[Misha Mansoor] How to Recreate the Periphery Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Misha Mansoor, the driving force behind Periphery, is renowned not only as a guitarist but also as a composer. His sound has been pivotal in establishing the “Djent” genre, characterized by tight, rhythmic riff work and spacious, expansive clean tones.

In Periphery’s music, the fusion of low-end riffs played on 7-string and 8-string guitars with complex rhythmic patterns is essential. Beautiful arpeggios and ambient sections, enhanced by delay and reverb, are also crucial elements. Iconic tracks like “Icarus Lives!” and “Scarlet” showcase his sharp yet dimensional sound, making him an icon among modern progressive metal guitarists.

Moreover, Misha is not just a performer; he is deeply involved in gear development. His signature overdrive, the Horizon Devices Precision Drive, is widely used by many modern metal guitarists. His approach to sound design emphasizes that gear is not merely a tool but a means to realize creative ideas.

This article will detail Misha Mansoor’s amplifiers, guitars, and effects, explaining how he achieves his unique sound through specific settings.

For those interested in his sound design or wanting to recreate the modern metal sound of Periphery, this article provides valuable insights.

▶ Search official YouTube videos of Periphery

List of Amplifiers and Features

Misha Mansoor primarily uses high-gain amplifiers suited for modern metal in Periphery. He employs multiple models depending on the recording or live context, but they all share common traits: tight low-end, clear mids, and a balanced high-end.

A standout model is the EVH 5150III 50. This 3-channel amplifier is praised for its versatility, capable of handling everything from clean tones to modern high-gain sounds, and has long been used as his main live amplifier. The Peavey 6505+ and 6534+ are staples in modern metal, particularly the 6505+, which features independent EQ, effectively delivering the “defined low-end” necessary for Misha’s rhythmic riffs.

Additionally, the Peavey Invective.120, Misha’s signature model, is significant. Developed with his input, it integrates a noise gate, boost, and MIDI control, making it a versatile amplifier for modern progressive metal. The Marshall 2555X Silver Jubilee is chosen for its crunchy sound and rich harmonics, adding nuances distinct from the Djent style.

He also utilizes high-end amplifiers like the Bogner Shiva, which excels in clean tones and crunch, often selected for studio recordings where expressive clean parts and spatial effects are layered. These amplifiers are used variably over time, especially in recordings where Misha frequently employs amp simulations or re-amping through the Fractal Audio Systems Axe-Fx. This indicates that his sound design is fundamentally a hybrid of “real amps and digital multi-effects.”

Overall, Misha’s amplifier selection is structured around two pillars: “tight and reproducible amps for live performances” and “flexible simulations for studio recordings.”

Types of Guitars Used and Features

Misha Mansoor has utilized a diverse range of guitars throughout his career with Periphery. His choices are not merely brand preferences but directly impact the texture of riffs and arpeggios in his compositions. He predominantly employs 7-string and 8-string guitars, selecting models that balance the tightness of low-end tones with the brilliance of high-end frequencies.

His signature guitar, the Jackson Juggernaut HT, is a prime example. Equipped with Bare Knuckle pickups, it ensures the separation and strong attack necessary for modern metal. This guitar is central to both live performances and recordings. The Aristides 070, made from a new material called “Arium,” features a body structure that offers a long sustain not achievable with traditional woods. This model has been confirmed in live settings and on social media, embodying Misha’s affinity for multi-string guitars.

He also uses handmade models like the Blackmachine B6 and Skervesen Raptor 7. The Blackmachine B6 is particularly coveted among metal guitarists for its tight picking response, supporting complex riffs effectively. The Strandberg Boden 8 features an ergonomic headless design, providing high playability for long performances and tours, symbolizing the new generation of Djent and progressive metal guitars.

Additionally, the Mayones Duvell and Regius are known for their through-neck construction and clear tones, playing a crucial role in Misha’s sound design by ensuring “sound separation.” Unique UK-made guitars like the Daemoness Cimmerian have also been spotted, indicating his active engagement with various manufacturers.

