delay can synchronize tempo like the Flight Time, making it user-friendly for live settings. The chorus can be effectively replaced with the CE-5 Chorus Ensemble, and alternatives to the POG2 include the Micro POG or the octave functions found in Zoom multi-effects units.

Moreover, many of Sxun’s board features such as “clean boost” and “mid-range enhancement” can be adequately replicated with the BOSS GE-7 (graphic equalizer) or TC Electronic Spark Booster. For power supplies, choosing cost-effective options from One Control or Caline can ensure stable power delivery.

In conclusion, by utilizing “Schecter EMG-equipped guitars,” “BOSS or Line 6 modeling amps/multi-effects,” and “standard compact effects,” players can relatively affordably approximate the complex and powerful sound of Fear and Loathing in Las Vegas.

Summary and Conclusion

Reflecting on Sxun’s sound design, its essence lies in “extreme contrasts.” The sparkling clean tones that blend seamlessly with synthesizer sounds and the thick, almost violent high-gain tones are what underpin the sound of Fear and Loathing in Las Vegas.

The foundation of his system is the Bogner Ecstasy amplifier, combined with Schecter custom guitars, enabling a balance of tight riffs and clear melodies. Furthermore, the use of Free The Tone effects and the Axe-Fx II allows for meticulous tone switching during live performances. This flexibility is crucial for achieving the “varied tonal changes” essential to the band’s compositions.

Notably, the incorporation of unique effects such as the POG2 and Freeze should not be overlooked. Treating the guitar like a synth and adding thickness to the overall soundscape emphasizes the “electro x loud” aesthetic of Fear and Loathing in Las Vegas.

Moreover, Sxun’s settings go beyond personal sound crafting; they are intricately woven into the band’s overall sound design. The guitar is neither too prominent nor buried, with EQ and booster usage reflecting a high level of engineering sophistication.

For beginners aiming to approximate Sxun’s sound, it is not necessary to acquire all high-end gear. The key is to understand the elements of “clean transparency,” “high-gain thickness,” and “ambient processing that blends with synths,” and to creatively approach how to achieve these with available equipment. Affordable gear from brands like BOSS and Line 6 can effectively recreate the Las Vegas sound.

Ultimately, the essence of Sxun’s sound design is in creating a guitar sound that functions cohesively within the overall band sound. When playing Fear and Loathing in Las Vegas songs, it is essential to focus not just on the guitar sound alone but on how it integrates with the synthesizers and vocals, which is the shortest route to achieving the Sxun sound.

The philosophy he left behind in sound design is not merely about pursuing “heavy” or “fast” sounds but rather about how the guitar sound functions within the context of the entire song. This perspective continues to influence many guitarists today.