[Tony Iommi] How to Recreate the Black Sabbath Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Tony Iommi is renowned as the lead guitarist of Black Sabbath, a band that firmly established the heavy metal genre worldwide. His sound is characterized by heavy riffs, a unique dark tone, and guitar solos that are simple yet overwhelmingly powerful.

Iommi’s right-hand picking style is rough and powerful, and his riffs, created using a left-handed SG, have produced iconic songs like “Iron Man,” “Paranoid,” and “War Pigs,” which are etched in the history of metal. Due to an industrial accident that damaged his fingertips, he uses custom finger tips and lighter gauge strings, which contribute to his distinctive tone.

The resulting sound is marked by a “hard texture” and “thick low end,” achieved through the use of amplifiers and boosters rather than relying on fuzz or excessive distortion. The combination of Laney amplifiers and a modified Rangemaster creates a sound that can be considered the foundation of metal guitar.

Iommi’s approach to sound design is not complex; rather, it embodies “ferocity within simplicity,” which makes understanding his setup a valuable lesson for any guitarist aspiring to create heavy rock tones.

▶ Search official YouTube videos of Black Sabbath

List of Amplifiers and Features

A crucial aspect of Tony Iommi’s sound is his long-standing collaboration with Laney amplifiers. From the formation of Black Sabbath, he has consistently used Laney prototypes and has made them his primary choice throughout his career. The thick distortion heard in early classics like “Black Sabbath” and “Paranoid” was produced by the powerful Laney LA100BL “Supergroup” combined with P-90 pickups.

The Supergroup is designed similarly to Marshall Plexi amps but features a harder and more solid distortion, perfectly matching Iommi’s dark and heavy riffs. This amplifier was later reissued, and it returned to his rig during the 2016 “The End Tour.” While original units are expensive as vintage gear, the reissues and Laney’s signature models can still recreate that sound.

Since the 1990s, the “Laney GH100TI” has become his main amplifier, evolving into the two-channel “Laney TI100.” These models offer modern gain while still capturing Iommi’s unique dry and tight texture. In live setups, he pairs these with Laney’s 4×12 cabinet (featuring Celestion G12H speakers) to support the heavy low end. Additionally, he sometimes uses a power amplifier like the HH V800 to enhance his monitor system.

In summary, Iommi’s amplifier sound is so closely associated with Laney that it can be said, “Laney = Tony Iommi.” He has carved out a unique path without going through Marshall or Mesa Boogie, resulting in the enduring notion that “Iommi sound = Laney amplifiers.” This information is based on interviews and official gear lists, but some details regarding specific amplifier switches during certain eras or songs remain unconfirmed.

Types of Guitars Used and Features

The guitar that symbolizes Tony Iommi’s sound is undoubtedly the Gibson SG model. Initially, he used a Fender Stratocaster, but after a pickup failure during recording, he picked up a Gibson SG Special (nicknamed “Monkey”), which became his fateful instrument and has remained his trademark throughout his career.

The original “Monkey” SG Special, made in 1964/65, features a metal-covered P-90 pickup on the bridge side and a John Birch pickup on the neck side. It has unique modifications such as a zero fret and a polyurethane-coated fingerboard. Almost all of Black Sabbath’s early hits from the 70s were played using this guitar, laying the foundation for the Black Sabbath sound.

Later, the “JayDee Custom ‘Old Boy’,” built by custom builder John Diggins, became his main stage guitar. With its distinctive cross inlays, it solidified Iommi’s dark and heavy image. Additionally, John Birch SGs and the Gibson USA Iommi Signature SG are also known to be part of his long-term gear.

In 2020, the Gibson Custom Shop released a limited edition of 50 “Monkey” SG Special replicas, signed by Iommi, making it a coveted collector’s item for fans. Recently, the Gibson USA Iommi Signature SG has become widely available, allowing fans to recreate that sound more easily.

Stage photos also show him with a white SG (with three pickups) and a left-handed Epiphone SG Special, indicating that multiple SGs have been used throughout different songs and periods. All these guitars are based on P-90 single coils, providing a hard and cutting distortion that, when combined with Laney amplifiers, completes a unique metal sound. While much of this information is confirmed, some details regarding the white SG or secondary guitars remain unclear and are assumed.

