[Ace Frehley] How to Recreate the Kiss Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Ace Frehley, the original lead guitarist of Kiss, has captivated rock fans worldwide with his flamboyant stage presence and a guitar sound characterized by thick sustain and sharp attack. His tone is rooted in the classic hard rock combination of a Les Paul and Marshall amplifiers, while skillfully utilizing effects and EQ to create a unique sound. Iconic tracks like “Shock Me,” “Cold Gin,” and “Detroit Rock City” showcase Ace’s distinctive lead sound, which has become emblematic of the band’s overall sonic identity.

Additionally, Ace is known for his dynamic soundscapes during guitar solos and the theatrical “smoking guitar” performances during live shows. The thick midrange of the Les Paul, combined with the explosive sound of a Marshall stack, creates a simple yet compelling tone that has influenced many aspiring guitarists.

His sound is characterized by an “intuitive and raw rock guitar” approach. With minimal effects, the foundation of his tone is simply “Les Paul → Marshall,” making the choice of guitar and how the amp is driven crucial for tone reproduction.

In the following sections, we will thoroughly explore the amplifiers, guitars, and effects used by Ace Frehley, along with specific EQ settings for sound creation and affordable alternative gear that can help recreate his tone. This content is essential for Kiss fans and guitarists seeking to capture the quintessential hard rock sound of the 1970s.

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List of Amplifiers and Features

The foundation of Ace Frehley’s sound has always been the Marshall stack. Particularly, the 100W class Marshall amplifiers have become synonymous with his identity, towering behind him on stage. During the peak of Kiss in the 1970s, he primarily connected his Les Paul Standard or Deluxe directly to the amp, producing a powerful hard rock sound that was both simple and impactful.

In the 1990s reunion tour, records show he used the Marshall JCM900 100W head. This JCM900 was integrated into a rack system, emphasizing stable output and ease of use during tours. Ace himself stated, “The Marshall 900 series suited me best,” and it remained a staple amp for him for some time.

Conversely, for recording purposes, he also utilized vintage Fender amplifiers, particularly favoring smaller models like the Tweed Harvard and Princeton. These amps allowed for nuances and crunch tones that differed from the explosive sound of Marshall. He also experimented with the Vox AC30 and smaller Vox amps equipped with 10-inch “Bulldog” speakers, which served to complement clean tones and light drive.

Moreover, there are accounts of him using the Peavey 5150 for coloration. While the main tone was derived from the direct connection to Marshall, the 5150 was used to add thickness or as reinforcement during live performances.

Thus, it can be assumed that Ace Frehley established a consistent Ace tone by centering on the “thick sound of Marshall” while creatively combining Fender and Vox amps in the studio as needed.

Types of Guitars Used and Features

The most crucial element in Ace Frehley’s sound is undoubtedly the Gibson Les Paul. Since the early days of Kiss, he has consistently favored the Les Paul, with its thick and sustaining midrange forming the core of the Ace tone. Notably, the Gibson Les Paul Deluxe (Tobacco Sunburst) he acquired in 1973 became one of his primary guitars. Initially equipped with mini-humbuckers, it was later modified with different pickups for a more powerful output.

The Tobacco Sunburst Les Paul Standard was also frequently used in early recordings, featuring rewound hot pickups that delivered a powerful tone both in the studio and live. Additionally, the legendary 1959 Les Paul Standard, known as the “’59,” has been confirmed to have been used during the late 1970s and on Ace’s first solo album, solidifying the “thick and sustaining tone” at the heart of Ace’s sound.

Another iconic guitar is the Gibson Les Paul Custom “Budokan,” used during the 1977 Budokan concert. This model features a cherry sunburst finish and a unique configuration of three pickups: two DiMarzio PAFs and one Super Distortion. This model was later reissued by Gibson and Epiphone as the “Budokan,” making it a coveted piece for fans.

In addition to the Les Paul, Ace has also utilized Fender Stratocasters and Telecasters for live and recording purposes. The Stratocaster served as a complement to the Les Paul sound, while the Telecaster was used for overdubbing in the studio. For acoustic work, he owns and uses staple models like the Gibson J-200, Taylor, and Ovation, adding color to clean tones and acoustic arrangements on album tracks. Records indicate that he experimented with a Japanese-made Greco MR-1000 during a concert in 1977 and briefly used an Ibanez Destroyer 2459.

