[Lee Malia] How to Recreate the Bring Me The Horizon Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Lee Malia, the guitarist of Bring Me The Horizon, is highly regarded as a sound creator capable of traversing a wide range of genres from modern metalcore to alternative rock. His playing style creates a heavy, wall-like sound with ultra-low tuning riffs while also shining through with ambient cleans and expansive arpeggios.

Iconic tracks such as “Shadow Moses” and “Can You Feel My Heart” showcase tight, sharp riffs alongside deep atmospheric sounds, characterized by consistent tone crafting both live and in the studio.

Malia particularly excels at combining high-gain amplifiers with active pickups, crafting tight lows and scope-like mids that resonate clearly without being buried in the mix. He is also proactive in using multi-effects and MIDI synchronization for live performances, embodying the image of a modern guitarist.

Recently, Jackson has released his signature model, the “LM-87,” further solidifying his status as a modern metal guitarist.

The reason his sound garners attention lies not only in its heaviness but also in its melodic and emotional phrases, along with ambient textures. His choice of gear and sound design, which supports the band’s soundscape, is worth studying for many guitarists.

▶ Search official YouTube videos of Bring Me The Horizon

List of Amplifiers and Features

The choice of amplifiers is a crucial element in shaping Lee Malia’s sound. He primarily uses high-gain amplifiers to support the thick sound characteristic of metalcore and alternative music, but he also demonstrates flexibility by using clean amps and modeling gear depending on the song.

A notable amplifier is the “Peavey 6505+,” which is frequently used in tracks like “Shadow Moses” for its hard-hitting, tight low-end and high gain. When paired with a Mesa/Boogie 4×12 cabinet, it achieves an even tighter and more defined sound, making it a staple in both live and recording settings.

Another cornerstone of his rig is the “Marshall JCM800,” which serves as his main amplifier for live performances, providing the power and punch needed for strong riffs. When combined with a 1960A cabinet, it ensures that his sound stands out within the band. Additionally, it is said that he has customized this amp with tube replacements, showcasing his unique touch.

For clean tones, he employs the “Marshall JTM45.” By pushing it with a Soul Food overdrive, he creates a warm clean sound while maintaining transparency. This amp is essential for ambient arpeggios and spatial effects.

Malia has also been seen using Orange amps, such as the “Orange Rockerverb 100/50” and “Orange Thunderverb 200W.” The Thunderverb, in particular, is known for its ample headroom, contributing to stability in loud live environments. Furthermore, he has integrated modeling gear like the “Line 6 Helix” and “Kemper,” allowing him to reproduce multiple tones by combining them with the JCM800’s power amp during live performances.

In summary, Lee Malia’s amplifier setup includes roles such as “aggressive riffs with the Peavey 6505+,” “robust rock sound with the Marshall JCM800,” and “delicate cleans with the JTM45 and modeling,” all of which support Bring Me The Horizon’s diverse musical landscape. These setups may vary by period or tour, suggesting that they are not fixed and are subject to change.

Types of Guitars Used and Features

Lee Malia’s guitar collection is incredibly diverse, covering the heaviness typical of metalcore to ambient textures. He has a strong signature contract with Epiphone, having released several custom models. Recently, the Jackson signature model “LM-87” has also emerged, reflecting his evolving guitar choices alongside the band’s sound changes.

In his early years, he used “Ibanez” guitars, known for their thin, flat necks that are suitable for fast riffs and technical phrases. Later, he introduced Gibson Les Paul Standards and Traditionals to accommodate low tunings like Drop A# and C Standard. Notably, during the “There Is a Hell…” era, he used a “First Act Custom Sheena,” which showcased a unique fuzz-like tone.

In 2014, Epiphone launched the “Lee Malia Les Paul Custom” signature model, featuring a P90 neck pickup and unique inlays, excelling in both metal and clean tones. By 2017, models like the “Epiphone Custom Explorer Artisan” and “Epiphone Custom RD Artisan Outfit,” inspired by James Hetfield and classic guitars, were introduced, significantly contributing to the visual and sound variations in live performances.

The latest notable gear is the “Jackson Pro Series Signature Lee Malia LM-87,” released in 2025. This model is based on a Surfcaster shape and features a unique pickup configuration of LM-87 HB+P90, allowing for a wide range of sound creation from modern metal riffs to ambient cleans. It truly represents a contemporary signature model.

Other guitars include double-cut models with wood grain finishes like the Gretsch Garage Beast, PRS Baritone (used in “Post Human: Survival Horror”), and vintage models such as the Gibson Victory MVX and Gibson The Paul. Common modifications include bone nuts from Dean Rowbotham and TonePro bridges, ensuring stable tuning and sustain across all guitars.

