[Wes Borland] How to Recreate the Limp Bizkit Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Hotaka Yamashita] – How to Recreate the Ikimono-gakari Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

[Luke Takamura III] – How to Recreate the Seikima-II Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.08.29

[Noko] How to Recreate the Shinsei Kamattechan Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.142025.09.14

Introduction (Overview of Tone)

Wes Borland, the guitarist of Limp Bizkit, is globally recognized for his distinctive playing style and sound design. His sound is characterized by heavy, dark riffs and the ability to switch seamlessly between ambient, spatial clean tones.

For instance, in songs like “Break Stuff” and “Nookie,” he employs aggressive riffs that heavily utilize the lower strings to energize the audience. Conversely, tracks like “Boiler” and “Behind Blue Eyes” showcase his use of ethereal cleans and effects to create a unique soundscape. His unconventional choice of guitars, including hybrid PRS/Ibanez four-string guitars, illustrates that he is not just a metal guitarist but also an acoustic artist.

While his distinctive paint and costumes are well-known, the actual sound is supported by an extremely experimental and meticulous selection of gear. By blending multiple amplifiers and running both clean and distorted tones simultaneously, he creates a sound that supports the band’s overall groove with depth and dimensionality.

Additionally, Borland actively incorporates spatial effects from brands like Strymon and Electro-Harmonix, generating different textures for each song. His approach is akin to “painting with sound,” giving Limp Bizkit’s music a unique palette of colors.

To effectively recreate his sound, it’s essential to understand three key elements: “amplifiers and EQ that support heavy low-end riffs,” “reverb and delay that create an ethereal space,” and “the unique resonance of unconventional guitars.” Below, we will meticulously introduce the amplifiers, guitars, and effects he has used over time and in various contexts.

▶ Search official YouTube videos of Limp Bizkit

List of Amplifiers and Features

When discussing Wes Borland’s sound design, one cannot overlook the diverse combinations of amplifier heads and cabinets he employs. He has been known to use multiple amplifiers simultaneously during live performances and recordings, constructing a sound that possesses both thickness and spatiality.

A notable example is the EVH 5150 III, which has been confirmed to be used in pairs during live performances. The thick high-gain characteristic of the 5150 series underpins Limp Bizkit’s heavy riffs. Additionally, the Diezel VH4/VH4S is utilized as a core amplifier during performances with Elfman and in blending, providing a tight, low-end distortion.

On the other hand, the clean tone is primarily achieved through the Roland JC-120. Live photos confirm that the JC-120 is stacked beneath the EVH head, indicating its use in a stereo configuration. By combining this transparent clean tone with effects like the Strymon BigSky and TimeLine, Borland creates a unique ambient space.

In his early works, the Mesa/Boogie Dual Rectifier was a mainstay, responsible for the loud distortion heard in tracks like “Nookie” and “Break Stuff” from the late ’90s to early 2000s. During the “Gold Cobra” era, he utilized the Orange Thunderverb 200W paired with an Orange 4×12 cabinet, providing a somewhat vintage and rich distortion.

Moreover, during the recording of “Chocolate Starfish and the Hotdog Flavored Water,” the Selmer Zodiac Twin 30/Twin Thirty made an appearance, showcasing the bell-like cleans characteristic of British amps. Cabinets like the VHT 6×12, Mesa 4×12, and EVH 4×12 were blended to create a three-dimensional sound field.

Thus, Wes Borland’s approach of using various amplifiers based on the period and song, while consistently adhering to the “blend of multiple amplifiers,” has led to a complex system that cannot be replicated with a single amp. The combination of the EVH 5150 III and Roland JC-120 has become a staple in recent live performances, augmented by the Diezel and Orange amplifiers to achieve a multi-layered sound.

Types of Guitars Used and Features

The most distinctive aspect of Wes Borland’s sound design is his unique selection of guitars. He emphasizes both “appearance” and “functionality,” actively incorporating hybrid four-string guitars from PRS and Ibanez, which is essential for highlighting Limp Bizkit’s heavy low-end riffs and unconventional chord work.

From the beginning, he has favored Jackson Custom Shop models like the King V and Randy Rhoads. Notably, he has modified left-handed models for right-handed use and removed the neck pickup from some King V guitars, showcasing highly customized specifications. These choices are believed to maximize the attack in high-gain riffs.

Additionally, the PRS Custom 24 (in black) has been a long-time favorite, and the four-string hybrid guitar made by PRS has become synonymous with his sound. Tuned to A–A–D–G or F#–F#–B–E, it plays an intermediary role between guitar and bass, filling the gaps in the band’s sound.

