[Brian Welch] How to Recreate the Korn Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Seikan Ozaki] – How to Recreate the CreepHyp Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.04

[Imai Toshiyuki] How to Recreate the BUCK-TICK Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.132025.09.13

[Kerry King] How to Recreate the Slayer Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.17

Introduction (Overview of Tone)

Brian Welch, known as “Head,” is the guitarist for Korn, a band that has been pivotal in shaping the heavy, bass-driven sound of nu-metal since the 1990s. His playing style is characterized by an aggressive yet spatially expansive approach, giving depth and dimension to simple riffs.

The iconic low-end riffs found in Korn’s hits like “Blind,” “Freak on a Leash,” and “Got the Life” are crafted using a 7-string guitar tuned to A standard, resulting in a heavy and dark tonal quality. Welch’s strength lies not only in the heaviness of his sound but also in his ability to express ambient and ethereal tones through clean sounds and effects in both live and studio settings.

Since rejoining Korn in 2013, Welch has embraced modern advancements in gear. Notably, he has incorporated Fishman Fluence pickups and an EverTune bridge, allowing for more stable sound and performance. His sound design accommodates a wide range of styles, from heavy riffing to clean arpeggios, attracting attention from metal guitarists and a broader audience alike.

The essence of his sound design lies in balancing extreme low-end with clarity, supporting the overall sound of the band while prominently featuring unique textures. This sound is achieved through not just the choice of amps and effects, but also through considerations like string gauge, tuning, and EQ processing.

In the following sections, we will delve into the specific gear used for amplifiers, guitars, and effects, as well as EQ settings and affordable alternatives for recreating this iconic tone. This content will be essential for Korn fans and guitarists aiming for a heavy sound.

▶ Search official YouTube videos of Korn

List of Amplifiers and Features

One of the key elements supporting Brian Welch’s sound is his choice of amplifiers. Korn’s music emphasizes extreme low-end, and by tuning their 7-string guitars to A standard, they create a unique low-frequency presence. Therefore, the amplifiers must provide “high gain,” “clarity in the low-end,” and “stability during live performances.”

The most notable amplifier is the Mesa/Boogie Dual Rectifier, known as a staple in nu-metal since the 1990s, which Korn has consistently used since their early days. When paired with the Fishman Fluence Modern Humbucker, it delivers a roaring distortion while maintaining defined mid and high frequencies. This amp shines in both studio recordings and world tours.

Additionally, Orange Amps are utilized, particularly to enhance the clean tones. While the Dual Rectifier handles the main distortion, Orange adds a rounded quality to the clean sound, allowing for ethereal clean arpeggios when combined with spatial effects.

In live and recording scenarios, it is common for Korn to operate a multi-amp system rather than switching amps for each song. For instance, while the Mesa supports the main riffs, the Orange may be mixed in during clean parts or intros, forming Korn’s distinctive “heavy yet clear” sound.

Online gear reviews and fan-shot live photos have shown instances of Marshall and Peavey amplifiers being used at different times. However, based on official interviews and recent visual evidence, it is safe to conclude that Mesa/Boogie and Orange are the core amplifiers in use.

In summary, Brian Welch’s amplifier setup is based on the “high-gain drive of the Mesa/Boogie Dual Rectifier” and “clean reinforcement from Orange,” with other amps being used occasionally and contextually.

Types of Guitars Used and Features

The most critical element in Brian Welch’s sound design is the use of 7-string guitars. Since their debut, Korn has primarily employed 7-string guitars, tuning them to A standard (A-D-G-C-F-A-D) to create a uniquely dark and heavy sound characteristic of nu-metal. Welch, like his bandmate Munky, utilizes the 7-string guitar to differentiate between riffs and clean parts, contributing to the thickness of Korn’s sound.

One prominent model is the LTD SH-7 EverTune, released in 2017 as Brian Welch’s signature model. It features a purple finish and a through-neck construction. It is equipped with Fishman Fluence Modern Humbucker (Alnico/Ceramic), providing a noise-free and modern clarity. The standout feature is the EverTune bridge, which ensures stable intonation and pitch even in extreme low tunings, allowing for consistent performance in live and studio settings.

Another iconic model is the Ibanez K7, developed for both Welch and Munky. It features DiMarzio PAF-7 pickups, balancing heavy low-end and clear high frequencies. In recent live performances, a white and gold prototype model has been spotted, which is rumored to include an EverTune bridge.

Welch’s guitar history also includes a Charvel (custom paint) that he owned during his teenage years, known for its tiger stripe paint job reminiscent of George Lynch. While this guitar is not currently in use, it symbolizes Welch’s roots.

