[Adrian Smith] How to Recreate the UFO Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Adrian Smith is widely recognized as the iconic guitarist of Iron Maiden, but he also has a strong connection with the band UFO, representing a quintessential figure in British hard rock. His sound is characterized by a melodic yet aggressive approach, with lead work that stands out even in a twin-guitar setup.

His guitar style revolves around playing blues-based phrases with a fast, metallic attack. The tones heard in classic tracks like “Wasted Years” and “The Trooper” showcase a blend of articulate distortion and expansive sustain, achieving a high level of craftsmanship in both solos and riffs.

Since the 1980s and throughout his latest tours, he has continuously evolved his gear while maintaining a core philosophy of producing a sound that is “thick, cutting, and melodic.” Understanding the evolution of his guitars, amps, and effects is crucial to grasping his musical vision.

This article delves into Adrian Smith’s sound design, detailing the actual gear he uses, amp settings, and pedalboard configurations. We will also provide specific alternative equipment recommendations and affordable methods for readers to recreate his sound in their own setups.

First, let’s check out his official music videos and live performances to hear his sound for yourself.

▶ Search official YouTube videos of UFO

List of Amplifiers and Features

The foundation of Adrian Smith’s sound lies in his amplifiers. Throughout his career, he has primarily relied on Marshall amps while experimenting with various setups, including smaller amps and rack systems. Here, we will focus on the amps that have been confirmed to be used by him.

During the 1983 “World Piece” tour, he used the classic Marshall Super Lead (1959 Plexi 100W). Initially, he also employed a 50W model but transitioned to the 100W version to ensure sufficient output for larger venues. The raw distortion and strong mids typical of classic Marshalls highlighted Adrian’s tight riffs and sharp solos during this period.

From 1986 to 1988, he notably used the Gallien-Krueger 250ML, a compact amp boasting 100W output, which featured built-in chorus and echo effects. This setup was particularly suited for the futuristic synth sounds of the “Somewhere in Time” and “Seventh Son of a Seventh Son” albums, becoming a defining element of Iron Maiden’s sound during that era.

After his return to Maiden, he developed a rack system centered around the Marshall JMP-1 MIDI preamp, combined with the Marshall 9200 Dual Monoblock Power Amp and Randall Isolation Cabs. This setup allowed for stable sound production and efficient stage operation, as confirmed during the “En Vivo!” tour.

Later, he adopted the Marshall JVM410H and JCM2000 DSL100, both four-channel heads that provided a diverse range of sounds. The JCM2000, in particular, featured detailed EQ settings that he meticulously adjusted for each live performance. In the 2010s, he also incorporated the Blackstar HT-5 and Blackstar Series One (100W model) into his rig, used for recordings of “The Final Frontier” and “The Book of Souls,” achieving a more modern high-gain tone.

Overall, Adrian Smith’s choice of amplifiers reflects a base of “classic Marshall’s robust sound,” while also flexibly integrating the latest technology according to the era and the songs. His ability to select amps based on the scale of the performance and the soundscape of the music contributes significantly to the impact of his sound.

Below is a table summarizing the confirmed amplifiers used.

In summary, Adrian Smith has adeptly chosen the optimal amplifiers for each phase of his career, adapting to the evolving sounds of Iron Maiden and UFO. His flexible approach, rooted in classic Marshall tones while incorporating modern technology, is a significant aspect of his sound design.

Types of Guitars Used and Features

When discussing Adrian Smith’s sound design, one cannot overlook his diverse array of guitars. Throughout his career with Iron Maiden and UFO, he has consistently selected the most suitable guitars for each scene and song. Among these, his signature Jackson model, established as his main instrument since 2007, has solidified his unique sound identity.

His early representative guitar was the 1971 Gibson Les Paul Deluxe (Goldtop), which was his first serious guitar. He modified it with a DiMarzio Super Distortion bridge pickup, and Smith himself has referred to it as “the best guitar,” still occasionally using it in live performances.