His signature model, the Yamaha CV820WB, features a semi-hollow design with Takumi-Kezuri construction and custom pickups, providing a prominent tone whether distorted or clean.

Furthermore, he has modified Fender guitars like the Jazzmaster, Telecaster, and Starcaster. The Starcaster, in particular, has undergone significant modifications, including the addition of Lollar bridge pickups and Jaguar pickups. He has also incorporated a Bass VI into recordings, further building his unique soundscape.

Bilt guitars have also been spotted on stage, adding an alternative flavor to the music. All these choices aim to express “musical textures beyond mere heavy riffs,” serving as the source of the artistic elements that permeate his sound. Overall, it is assumed that “Jackson and PRS provide the backbone for riffs, while Fender and Yamaha add spatial color.”

Effects and Pedalboard Setup

Wes Borland’s sonic identity is defined by a diverse and unique pedalboard setup. His board is not merely centered around distortion effects but encompasses a vast soundscape ranging from clean to ambient and even experimental noise.

One notable aspect is his extensive use of spatial effects. The Strymon BigSky (reverb) and Strymon TimeLine (delay) are staples for both live performances and recordings. By finely switching presets for each song, he creates the ethereal soundscapes found in tracks like “Boiler” and “Re-Arranged.”

Additionally, the Electro-Harmonix Q-Tron is featured in verses of “Full Nelson” and “Hot Dog,” adding a funky, bouncy texture. The Ibanez CF7 Flanger/Chorus’s “Wack’d” setting plays a crucial role in the verses of “My Way,” injecting a unique fluctuation into the music.

For drive effects, the Fulltone OCD is used to boost the Roland JC-120, elevating the clean tone as needed. The wah pedal is primarily used for EQ purposes in tracks like “Pollution,” focusing on tone shaping rather than typical lead use.

When seeking an analog feel, the Maestro Echoplex (solid state) and Malekko delay are introduced, allowing for a mix of digital and analog sounds tailored to each song. His previous boards included Electro-Harmonix POG series, Holy Stain, and Catalinbread Adineko, actively incorporating pitch changes and vintage-style modulation.

Notably, his signature pedal, the KHDK “Baphomet” Dual Delay, was produced in a limited run of 250 units. By blending two delay lines, it creates a unique floating sensation during live performances. Such meticulous selection and construction suggest that Borland’s sound transcends mere “heavy riffs,” culminating in a three-dimensional, artistic sound collage.

Tone Settings, EQ, and Mixing Approaches

To recreate Wes Borland’s sound, it is essential to focus not only on gear selection but also on “amp settings,” “EQ balance,” “effect application,” and “PA or mixing processing.” His sound is always “three-dimensional and layered,” with clean tones emerging even amidst heavy riffs, spreading throughout the space.

Regarding amp settings, he primarily uses high-gain amps like the EVH 5150 III and Diezel VH4. The low-end is emphasized while remaining tight, the mids are often cut slightly, and the highs are adjusted to avoid harshness. By accentuating the low-end, he utilizes the low-tuned four-string hybrid guitar to create thick riffs that blend seamlessly with the bass.

Conversely, for the clean tone from the Roland JC-120, the EQ is typically set flat or with a slight reduction in lows, allowing the highs to be more open, creating a space for reverb and delay effects to shine. When boosting with the Fulltone OCD, the gain is kept minimal to preserve the JC-120’s clarity.

His use of different settings for each song is also notable. In “Break Stuff” and “Nookie,” he emphasizes distortion, organizing the mids to clearly convey picking nuances. In contrast, for “Boiler” and “Re-Arranged,” he utilizes the BigSky and TimeLine, setting reverb and delay deeper to enhance the ambient feel. This flexibility in adjusting decay times and pre-delay for each track is a key aspect of his sound design.

From a mixing and PA perspective, Borland’s guitar is treated as two distinct layers. One layer is for the main riffs with high gain, while the other is a clean + spatial layer. By spreading this across stereo, the overall sound of Limp Bizkit becomes thick and three-dimensional. Particularly in live settings, one cabinet is assigned to a high-gain amp, while the other is allocated to the JC-120, establishing a balanced structure through the PA.

In terms of EQ, during live performances, the low-end (around 80–120Hz) is organized while retaining the mid-low frequencies (200–300Hz) to maintain “thickness.” The mids (800Hz–1.2kHz) are kept somewhat subdued to avoid clashing with vocals, while boosting the presence range (3kHz–5kHz) enhances the attack.