Moreover, Brian Welch places the “7-string guitar itself” at the center of Korn’s sound design. This means that any 7-string guitar can fundamentally create Korn’s heavy riffs. In interviews, he has stated, “The 7-string is our identity,” emphasizing that the choice of model is secondary to the necessity of having a 7-string guitar.

In summary, Welch’s guitar selection emphasizes “stability,” “adaptability to low tunings,” and “unique aesthetics,” with the LTD SH-7 and Ibanez K7 being the primary models, while 7-string guitars in general form the core of Korn’s sound.

Effects and Pedalboard Setup

Another significant element supporting Brian Welch’s sound design is his effects pedalboard. Korn’s sound is not just about heaviness; the expansion of clean tones and spatial depth is crucial, with a wide array of effects employed in both live and studio settings. The frequent use of modulation and reverb effects helps create the “dark yet ethereal” quality characteristic of nu-metal.

One standout feature is the stability provided by the EverTune bridge. While not an effect per se, it plays a crucial role in maintaining the overall stability of the effect chain. This is complemented by the high-resolution output of the Fishman Fluence Modern Humbucker, which allows distortion and spatial effects to resonate clearly.

Specific effects include the Boss Chorus Ensemble, essential for achieving Korn’s signature “swirling clean” sound, adding depth to arpeggios and intro phrases. The TC Electronic Hall of Fame Reverb is also frequently used, with Welch even developing his own TonePrint called “Head Clean Reverb.” This setting provides an ethereal and expansive echo, which can be combined with a flanger for a dreamy texture.

To tighten the distortion, the Ibanez Tube Screamer is employed, helping to refine the intense distortion from the Mesa/Boogie Dual Rectifier and providing the necessary attack for Korn’s characteristic muted riffs. During solos and lead parts, the Dunlop Cry Baby Wah Pedal enhances expressiveness, adding dynamics to live performances.

Additionally, a digital delay is used sparingly to create spatial depth, effectively enhancing thick clean tones and ambient sections. These spatial effects are vital for maintaining a three-dimensional quality in Korn’s repetitive riffs, preventing them from becoming monotonous.

Finally, heavy gauge strings (around .010–.068) are used to support the low tunings, forming the foundation that brings out the characteristics of the effects and amplifiers. Overall, Welch’s pedalboard setup is designed to “maintain tight distortion while building a soundscape with clean and spatial effects.”

Tone Settings, EQ, and Mixing Approaches

Korn’s sound relies heavily on meticulous EQ settings and mixing processes, not just the choice of amps and effects. Particularly for Brian Welch’s parts, building an ensemble with Munky’s twin guitar setup is key, with careful attention to stereo positioning, frequency separation, and managing low-end clarity.

Starting with the amp EQ, when using the Mesa/Boogie Dual Rectifier, the low-end (Bass) is often kept around 4-5, while the midrange (Mid) is intentionally reduced to about 2-3. This approach prevents the bass guitar and kick drum from overwhelming the low frequencies. The high-end (Treble) is set around 5-6, with presence boosted to 6-7, ensuring that the heavy low-end riffs from the 7-string do not get buried, maintaining clarity within the overall band sound.

When using the Tube Screamer, it is recommended to set the gain close to minimum and the tone around 5-6. This tightens the Rectifier’s distortion and clarifies the attack, supporting Korn’s distinctive “punchy riffs.” Listening to live recordings reveals that the low-end does not become boomy, and the clarity of the muted notes stands out.

For clean tones, combining the Orange amp with chorus and reverb is standard. The Boss Chorus Ensemble is set with deeper depth and slower rate, creating a swirling three-dimensional quality. Additionally, the Hall of Fame Reverb’s “Head Clean Reverb” is set with a longer decay and mixed at a slightly deeper level (around 30-40%), achieving an ethereal expansion that emphasizes the floating quality in arpeggios and intros, enhancing the dynamics of the songs.

Delay is typically used very sparingly, with delay times around 300-400ms and feedback set to 2-3 repeats, allowing for natural expansion during lead play or arpeggios. This approach avoids overly emphasizing the effects while maintaining tightness in rhythm.

During the mixing stage, to prevent the low-end of the 7-string from dominating, cuts are often made below 100Hz, with light adjustments around 120-200Hz. Additionally, boosting the 2-4kHz range emphasizes the attack, ensuring that the riffs do not get lost in live settings. Korn’s songs exhibit a strong sense of unity with the rhythm section, so thorough EQ separation is essential to prevent the guitars from blending too much with the bass and drums.