In the early 1980s, he primarily used a red Ibanez Destroyer, which can be heard in the music video for “Run to the Hills” and on the “Number of the Beast” album, providing a powerful tone suitable for metallic riffs. He later incorporated unique-shaped guitars like the Dean Baby ML and Lado Earth, expanding his sound with each tour.

By around 1986, the Jackson Custom Prototype (white) was created, which would become the prototype for his signature model. This guitar featured a Floyd Rose tremolo and DiMarzio pickups, designed for technical playing. The Charvel San Dimas (black), used during the same period, is also well-known from the “Wasted Years” music video.

In the 2000s, he introduced the Gibson Les Paul Custom (black) and Gibson SG Standard (walnut). The SG, in particular, served as his dedicated drop-D tuning guitar during performances of “The Number of the Beast,” with a distinctive peace sign sticker. Since 2007, the Jackson Adrian Smith Signature San Dimas Dinky (white) has become his main instrument, and in 2017, the higher-end Jackson USA Signature Adrian Smith San Dimas SDQM (green burst) was introduced, featuring a Seymour Duncan JB-4 in the bridge.

Smith’s guitar selection revolves around a blend of “classic Les Paul tones” and “modern Strat-like playability,” updated to meet the needs of each era. As a result, his sound consistently balances melody and aggression while complementing the songs. Below is a table summarizing the representative guitars he has used.

Adrian Smith’s guitar history is incredibly diverse, allowing him to seamlessly switch between the warmth of Les Paul-type guitars and the sharpness of Strat-type guitars, always presenting the most suitable sound for each song. This selection and utilization are believed to strongly support his musical identity.

Effects and Pedalboard Setup

Another significant element supporting Adrian Smith’s sound is his effects. In addition to the powerful distortion of his Marshall amps, he skillfully utilizes boosters, delays, and spatial effects like chorus to create a melodic and three-dimensional guitar tone. Analyzing his gear reveals a basic yet effective setup that has adapted to the evolving sound requirements over the years.

Essential to his tone is the Ibanez TS808 or TS9 Tube Screamer. Since 2006, it has been used as his main booster, enhancing the mids of the Marshall distortion. This allows his solos to cut through the mix, emphasizing the classic Maiden sound.

For delay, he has long relied on staple models like the BOSS DD-2 and DD-3. These have played a crucial role in adding depth to his lead playing since the “Powerslave” era. Records indicate that he also used Ibanez Digital Delay and Yamaha Analog Delay in the early 1980s, showcasing his flexibility in adjusting setups for each tour.

Regarding chorus effects, the BOSS CE-3 and CH-1 Super Chorus are representative, particularly supporting the synth-like guitar sounds of the “Somewhere in Time” period. The CH-1 has been confirmed in live performances post-return, frequently used to create a spacious clean tone. Additionally, the Dunlop Cry Baby Wah has been a staple since 1982, adding unique nuances to many solos.

In recent recordings, he has incorporated modern digital effects such as the DigiTech Eric Clapton Crossroads and DigiTech Whammy, showcasing his adaptability. The Roland GR-20 Guitar Synthesizer has also been introduced, allowing for synth-like riffs and sound effects, further diversifying his expression. Rack gear like the TC Electronic 2290 and Lexicon MX200, along with the DBX 160X Compressor, has been confirmed, enabling him to control complex settings using MIDI during live performances.

Adrian Smith’s effects board maintains a consistent style of “basic yet enhanced with necessary rack and digital gear.” He never compromises the core of his sound while embracing new elements, which is part of his appeal. Below is a table summarizing the representative effects he has used.

Adrian Smith’s effects configuration is well-balanced, emphasizing the basics while flexibly incorporating the latest technology as needed. This results in a wide expressive range capable of accommodating everything from classic rock to modern metal.

Tone Settings, EQ, and Mixing Approaches

Adrian Smith’s sound design possesses a foundation in classic British hard rock while also exhibiting the flexibility to adapt to modern metal sounds. Analyzing his sound reveals a consistent approach across amp settings, effects usage, and mixing techniques.

