[Scott Ian] How to Recreate the Anthrax Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Scott Ian is best known as the rhythm guitarist of Anthrax, one of the “Big Four” of thrash metal. His playing style is characterized by sharp muted riffs and precise down-picking, creating a powerful rhythm guitar sound. This versatility allows him to adapt to a wide range of songs, from fast-paced tracks to groove-heavy numbers, forming the backbone of Anthrax’s robust sound.

Iconic songs such as “Caught in a Mosh,” “Indians,” and “Madhouse” showcase tight and aggressive riffs, which are hallmarks of his style. In the 1980s, he primarily used the Marshall JCM800 to craft a hard-hitting metal sound, while in the 2000s, he shifted to Randall and EVH amps, pursuing a more modern and thick sonic pressure. His guitars often feature Seymour Duncan pickups, such as the El Diablo and JB series, known for their aggressive and punchy tones.

The reason Scott Ian’s sound stands out is not due to flashy lead playing but his commitment to supporting the band with solid rhythm guitar. This focus has established a unique style that emphasizes groove within the metal genre, influencing many guitarists who followed.

Understanding his sound design allows musicians to learn not just about gear but also about the sharpness of riffs and the balance within an ensemble. Below, we will detail the amplifiers, guitars, and effects he has used over the years, highlighting their characteristics.

▶ Search official YouTube videos of Anthrax

List of Amplifiers and Features

Scott Ian’s amplifier journey is closely tied to the evolution of Anthrax’s sound. In the 1980s, he primarily used the Marshall JCM800, a staple for thrash metal at the time. The JCM800’s raw yet defined drive sound can be heard on landmark albums like “Spreading the Disease” (1985) and “Among the Living” (1987). The combination of intense down-picking and the JCM800 produced the signature sharpness typical of thrash metal.

In the late 1990s and early 2000s, he transitioned to Randall amps, utilizing signature models like the “Randall Scott Ian Ultimate Nullifier Head” and “Randall RM100SI Scott Ian Head.” These models, including the modular MTS series, were designed with Scott’s input, featuring tight low-end and thick distortion that matched Anthrax’s more modern and aggressive sound.

Since the 2010s, Scott has referred to the EVH 5150 III (especially the EL34 version) as his “dream amp,” making it his primary rig. The 5150 III is high-gain yet offers excellent clarity, providing a rich tone that supports Anthrax’s rhythm guitar. According to Scott, it has become a reliable choice for both live performances and studio work. He has also used the Peavey 6505+ and Bogner Uberschall, contributing to a thicker metal sound.

Recently, he has experimented with rack systems like the Fryette Pittbull and the Marshall JMP-1 (preamp) combined with the Marshall EL34 100/100 (power amp), suggesting a flexible approach to gear based on setlists and tours. His amplifier journey reflects a progression from Marshall in the 1980s, through Randall in the 2000s, to EVH in recent years.

Overall, Scott Ian has consistently pursued a “tight and sharp rhythm guitar” sound while adapting to different amplifiers over time. Below is a table summarizing the amplifiers he has used.

As seen, Scott Ian’s amplifier history has evolved from Marshall to Randall and now to EVH, maintaining a consistent focus on “tight and sharp metal riffs.” His choice of gear reflects a dedication to achieving a powerful rhythm guitar sound.

Types of Guitars Used and Features

Scott Ian’s guitar choices have played a significant role in shaping the sound of Anthrax from the early days of thrash metal to the present. He prioritizes rhythm guitar presence over flashy lead playing, selecting guitars that allow him to deliver tight and sharp riffs. Over the years, his main guitars have evolved, but they consistently feature “stable playability” and “punchy midrange that stands out even in high-gain settings.”

In the mid-1980s, he primarily used the Jackson ’81 Randy Rhoads Concorde (a custom shop white model), which became iconic in early Anthrax albums like “Spreading the Disease” and “Among the Living.” This period saw a combination with Marshall amps, producing a hard and sharp tone.

From the 1990s onwards, he frequently used Jackson’s Soloist models and King V guitars. The Jackson King V, particularly as a signature model in the 2000s, has become a staple in his live performances. Its large V-shaped body and long scale contribute to tight low-end and stage presence, complementing Scott’s dynamic performance style.

Scott has also collaborated with Washburn, producing several signature models like the SI series and WV series. The Slime Burst color variant is particularly memorable, appearing in live footage from the late 1990s to early 2000s. He has also used Dean’s Dimebag Darrell Tribute and Gibson Flying V during various periods, showcasing a typical metal guitarist’s selection.

His guitars typically feature Seymour Duncan pickups (like the El Diablo and JB series), ensuring high output and midrange punch essential for metal. He often switches to soloist or San Dimas models as backups, highlighting his flexible setup.