In the past, he has used classic guitars like the Fender Stratocaster and Telecaster, incorporating sounds suitable for all genres during recordings and demos. He also owns the Music Man JP (John Petrucci model), which features a thin neck and excellent playability, confirmed for use in fast playing and leads.

Thus, it can be assumed that Misha selects guitars based on a three-layer structure: “modern metal primary guitars centered around Jackson,” “expanded expression through multi-string models,” and “supplementation with classic models.”

Effects and Pedalboard Setup

In Misha Mansoor’s sound design, effects are not merely embellishments but integral components of the music. He utilizes different pedalboards for live and studio settings, particularly employing drive pedals, noise gates, and spatial effects to construct the tight and expansive sound characteristic of Djent.

For overdrive, he uses staples like the Maxon OD808 and Klon Centaur, pushing the front end of high-gain amplifiers to emphasize definition. His signature pedal, the Horizon Devices Precision Drive, serves as an overdrive with a built-in noise gate, meticulously tightening low-end riffs to avoid muddiness and enhance clarity.

In terms of spatial effects, Misha primarily employs the Strymon Mobius and BOSS MD-500, utilizing a variety of modulation effects. For delay, he combines units like the Walrus Audio Bellwether, BOSS DD-500, and Meris Polymoon depending on the context, creating depth in clean parts. Reverb is often handled by Eventide Space and EQD Avalanche Run, enhancing the ambient quality of the sound.

He also incorporates unique fuzz and tremolo combinations, such as the Walrus Audio Janus, which allows for bold effects during live performances using joystick control, further integrating effects into the performance.

Furthermore, the Fractal Audio Systems Axe-Fx is central to his board, managing amp simulations and multiple effects. In live settings, he prioritizes simple routing while utilizing complex presets in the studio. A standard BOSS TU-3 tuner ensures a stable environment.

Misha’s pedalboard structure is fundamentally based on “Precision Drive + noise gate” for a solid foundation, with “spatial effects” providing the expansive quality. His sound design is continually evolving, frequently incorporating new gear and products. Consequently, his effects system remains dynamic while consistently supporting the essential structure of Djent sound.

Tone Settings, EQ, and Mixing Approaches

Misha Mansoor’s sound design is built on the combination of “amp-connected power” and “meticulously adjusted EQ processing.” The essence of Djent sound lies in the clarity of low-end riffs without muddiness, which is why he meticulously adjusts both amp settings and post-production.

The basic amp settings are crucial: avoiding excessive gain while keeping the low-end tight is essential. For instance, when using the Peavey 6505+ or EVH 5150III, he typically keeps the gain around 5-6, lightly cutting the lows, slightly boosting the mids, and avoiding excessive presence and treble to achieve “tight low-end without muddiness.” Placing an overdrive like the Precision Drive in front helps eliminate unwanted low frequencies, creating a tight attack.

Regarding EQ, it is adjusted not just for the guitar alone but with the entire band’s mix in mind. Misha believes that “guitars should dominate the mids while low-end is shared with the bass,” often cutting frequencies around 80-120Hz and boosting 1-2kHz to emphasize picking attack. High-end frequencies are sometimes lightly cut around 6-8kHz to avoid clashing with cymbals and vocals.

He clearly differentiates settings per song. For the heavy riff-centric “Make Total Destroy,” he tightens the lows and enhances definition with the Precision Drive + 5150III. In more ambient tracks like “Scarlet” and “Lune,” he emphasizes clean tones with deeper delay (DD-500 or Polymoon) and reverb (Eventide Space), creating expansive soundscapes.

Misha is also adept at managing presets with the Fractal Axe-Fx. For live performances, he prepares patches for clean, lead, and rhythm, allowing for quick transitions according to the scene. By digitally recreating amp and effects, he can bring studio-crafted sounds directly to live performances.

In mixing, he typically employs double-tracking or quad-tracking for guitars, ensuring lateral spread while placing lead guitars and vocals centrally. Light compression is used to maintain the clarity of performances, and noise gates are essential for cutting unnecessary reverb during breakdowns. Overly aggressive compression that sacrifices attack is avoided to preserve the sharpness of riffs.