Moreover, Welch and Munky are often panned left and right, balancing the low-end support from one with the mid-high reinforcement from the other. This typical twin-guitar arrangement is particularly effective in Korn’s case, contributing to the “heavy yet clear” and “dark yet spacious” characteristics of their sound.

In conclusion, Brian Welch’s sound design embodies the principles of “subtracting unnecessary low-end” while “adding spatial effects.” By organizing the low-end and incorporating chorus and reverb for depth, he achieves a sound that remains engaging even with repetitive riffs. These settings are fine-tuned for each song or tour, but overall, they unify under the direction of “delivering extremely heavy riffs with clarity and spatiality.”

Affordable Alternatives to Recreate the Tone

While fully replicating Brian Welch’s sound requires expensive gear such as 7-string guitars and a Mesa/Boogie Dual Rectifier, beginners and intermediate players can achieve a “Korn-like sound” with relatively affordable equipment. Here, we will introduce products available for around $100 to $1,000, explaining why they can closely approximate the desired tone.

The most crucial element is a 7-string guitar. While the Ibanez K7 and LTD SH-7 can be pricey on the used market, entry-level models from Ibanez (like the RG7421) or mid-range options from ESP LTD can be found for around $500 to $800. Choosing a 7-string guitar allows for the physical reproduction of Korn’s heavy riffs, making it the most effective initial investment.

For amplifiers, since Mesa/Boogie is expensive and complex, alternatives like the BOSS Katana series or Line 6 POD Go serve well as multi-effects and amp simulators. These models include “Rectifier-type” modeling, allowing for heavy riffs with pronounced low-end. The Katana, priced around $300 to $500, is versatile enough for both beginners and advanced players.

To tighten the distortion, the Ibanez Tube Screamer Mini is effective. Priced in the $100 range, it provides tightness to the distortion from Rectifier-type amps or simulators, achieving the punchy attack characteristic of Korn.

For spatial effects, instead of the Hall of Fame Reverb, the TC Electronic Skysurfer Reverb is an affordable alternative, available for under $100, capable of creating deep echoes for ambient clean tones. For chorus, the BOSS CH-1 Super Chorus is a classic choice, priced around $200, known for its high reproducibility.

Furthermore, considering practicality for live performances, consolidating effects into a single multi-effects unit is a smart approach. The Zoom G5n or Line 6 HX Stomp covers amp modeling, chorus, reverb, and delay, streamlining sound design. The HX Stomp, priced just under $1,000, is popular among intermediate players for its high-quality Mesa-type modeling and spatial effects.

Finally, string selection is also important. Using heavy gauge strings (around .010–.068) can dramatically change the sound, providing stability in low tunings. This is an inexpensive way to start achieving the desired tone.

In summary, by combining a 7-string guitar with a Katana or multi-effects unit, along with a Tube Screamer pedal and affordable reverb/chorus options, players can get remarkably close to a “Korn-like sound” for $500 to $1,000. Beginners may start with a multi-effects unit, while intermediate players can transition to individual pedals for a more tailored approach.

Summary and Conclusion

The essence of Brian Welch’s sound design lies in “handling extreme low tunings while maintaining clarity.” His sound is built on the foundation of a 7-string guitar combined with the Mesa/Boogie Dual Rectifier, with spatial effects like chorus and reverb adding a unique floating quality.

Particularly noteworthy is his pursuit of not just heaviness but also the duality of “heavy yet clear” and “dark yet spacious.” This is a result of introducing the EverTune bridge and Fishman Fluence pickups for stability and clarity, along with meticulous EQ and mixing adjustments. In essence, Welch’s sound design is supported not just by gear but also by careful tuning.

When considering the band Korn as a whole, the complementary relationship between Welch and Munky’s twin guitars plays a significant role. One supports the low-end while the other reinforces the mid-high frequencies, allowing even simple riffs to sound thick and three-dimensional. Welch’s sound truly shines when combined with Munky’s.

For beginners and intermediate players aiming for this sound, it is not necessary to acquire the exact same gear. The key points are to “support low-end with a 7-string guitar,” “organize unnecessary low frequencies with EQ,” and “utilize spatial effects to embellish simple phrases.” Even with affordable gear, understanding these principles and fine-tuning settings can lead to a heavy yet ethereal sound characteristic of Korn.

Ultimately, emulating Brian Welch’s sound is not merely about copying gear but learning how to add depth to simple riffs. The power of low-end, the sharpness of riffs, and the ambient expansiveness—all these elements must be balanced to capture the core of Welch’s sound.

Readers are encouraged to experiment with a 7-string guitar and appropriate amps/effects, focusing on EQ and mixing processes to pursue their own “Korn-like sound.” This approach embodies the spirit of sound design that Brian Welch has practiced for years.