In summary, Scott Ian’s guitar selection has evolved alongside the development of signature models, consistently pursuing “sharpness and heaviness in rhythm.” Below is a table summarizing the guitars he has used.

By utilizing these guitars, Scott Ian has achieved an optimized rhythm sound over the years. The combination of the Jackson King V with Randall/EVH amps is particularly emblematic of his recent work. It is likely that new signature models will continue to emerge in the future.

Effects and Pedalboard Setup

Scott Ian is known for his unique approach as a thrash metal guitarist, often keeping his effects to a minimum. His foundational sound is based on the distortion from his amps, with effects serving a supportive role. Nevertheless, many pedals are used in live performances and recordings, evolving over the years.

In the 1980s and early 1990s, his setup was relatively simple, utilizing the distortion from the Marshall JCM800 and Randall amps, with just a noise gate and wah pedal. As he adopted Randall’s signature heads, he integrated noise reduction (Rocktron Hush Super C) and a sonic maximizer (BBE 482I) into his rack for improved stability during live performances.

From the 2000s onward, Digitech and MXR pedals became central to his setup, particularly the “Digitech Scott Ian Black 13 Distortion,” which models seven distinct riff sounds he has used. This unique pedal is essential for recreating his rhythm playing. The MXR M-135 Smart Gate is a staple that effectively cuts unwanted noise, supporting tight metal riffs.

Additionally, he has incorporated spatial and modulation effects like the MXR EVH Phase 90 and Carbon Copy Delay, used for enhancing specific songs. For wah effects, he employs the MXR/CAE MC-404 Wah, adding expression to solos and particular riffs. Tuning is managed with the reliable Boss TU-2 or the rack-mounted Korg DTR-1, emphasizing stage reliability.

On the system side, he uses switching systems like the Voodoo Lab Ground Control Pro and RJM Effect Gizmo to manage complex effect chains simply. For wireless systems, he utilizes Shure UHF-R Wireless and Samson UHF Synth 6, ensuring stable performance on large stages.

Overall, Scott Ian’s effects board is designed with simplicity and practicality in mind, while still allowing for diverse sound creation when needed. Below is a table summarizing the main effects he uses.

In this way, Scott Ian has achieved a powerful sound without relying heavily on effects, focusing instead on essential components that prioritize “rhythm stability” and “minimal noise.” His pedalboard setup reflects a commitment to maintaining clarity and punch in his sound.

Tone Settings, EQ, and Mixing Approaches

The essence of Scott Ian’s sound design is to maximize the presence of rhythm guitar. He always prioritizes supporting the overall sound of the band, ensuring that lead guitar and vocals do not get buried while maintaining cohesion with the bass and drums. Therefore, EQ and gain adjustments are very delicate, employing simple yet meticulous techniques.

Regarding gain settings, Scott believes in “not over-distorting.” While high gain is essential in thrash metal, excessive distortion can blur the outlines of riffs. He typically keeps his amp gain around 5-6. Particularly during the Marshall JCM800 era, he would not max out the amp’s drive but instead use boosters or equalizers to achieve a tight and sharp sound.

EQ settings tend to emphasize the midrange, tighten the low end, and sharpen the high end. For instance, when using Randall or EVH 5150 III, he sets the Bass to 4-5, Mid to 6-7, Treble around 6, and slightly raises the Presence to balance power and clarity. This midrange-focused setup forms Scott’s distinctive “forward rhythm guitar sound.”

He also pays close attention to noise management. To support tight riffs, he employs noise reduction tools like the MXR Smart Gate and Rocktron Hush, ensuring maximum clarity. Given the fast tempo and frequent breaks in Anthrax’s songs, eliminating unwanted noise is essential for sound design.

In recording, Scott’s guitar typically employs “hard-panned double tracking,” creating a wall-like sound pressure. This technique allows the central vocals and lead guitar, along with the bass drum, to be clearly heard, maintaining overall balance. Engineers further adjust EQ to enhance the midrange, ensuring it blends seamlessly into the band’s mix.

For specific songs, approaches vary. Tracks like “Indians” and “Caught in a Mosh” feature tight settings that leverage picking sharpness, often with reduced gain and enhanced midrange EQ. In contrast, more modern songs like “Only” and “Safe Home” utilize the thickness of the EVH 5150 III or Randall amps, slightly expanding the low end for a more contemporary sound.

During live performances, it is also crucial not to push the guitar sound too far forward. Scott himself emphasizes that “the priority is for rhythm guitar to maintain the overall groove and integrate with the drums and bass.” Therefore, he pays close attention to the amp’s master volume and its balance with the PA system. Engineers likely adjust the guitar’s 200-400Hz range while boosting around 2kHz to ensure riffs resonate clearly.