Effects and Pedalboard Setup

A distinctive feature of Tony Iommi’s sound design is the surprisingly minimal use of effects, most of which play a supportive role. The early Black Sabbath sound was primarily built around the guitar, Laney amplifiers, and a modified Dallas Arbiter Rangemaster treble booster. This Rangemaster not only emphasized the high frequencies but also naturally pushed the amplifier to create a unique roar.

Even later, Iommi pursued this tone, recreating the sound of the modified Rangemaster with the “Laney BCC TI-Boost,” developed in collaboration with Laney. As his stage setup grew larger in the 1980s, a custom switching system by Pete Cornish was introduced, allowing for stable control of multiple effects.

Notable individual effects used include the Tycobrahe Parapedal (wah), Drawmer LX20 (compressor), Boss and DigiTech Octave Dividers (octave), and the use of two Korg SDD-1000s for short/long delay. After the 1990s, effects like the Korg DL8000R (multi-tap delay and chorus), Peavey Addverb III (reverb), MXR 15-Band Stereo EQ (equalizer), and Rocktron Guitar Silencer (noise reduction) became more prominent, emphasizing spatial effects and noise management.

These setups were fine-tuned for each live performance, with simple riff-based songs relying on the Rangemaster and direct amp connection for power, while more lyrical songs or solos incorporated delay and chorus. Even in his final tour, “The End,” his sound was completed with a system that included the TI-Boost and chorus effects. Overall, Iommi’s approach can be summarized as “creating a powerful presence with minimal effects.”

Tone Settings, EQ, and Mixing Approaches

Tony Iommi’s sound design is characterized more by “settings” and “EQ processing” than by the guitar or amplifier themselves. Due to the loss of his fingertips, he uses lighter gauge strings, resulting in lower tension than typical guitarists. Consequently, if the low end is overly emphasized with the amplifier or EQ, the sound can easily become boomy; instead, he focuses on the midrange to maintain clarity.

For example, in riff-driven songs like “Iron Man” and “War Pigs,” the amplifier’s Bass is set slightly below 12 o’clock (around 4-5), the Middle is boosted (6-7), and Treble is kept moderate (around 5) to achieve a tight tone that doesn’t get dragged down by the low end. The Presence is often set high, utilized to ensure the guitar doesn’t get buried under the drums and bass on stage. This allows the guitar to maintain a “wall-like presence” while retaining its outline within the overall band sound.

During solos, Iommi often utilizes wah and EQ to elevate frequencies and control feedback. In solos for songs like “Children of the Grave” and “Heaven and Hell,” he adds a subtle delay for depth and uses a compressor to ensure sustain. This approach is practical for live performance and is reinforced in studio recordings through mic preamps and outboard gear.

In recordings, engineers further adjust the mix. In the 70s, multiple mics were often used to capture the cabinet sound, naturally saturating the low end with tape compression. In recent live performances, a combination of 57 series mics and ribbon mics has been used, cutting around 250Hz and boosting 1.2kHz to 2kHz to bring guitar riffs to the forefront.

To recreate Iommi’s sound, it is essential to understand his philosophy: “Express heaviness through emphasis on picking nuances and midrange without relying on excessive distortion.” While metal is often associated with high gain, his sound is achieved by pushing the amp with restrained gain, resulting in a thick, sticky texture. This allows each note in the riffs to stand out clearly, while solos achieve a flowing sustain.

From a PA engineer’s perspective, Iommi’s guitar always relies on “creating clarity through midrange while allowing the low end to coexist with the bass.” To avoid overlapping with the kick drum and bass guitar frequencies, guitars are often high-passed below 100Hz. Additionally, lightly boosting 3-5kHz adds attack, maintaining the overall power of the band. These principles are not only evident in his amp settings but also in live mix processing.

In conclusion, Tony Iommi’s sound design revolves around the combination of “Laney amplifiers + Rangemaster + P-90 pickups,” with EQ and mixing techniques highlighting the midrange and organizing the low end. This foundation established the heavy sound of Black Sabbath and laid the groundwork for the heavy metal genre. While the specific settings are for reference, the essence lies in the “courage to avoid excessive distortion” and “ensuring midrange presence.”