Ultimately, Misha’s sound design emphasizes “not just a powerful sound for the guitar alone” but a sound that fits within the overall mix of the band. The depth of EQ, gates, delays, and reverbs are always adjusted to align with the overall resonance of the song. This is likely the primary reason his sound is perceived as “heavy yet clear.”

Affordable Alternatives to Recreate the Tone

Misha Mansoor’s sound is supported by expensive signature models, multi-string guitars, and high-end amplifiers, making it impractical for beginners or intermediates to acquire the same gear immediately. However, there’s good news. By using commercially available affordable gear, it is possible to recreate a similar nuance effectively.

The first crucial element is an overdrive that creates “tight low-end.” While Misha himself favors the Maxon OD808, the more affordable BOSS SD-1 is an excellent alternative. The SD-1 boosts mids while tightening the low-end, effectively replicating the cutting feel of Djent riffs. Simply placing the SD-1 before the amp as a substitute for the Precision Drive can yield significant results.

If acquiring the Peavey 6505 or 5150III is challenging, BOSS’s multi-effects units like the GT-1000 or GT-1, as well as the Line 6 Helix Stomp, are effective alternatives. These units come equipped with amp simulations, making it easy to achieve modern high-gain sounds. The GT-1, in particular, is budget-friendly and suitable for both home practice and live performances.

For guitars, even if the Jackson Juggernaut HT or Mayones Regius is out of reach, selecting 7-string or 8-string guitars from Ibanez or Schecter can still yield a close sound. The Ibanez RG series multi-scale models and Schecter Omen Elite-7 offer excellent cost-performance, making them ideal for replicating Misha’s low-end riffs.

Regarding spatial effects, while Strymon and Eventide are pricey, alternatives like the BOSS DD-8 (delay) and RV-6 (reverb) can be considered. The DD-8, in particular, is multifunctional and perfect for adding depth to clean tones. By combining these, one can create the ambient textures seen in tracks like “Scarlet” and “Lune.”

In summary, the essentials for recreating Misha’s sound are “tight low-end boost,” “modern high-gain,” and “spatial thickness.” By assembling relatively affordable gear as presented in the table below, one can enjoy a sound reminiscent of Periphery for around $500.

Summary and Conclusion

In summarizing Misha Mansoor’s sound design, its essence lies in the balance of “tight low-end” and “spatial expansiveness.” Known as a representative of Djent sound, his guitar work is not only heavy but also features clear picking nuances and a vast soundscape. This allows listeners to experience the power of riffs while enjoying the ethereal quality of clean parts.

On the gear front, modern multi-string guitars like the Jackson Juggernaut HT and Aristides 070 form the foundation of his sound, supported by high-gain amplifiers like the EVH 5150III and Peavey Invective.120. The addition of front-end boosts from the Precision Drive and Maxon OD808, along with spatial processing from Eventide Space and BOSS DD-500, culminates in Misha’s distinctive “heavy yet clear” sound.

Moreover, his approach is not merely reliant on “gear.” The focus is on sound design that considers the overall mix, ensuring that low and high frequencies coexist with other instruments while emphasizing the guitar in the midrange. This insight can be applied even in home recording or practice, suggesting that even without a full set of gear, one can achieve a similar nuance through careful EQ adjustments.

Furthermore, the essence of Misha’s sound can be effectively recreated using relatively affordable alternative gear. Tightening the low-end with the BOSS SD-1, simulating modern high-gain with the GT-1 or HX Stomp, and selecting 7-string guitars from Ibanez or Schecter can allow one to enjoy a “Periphery-like sound” for around $500.

In conclusion, Misha Mansoor’s sound design is backed by a “sound philosophy” rather than just “expensive signature gear.” The core ideas of controlling low-end, highlighting midrange, and providing expansiveness through spatial effects are fundamental. Readers are encouraged to start by utilizing their existing gear with EQ, gates, and boosters, mimicking Misha’s approach. This is likely the quickest route to achieving the sound of Periphery.