In summary, Ace Frehley’s guitar history revolves around the Les Paul while incorporating a variety of guitars suited to different eras and situations, thereby building a unique sound palette.

Effects and Pedalboard Setup

The hallmark of Ace Frehley’s sound creation is its “simple and intuitive” setup. His basic philosophy revolves around “guitar → amp direct,” and he has stated that he rarely used many effects. However, it has been confirmed that he employed several pedals during studio recordings and solo projects.

The most famous is the Electro-Harmonix Big Muff Pi, a fuzz pedal he has used since the early days. Particularly in early Kiss recordings, the thick and aggressive distortion produced by the Big Muff has shaped the core of his sound. He also used the Maestro Echoplex for tape echo in the past, but due to noise and tape issues, its usage gradually declined.

For a wah pedal, he utilized the Vox Wah (Clyde McCoy type). In his recent solo work “Anomaly,” the wah solo in “Genghis Khan” showcases his unique phrasing enhanced by this effect. Additionally, he has experience with the Mu-Tron Octave Divider, which added unique overtones to his sound.

In his solo years and later live performances, he has publicly stated that he used the Zoom G3 multi-effects unit. Ace referred to it as “the only multi” he used, introduced to replicate delay sounds and Big Muff fuzz. Furthermore, he operated a Line 6 POD rack as a backup, using it to add delay effects during the “smoking guitar” performances, balancing both visual and sound elements.

There are also indications that he incorporated MXR Graphic EQ and Power Booster into his rack system, allowing PA and staff to make adjustments during live shows. This means that Ace’s sound creation philosophy is characterized by “keeping it simple and adding as needed,” ensuring that the core of his sound remains intact while introducing effects as necessary. Overall, effects played a supplementary role, with his sound primarily driven by the combination of Les Paul and Marshall stacks.

Tone Settings, EQ, and Mixing Approaches

Ace Frehley’s sound creation is remarkably simple yet possesses depth. His fundamental philosophy is to connect the Les Paul directly to the Marshall amp. This means maximizing the raw tone obtained from the amp without relying on unnecessary effects. Instead, he skillfully utilized the controls on the amp and guitar to shape his sound.

Settings on the Marshall amp typically involve adjusting the gain towards the midrange while cranking up the volume to achieve natural power tube distortion. The basic tone settings are said to be “Bass 5-6, Middle 7-8, Treble 5-6, Presence around 5,” with a particular emphasis on thickening the midrange to push the Les Paul’s robust midrange forward, which is key to Ace’s sound. The treble is kept in check to avoid excessive sharpness, creating a balanced tone that is not harsh on the ears.

Manipulating the volume and tone knobs on the guitar is also crucial. Ace would open the volume fully for solos and slightly roll it back for riffs and backing, allowing him to control the perceived volume and distortion even with the same settings. This is particularly evident in tracks like “Shock Me” and “Cold Gin,” where the transitions between backing and lead parts are pronounced. Additionally, he would roll back the tone knob slightly to create a thicker tone while suppressing the high end.

In studio recordings, he combined not only Marshall but also smaller Fender and Vox amps. This approach allowed him to blend the explosive sound of Marshall with the clean brilliance of the Fender Princeton and the jangly overtones of the Vox AC30, creating a more dimensional guitar sound. This blending of multiple amps is especially evident on albums like “Destroyer” and “Love Gun.”

In terms of EQ processing, there was a tendency to emphasize the midrange presence while keeping the low end tight. To avoid overlapping with bass and drums, he likely cut frequencies below 80Hz and pushed the 150Hz-300Hz range to ensure the guitar’s prominence. The high frequencies were slightly boosted around 5kHz to enhance the attack, ensuring that guitar solos stand out in the mix.

During live PA setups, Ace’s signature “smoking guitar” performances sometimes required deeper delay settings. The addition of delay via Line 6 POD or Zoom G3 enhanced the performance’s visual impact while reinforcing the spatial depth of solos. Delay times were adjusted to around 400ms, with repeats kept to 2-3 to avoid excessive echo.

Moreover, Ace’s guitar formed a wall of thick sound even in backing parts. This was partly due to his frequent use of double-tracking, layering the same riff with both the Les Paul and Stratocaster. In the studio, engineers skillfully employed EQ and compression to create a three-dimensional sound image by panning the guitars left and right.