By utilizing different guitars according to the period and song, Lee Malia supports Bring Me The Horizon’s versatile musicality. Overall, his guitar choices are characterized by “low-tuning compatibility for modern metal and ambient expressiveness.”

Effects and Pedalboard Setup

Lee Malia’s sound is supported by a vast array of effects and a meticulously organized pedalboard. His style embodies a duality of “heavy high-gain riffs plus ambient spatial effects,” requiring a sophisticated use of both distortion and ambient effects. Additionally, he incorporates MIDI control and multi-effects in live settings to ensure stable reproducibility.

For distortion, he utilizes the “Ibanez TS9/TS808 Tube Screamer” and “Maxon OD808,” tightening the gain on the Peavey 6505+ and Marshall amps. He also employs the “Klon Centaur” and its clone pedals, along with the “Fulltone OCD Overdrive” for boosting and tone shaping. For fuzz, he uses the “Electro-Harmonix Big Muff Pi” and “BYOC E.S.V. Fuzz,” which contribute to rough riffs and texture in recordings. Additionally, he has experimented with the “Earthquaker Devices White Light Overdrive,” creating layered distortion.

In terms of spatial effects, he employs “Boss DD-7,” “Boss DD-20,” “Strymon Timeline” (two delays), and “Electro-Harmonix Cathedral Stereo Reverb.” For reverb, he combines “Boss RV-5” and “EHX Holy Grail” to create expansive soundscapes. Ambient tracks benefit from the use of “Boss Tera Echo” and “Electro-Harmonix Stereo Memory Man With Hazarai,” effectively crafting ethereal sounds.

For special effects, he has adopted the “Electro-Harmonix POG2” (octave) and “Synth9” (synth effects), adding symphonic layers to his sound. The “Digitech Drop Pedal” allows for instant drop tuning, while the “Line 6 M9” and “Free The Tone ARC-03 Audio Controller” centralize control over his setup. He also uses the “Sennheiser EW100 G3” wireless system to ensure freedom during live performances.

His power supply includes the “MXR CAE MC403” and “Voodoo Lab Pedal Power,” while switching is managed by “GCX Audio Switcher” and “Ground Control Pro.” This setup provides stable power and seamless tone switching. Notably, Malia synchronizes his pedals via MIDI, establishing a system that supports sound from external cabinets.

Overall, Lee Malia’s pedalboard is designed for quick transitions between high-gain riffs, cleans, and ambient sounds, embodying the breadth of his musicality. While there may be changes over time, the fundamental philosophy remains consistent.

Tone Settings, EQ, and Mixing Approaches

Lee Malia’s sound design focuses not just on high gain, but on how to keep the low-end tight and maintain presence within the overall mix, especially considering Bring Me The Horizon’s layered electronic sounds and synths. EQ and gain adjustments are essential to prevent the guitar from being buried in the mix.

Starting with amp settings, when using the “Peavey 6505+,” he typically keeps the gain relatively low and boosts the mids with a pedal (like the TS9 or OD808). This approach helps to suppress muddiness in the lows while bringing out picking nuances. The EQ is often set with lows at around 10-11 o’clock, mids at 1-2 o’clock, and treble around noon. Presence is kept moderate to balance with synths and vocals in the mix.

When using the Marshall JCM800, which has a lower gain, he places a Tube Screamer or Klon in front to push the sound. Particularly in live settings, he leverages the midrange thickness of the JCM800 to create a “meaty riff presence” that resonates with the audience. For clean and ambient parts, he utilizes the Marshall JTM45 or Line 6 Helix’s clean amp models. Here, he tends to cut the lows and apply deeper reverb and delay to construct a floating sound image.

The role of effects is also carefully considered. A noise suppressor (Boss NS-2) is essential for cutting out noise typical of low tunings while maintaining a tight attack. Spatial effects (Strymon and DD-7) are adjusted per song, synced to tempo, ensuring they align perfectly with synths and drum machines. In tracks like “Can You Feel My Heart,” the reverb’s decay merges with the vocals, allowing the guitar to support the background soundscape.

In studio recordings, mic placement and mixing techniques are also key. Miking the Peavey 6505+ with a Mesa 4×12 using an SM57, complemented by a condenser mic for room sound, achieves both tightness and airiness. Techniques like double-tracking and quad-tracking add thickness across the stereo field, while EQ adjustments suppress overlapping frequencies with synths, maintaining density while ensuring separation. The low-end is managed to coexist with the bass, often cutting guitar frequencies around 100-250Hz while boosting 1kHz-3kHz to emphasize attack.