Additionally, reverb and delay settings in the studio often employ the technique of “varying delay times between left and right,” amplifying the stereo effect. By utilizing TimeLine presets, one side might be set to 1/8 delay and the other to 1/4 delay, creating a sense of depth through phase shifting.

Overall, Wes Borland’s sound design is established through the three pillars of “heavy low-end riffs,” “ethereal cleans,” and “floating effects,” organized through EQ and mixing. It is not merely about simple distortion settings; rather, it is the multi-layered construction based on the interplay of amps and effects that creates his unique sound.

Affordable Alternatives to Recreate the Tone

Wes Borland’s gear includes custom Jacksons and PRS’s special four-string hybrids, which are often expensive and difficult for the average user to obtain. However, there are ways for beginners and intermediate players to approach his sound at a relatively low cost. Here, we will focus on products available for approximately $100 to $500.

For amplifiers, alternatives to the EVH 5150 III and Diezel VH4 include the BOSS Katana series and Positive Grid Spark. The Katana, in particular, offers a variety of amp modes and can handle a wide range from high-gain to clean. While it may not perfectly replicate the EVH sound, it provides a thick distortion and transparent clean tone, making it suitable for capturing Borland’s sound.

In terms of guitars, the Yamaha Revstar and Ibanez RG series are cost-effective options. Choosing models with stable bridges that can accommodate alternate tunings and equipped with humbuckers allows for coverage of both low-end riffs and ambient sounds. While the Ibanez RG may not have the same uniqueness as Borland’s four-string hybrid, using alternate tunings alongside spatial effects can yield a similar texture.

For effects, spatial effects are crucial. While the Strymon BigSky and TimeLine are expensive, the BOSS RV-6 (reverb) and DD-8 (delay) can be obtained for around $200 and provide professional-level sound. For alternatives to the Q-Tron, the Electro-Harmonix Nano Q-Tron or BOSS AW-3 (auto-wah) are practical options. To replicate the CF7’s modulation, combining BOSS CH-1 or BF-3 can achieve a similar fluctuation.

Finally, for system construction, incorporating multi-effects units like the Line 6 HX Stomp or Zoom G5n can streamline the management of amp simulations, reverb, delay, and modulation, allowing for easy switching between different textures as Borland does.

In summary, for beginners and intermediates aiming for Borland’s sound, the quickest route involves acquiring: 1) an amp capable of both high-gain and clean tones (like the Katana), 2) a stable guitar with humbuckers (Ibanez/Yamaha), and 3) a combination of reverb, delay, and auto-wah effects.

Summary and Conclusion

Reflecting on Wes Borland’s sound design, its essence lies in treating the guitar not merely as a tool for riffs but as a palette for sonic art. By modifying high-end guitars like Jackson and PRS and applying unique tunings, he creates a rich, unstable low-end while weaving in transparent cleans through the Roland JC-120 and Strymon effects. This duality makes Limp Bizkit’s sound truly unique.

In terms of amplifiers, he employs a complex approach, using modern high-gain amps like the EVH 5150 III and Diezel VH4 alongside the Roland JC-120 for stereo cleans, balancing them through the PA. This demonstrates Borland’s innovative mindset of “playing both simultaneously,” resulting in a heavy riff sound that is always accompanied by ambient echoes.

His choice of effects is also distinctive. The unique filtering effects of the Q-Tron and CF7, the meticulous delay settings of the Strymon TimeLine, and the deep reverb from BigSky all serve a clear purpose: to create different textures for each song, making them integral to the sound design itself. Borland’s board continues to evolve, culminating in the signature KHDK “Baphomet” Dual Delay, embodying his commitment to “creating worlds with sound.”

Moreover, considering the mixing and PA aspects, his sound design approaches the idea of “turning the entire stage into an instrument.” By utilizing multiple amplifiers and stereo effects, he delivers a sense of depth and layering that cannot be replicated by a single guitar. This comprehensive approach is what sets Wes Borland apart from other guitarists.

In summary, to aim for Borland’s sound, it is insufficient to merely copy gear. Understanding and consciously utilizing the three elements of “thick low-end supporting riffs,” “transparent clean spaces,” and “the introduction of unique textures” is essential. By adapting gear to one’s environment and adopting a mindset of “painting with sound,” one can recreate the dynamic sound of Limp Bizkit.

Ultimately, the core of Borland’s sound design lies in his fearlessness to be unconventional. By transcending typical settings and styles, he continues to explore his unique soundscape. This perspective is crucial for truly understanding his sound and integrating it into one’s playing.