Overall, Ace Frehley’s sound creation can be described as “simple yet strategic.” While rooted in the rawness of direct connection, he employed thoughtful EQ choices, amp selections, studio layering, and live delay effects to craft the unique Ace sound that has become iconic.

Affordable Alternatives to Recreate the Tone

While achieving Ace Frehley’s sound ideally requires high-end gear like a Gibson Les Paul and a Marshall stack, the reality is that this can be a high barrier for beginners and intermediate players. Therefore, we will introduce relatively affordable alternative gear that can effectively capture the essence of Ace’s tone. These options can be acquired for around $100 to $500 and are suitable for live performances and practice studios.

For guitars, the Epiphone Les Paul Standard and the Epiphone Les Paul Custom “Budokan” reissue are strong candidates. These models offer a sound closely related to Gibson at a more accessible price point, with the “Budokan” reissue allowing fans to experience Ace’s iconic guitar. Additionally, used models from domestic brands like Greco or Tokai provide excellent cost performance and can easily replicate the 1970s Ace tone.

Regarding amplifiers, the Marshall MG series or DSL series small combos are recommended. The Marshall DSL20CR, in particular, is a tube amp that can be acquired at a relatively low price, allowing players to experience the midrange punch characteristic of hard rock simply by connecting a Les Paul. It is ideal for studio practice and small-scale live performances, making it perfect for practicing Ace’s tone.

For effects, the current model of the Electro-Harmonix Big Muff Pi is essential. It faithfully reproduces the fuzz sound that supported Ace’s early tone. Additionally, the BOSS DS-1 Distortion is an affordable option that can easily create Kiss-like hard rock distortion, serving as a substitute if the Big Muff is unavailable. For a wah pedal, the VOX V847A is a model that closely resembles the Clyde McCoy type used by Ace, offering a good balance of price and performance.

For delay, digital options like the BOSS DD-8 or NUX Time Core Deluxe are recommended. These can reliably recreate the spatial depth Ace often used in live performances at an affordable price. Furthermore, introducing multi-effects units like the Zoom G1X Four or BOSS GT-1 can provide a comprehensive setup, covering everything from Big Muff-style fuzz to delay and EQ adjustments, making them particularly cost-effective choices for beginners.

In summary, Ace Frehley’s sound can be approached without expensive gear by focusing on “Les Paul-type guitars,” “Marshall-type amps,” “fuzz-style distortion,” and “simple EQ balance.” Emphasizing the midrange and effectively using delay are crucial. By combining these pieces of gear, players can experience the Ace tone at a relatively low cost.

Summary and Conclusion

Reflecting on Ace Frehley’s sound creation reveals that its essence lies in its “simplicity and intuitiveness.” The foundation is merely connecting a Gibson Les Paul to a Marshall amp. The thick midrange and sustaining tones produced are the core of his guitar sound. Rather than relying on complex effect chains or advanced systems, Ace’s approach emphasizes maximizing the combination of guitar and amp.

However, beneath this simplicity lies strategic ingenuity. In the studio, he supplemented Marshall with Fender and Vox amps to add thickness and brilliance to his sound. During live performances, he utilized the “smoking guitar” effect and delay to create not only auditory but also visual impact. This flexibility of “adding necessary elements when needed” has made the Ace sound unique.

Moreover, while keeping effects to a minimum, he effectively incorporated distinctive units like the Electro-Harmonix Big Muff Pi and Vox Wah to add Ace-like nuances. Thus, his sound creation is not merely about maintaining a simple direct sound but rather about “adding accents where necessary.”

In Kiss’s songs, Ace’s guitar consistently supports the entire band while boldly taking the lead during solos. Iconic riffs and solos in tracks like “Cold Gin,” “Shock Me,” and “Detroit Rock City” leave a strong impression despite their simplicity. The balance of “direct connection clarity” and “strategic ingenuity” underpins this.

Modern guitarists can recreate Ace’s sound without expensive original gear by combining “Les Paul-type guitars,” “Marshall-type amps,” and simple effects like fuzz and wah. Adding midrange emphasis and using delay effectively will allow players to experience the hard rock tone that Ace has built.

In summary, Ace Frehley’s sound embodies “the essence of rock.” Even when played simply, it possesses presence, and when necessary, he skillfully employs dramatic effects and supplementary elements. This sense of balance is why he continues to influence many fans and aspiring guitarists. The sound that supported Kiss’s dazzling shows remains a symbol of “simple is best” and stands as one of the ideals of rock guitar.