Affordable Alternatives to Recreate the Tone

To faithfully recreate Tony Iommi’s sound, the ideal combination would be a Gibson SG Special “Monkey,” Laney amplifiers, and a modified Rangemaster. However, these are all expensive and difficult to obtain. Therefore, here are some alternative gear options for beginner guitarists or those on a budget to get closer to the Iommi sound. The key points are “guitars with P-90 pickups,” “amplifiers that emphasize the midrange,” and “substitute pedals for treble boosters.”

For guitars, the Epiphone SG Special and Epiphone Tony Iommi SG Custom are relatively affordable and available, with left-handed options suitable for Iommi fans. If equipped with P-90 type pickups, they can easily achieve a hard and cutting distortion, allowing for a similar character even with amplifiers other than Laney.

Regarding amplifiers, the current entry-level “Laney CUB” series offers excellent cost performance and is a practical choice for home practice and small gigs. Additionally, tube amplifiers like the VOX AC15 and Marshall Origin 20 can effectively emulate Iommi’s settings when adjusted for a midrange boost.

For effects, simple boosters like the BOSS SD-1 or MXR Micro Amp are recommended substitutes for treble boosters. Furthermore, Rangemaster-style pedals like the Catalinbread Naga Viper can help modernize Iommi’s boost sound. For delay and reverb, standard multi-effects pedals like the BOSS DD-8 or TC Electronic Hall of Fame are sufficient.

The important thing is “not to over-distort.” By focusing on the natural drive created by Laney and boosters and applying midrange-boosting EQ settings, it becomes easier to achieve “that feeling” when playing Black Sabbath riffs. There is no need to gather expensive custom gear; rather, leveraging accessible equipment and focusing on “how to create sound” is the quickest path to achieving Iommi’s sound.

Summary and Conclusion

Reflecting on Tony Iommi’s sound design, its essence boils down to being “simple yet overwhelmingly heavy.” In the early days of Black Sabbath, he created the first “heavy metal sound” in rock history by combining the SG Special “Monkey” with Laney amplifiers and a modified Rangemaster. His style does not depend on flashy effects or excessive gain, but rather on the power of the riffs and the thickness of the midrange.

Iommi’s playing style is influenced by his use of custom finger tips and lighter string gauges to compensate for the loss of his fingertips in an industrial accident. This physical aspect ultimately contributes to a unique tone, establishing a sound character that is unlike any other guitarist. Thus, his sound is not merely a product of gear selection but is significantly shaped by “the physical background of the player.”

Moreover, the handling of amp settings and EQ is crucial, with a philosophy of “cutting the low end and emphasizing the midrange” being thoroughly applied. This approach allows the guitar sound to coexist with the bass and drums, creating a dominating presence in the overall band sound. In live settings, including PA processing, the guitar is often high-passed below 100Hz while boosting around 2kHz to ensure the attack of the riffs pierces through to the audience.

For beginners or fans looking to recreate Iommi’s sound, it is not necessary to acquire expensive original gear. Using affordable equipment like the Epiphone SG, BOSS SD-1, and Laney CUB, while focusing on “light boosting without over-distortion,” “midrange-focused EQ,” and “maintaining the clarity of the riffs” can allow one to get quite close to “that sound.” The emphasis should be more on “how to create sound” than on the gear itself.

In conclusion, the key to recreating Tony Iommi’s sound lies in four points: 1) an SG-type guitar with P-90 pickups, 2) a British amplifier that emphasizes the midrange (preferably Laney), 3) light gain boost through a booster, and 4) EQ settings that organize the low and mid frequencies. Understanding these elements will enable even beginners to experience “that dark and heavy atmosphere” when playing Black Sabbath riffs.

Tony Iommi’s sound design is the cornerstone of metal guitar, and it remains a model for countless guitarists today. The core of this philosophy is “simplicity and midrange dominance.” Learning this philosophy is the greatest hint to obtaining the Iommi sound.