Furthermore, during mixing, a compressor is lightly applied to maintain attack while evening out overall sound pressure. Spatial effects (delay and chorus) are rarely used, maintaining a dry sound that emphasizes the straightforward power typical of Anthrax’s thrash metal.

In summary, Scott Ian’s sound design revolves around “not over-distorting, emphasizing midrange, and thoroughly eliminating noise.” These techniques contribute to making his rhythm guitar one of the most prominent sounds in metal.

Affordable Alternatives to Recreate the Tone

The gear used by Scott Ian, including Jackson signature models and the EVH 5150 III amp, can be quite expensive, making it challenging for beginners or intermediate players to access. Here, we will introduce relatively affordable alternatives (around $100-$500) that can help you achieve a sound reminiscent of Scott Ian. These options are particularly effective for beginners looking to recreate Anthrax-style riffs, emphasizing “tight sounds without excessive distortion” and “minimal noise.”

For guitars, the Jackson JS series or X series are strong candidates. The Jackson JS32 King V, in particular, captures the design and vibe of Scott’s beloved King V while being priced around $500, making it beginner-friendly. With a pickup swap, you can get even closer to an authentic metal sound.

Regarding amps, while the EVH 5150 III is quite pricey, modeling amps like the BOSS Katana series can serve as excellent substitutes. The BOSS Katana 50/100 can replicate the tight sound of the 5150 with careful settings, priced around $300-$400. The Peavey Bandit 112 is also a great option, capable of emulating the thickness of the 6505 series.

For effects, while the MXR M-135 Smart Gate is a classic, it can be a bit pricey, so the BOSS NS-2 (Noise Suppressor) is a more affordable alternative. Priced around $100, it effectively cuts unwanted noise without compromising the sharpness of riffs. For distortion pedals, the BOSS DS-1 or MXR Distortion+ can recreate the dry distortion typical of the Marshall JCM800. Additionally, using the BOSS SD-1 as a booster can help achieve the sharp tone characteristic of 80s Anthrax.

Moreover, beginner-friendly multi-effects units can be beneficial. The Line 6 POD Go and ZOOM G5n feature modeling for EVH and Randall sounds, allowing comprehensive sound design in one unit. This way, you can explore a variety of tones while keeping costs down.

By selecting affordable gear and carefully adjusting EQ and gain settings, you can effectively recreate Scott Ian’s powerful rhythm guitar sound. Focusing on “emphasizing midrange and keeping gain low” will allow you to achieve a sound reminiscent of Anthrax, even without expensive signature models.

By effectively combining these affordable pieces of gear, you can get closer to Scott Ian’s powerful rhythm guitar sound on a budget. The key is not to rely solely on expensive signature models but to focus on “tight settings with controlled gain” and “emphasizing the midrange” to capture the unique metal groove of Anthrax.

Summary and Conclusion

In summary, Scott Ian’s sound design centers around the “strength and tightness of rhythm guitar.” He does not rely on flashy solos or effects but instead supports the structure of Anthrax with precise down-picking and stable riff work. While his gear and amps have evolved, the underlying philosophy of his sound remains consistent, making it unique.

In the 1980s, he crafted a sharp and hard tone with the combination of the Marshall JCM800 and Jackson Randy Rhoads Concorde. From the 1990s to the 2000s, he added modern thickness through collaboration with Randall on signature amps, and in recent years, he has achieved an evolved sound with the EVH 5150 III, which he calls his “dream amp.” His guitar choices have also transitioned from the Jackson King V and Washburn signatures to current models like the Jackson T1000 and ATL Soloist, reflecting trends while maintaining a focus on riffs.

Moreover, EQ and mixing techniques are crucial elements. His sound is characterized by “not over-distorting, emphasizing midrange, and thoroughly eliminating unwanted noise.” Gear like noise gates and sonic maximizers are not merely add-ons but are calculated to enhance rhythm. In recording, double tracking creates a wall-like sound, while live performances prioritize balance with the PA system to maintain “band cohesion.”

If you’re looking to emulate Scott Ian’s sound, you don’t necessarily need to invest in expensive signature models. The focus should be on “sharpness of rhythm,” “midrange emphasis,” and “controlled distortion.” Beginners can effectively recreate the vibe with cost-effective gear like the Jackson JS series or BOSS Katana, while advanced players can aim for a more authentic sound with the EVH 5150 III or Jackson King V.

Ultimately, the essence of Scott Ian’s sound design lies in “simplicity and a thorough commitment to rhythm.” His guitar work is not complex, but each note carries weight, enhancing the overall groove of the band. This philosophy of “strength in simplicity” has supported Anthrax’s sound and established his undeniable presence in the thrash metal scene.