To accommodate low tunings, he uses .080 gauge Ernie Ball custom strings, ensuring tension is maintained in Drop A or C Standard. Common modifications like bone nuts and TonePros bridges enhance tuning stability and sustain. These considerations are crucial for maintaining sound integrity in demanding live environments.

Overall, Lee Malia’s sound design can be summarized as a balance of “not overdoing high gain,” “organizing lows while pushing mids in EQ,” and “constructing a soundscape with spatial effects.” While his sound design is finely tuned for each Bring Me The Horizon track, it consistently aims for a “heavy yet distinct sound.”

Affordable Alternatives to Recreate the Tone

Lee Malia’s gear often consists of signature models and professional-grade amplifiers, making it challenging for beginners or intermediate players to acquire everything. However, there are numerous affordable alternatives that can help recreate his sound. Here, we focus on practical gear available for around $100 to $500.

For distortion, the “BOSS SD-1 Super OverDrive” and “BOSS OD-3” are recommended. While Lee’s actual Tube Screamer and Klon pedals can be pricey, the SD-1 offers a strong mid-range push, providing a similar tightness when placed in front of high-gain amps. Additionally, affordable clone pedals like “Joyo Vintage Overdrive” or “Mooer Green Mile” are viable options.

For spatial effects, the “BOSS DD-8 Digital Delay” and “BOSS RV-6 Reverb” offer excellent cost-performance. The DD-8 supports tap tempo, making it easy to sync live, while the RV-6 can achieve ambient reverbs, allowing you to replicate Bring Me The Horizon’s clean tones and grand atmospheres. While acquiring Strymon gear may be challenging, this combination can yield sufficiently similar effects.

For amp simulation, the “Line 6 POD Go” and “NUX MG-30” are relatively affordable yet capable of reproducing 6505+ and JCM800 sounds. The POD Go, in particular, is live-ready, featuring MIDI control and IR compatibility, making it an ideal simplified alternative to the Helix.

In terms of guitars, models like the Epiphone Les Paul Standard or Epiphone Explorer can provide a sound close to Lee’s when equipped with active pickups. The EMG 81/60 set is a standard choice, easy for beginners to handle. Additionally, selecting thicker strings (around .060 to .080) ensures tuning stability and tightness in sound.

Beginners should first aim for a setup of “amp simulator + overdrive + delay/reverb.” This combination alone can help achieve a sound reminiscent of tracks like “Shadow Moses” or “Drown,” providing significant satisfaction in practice and cover attempts. While it may be difficult to gather a full set of gear, combining high-reproducibility alternatives can effectively create a Lee Malia-style sound.

Summary and Conclusion

Reflecting on Lee Malia’s sound design, its essence lies in balancing the weight of modern metal with the spaciousness of alternative rock. He builds his foundation on traditional high-gain amplifiers like the Peavey 6505+ and Marshall JCM800, while meticulously tightening the sound with boosters and EQ to ensure it doesn’t get buried among synths and vocals. By skillfully utilizing delays and reverbs, he creates the expansive soundscapes unique to Bring Me The Horizon.

Regarding guitars, Malia focuses on signature models from Epiphone and Jackson, emphasizing designs and customizations that accommodate low tunings. The use of thicker strings (.080 gauge) and active pickups is crucial for supporting his tight low-end. During live performances, he leverages wireless systems and MIDI synchronization to achieve a stable and reproducible performance. This approach emphasizes not just the luxury of gear but the importance of “reproducibility,” “stability,” and “expressiveness” as core principles of Lee Malia’s philosophy.

Additionally, the differences between studio and live approaches are notable. In the studio, he layers multiple amps and effects, carefully adjusting EQ and tracking to create a thick wall of guitar sound. Conversely, in live settings, he utilizes Line 6 Helix and Kemper to maximize studio-quality sound reproduction within limited environments. This “adaptive gear selection and sound design optimization” is likely the reason his sound remains consistently stable.

In summary, to emulate Lee Malia, it is not necessary to acquire all high-end signature models but rather to focus on “guitars capable of low tunings,” “overdrives that enhance tightness,” and “skillful use of spatial effects.” By keeping these elements in mind, you can get remarkably close to achieving a Bring Me The Horizon-like sound.

Ultimately, the essence of his sound design is about “organizing necessary frequencies while stripping away excess elements to emphasize what needs to be expressed.” As a result, no matter how many synths or effects overlap, the guitar maintains a solid presence within the band. This approach is something every guitarist can learn from, and Lee Malia’s sound design holds value beyond just a list of gear.