When using Marshall heads, his EQ settings typically feature thicker mids while slightly boosting treble. This contrast is intentional, allowing his sound to stand out against the smoother tones of other guitarists (like Dave Murray) in Iron Maiden and UFO’s twin-guitar setup. He is conscious of the overall sound separation within the band, ensuring his tone is articulate and prominent in both riffs and solos.

Specifically, the settings are generally as follows:
Bass: 4-5
Middle: 6-7
Treble: 7-8
Presence: 5-6
Gain: 6-7
These values are considered the baseline for live performances and recordings. By slightly cutting the lows, he prevents the band’s overall sound from becoming muddy.

When using the Ibanez Tube Screamer as a booster, he typically keeps the Drive at around 0-2 and raises the Level to 7-8. This approach enhances the Marshall distortion while achieving a tight midrange. This is particularly effective during solos.

For delay, the BOSS DD-3 is often used, with settings for repeats at around 2-3 and a delay time of approximately 350ms. This adds a suitable echo to lead solos without overwhelming the sound, aligning with Smith’s philosophy of “providing depth behind the sound.” During the “Somewhere in Time” period, he combined chorus and delay to create a synth-like thickness in his guitar tone.

The wah pedal is actively used during solos, but rather than sweeping fully, he often controls it with a focus on the midrange, enhancing the nuances of his phrases.

In recording, he has been known to use isolation recording with Randall Isolation Cabs and SM57 microphones. This ensures stable mic quality even in loud live settings, enhancing the mix’s reproducibility. Furthermore, the introduction of rack systems allows for MIDI-controlled effects, enabling quick changes between different settings for each song.

From an engineer’s perspective, Smith’s sound is characterized by its ability to “maintain presence in the center without encroaching on the band’s low and high frequencies.” Even in Iron Maiden’s three-guitar setup, his tone remains distinct, a result of both EQ balance and playing touch. During recording, he tends to avoid excessive compression, preserving dynamics and allowing for some breathing room in the mix.

In summary, the essence of Adrian Smith’s settings is “tight Marshall tone with emphasized mids + boosted contour from the booster + restrained use of spatial effects.” This balance allows for the weight of riffs and the melodic expression of solos to coexist. Amateur musicians can approximate his sound by focusing on this balance.

Affordable Alternatives to Recreate the Tone

Adrian Smith’s sound is constructed around the classic combination of Marshall amps, boosters, and spatial effects. Therefore, it is not necessary to acquire expensive signature models or vintage gear; relatively affordable equipment available on the market can effectively recreate a similar sound. Here, we will introduce gear that is accessible for beginners to intermediate players (priced around $100 to $1,000).

For amplifiers, the Marshall DSL series or CODE series are recommended. The DSL20 and DSL40, in particular, are descendants of the JCM2000 DSL100 that Adrian used, providing a similar midrange push and tight distortion. For home practice, a modeling amp like the Marshall CODE25 is also a good choice, as it includes built-in effects for convenience.

For boosters, the BOSS SD-1 or Ibanez TS9 Tube Screamer are optimal choices. The Tube Screamer, which Adrian has used for years, is a must-have, but if you want to save on costs, the BOSS SD-1 can also effectively recreate a similar sound. Both emphasize the midrange, helping solos stand out.

For delay, the BOSS DD-3 or DD-7 are staples. They provide immediate utility with simple settings, adding appropriate depth during solo play. The key is not to overdo the spatial effects; setting the delay time around 350ms will yield a Smith-like echo.

For wah pedals, the Dunlop Cry Baby Standard (GCB-95) is the most standard choice. It is essential for recreating Adrian’s solo nuances. While the subtlety of expression depends on the player, the standard model is sufficient for the gear.

In modern setups, incorporating multi-effects units is also a practical option. The BOSS GT-1000 CORE or Line 6 HX Stomp can handle a wide range of functions from amp simulation to spatial effects, allowing for a simplified recreation of Adrian Smith’s rack-like operation.

Below is a table summarizing relatively affordable alternative gear.

By combining these alternative pieces of gear, you can achieve a tight and melodic guitar sound reminiscent of Adrian Smith while keeping costs down. The key is to focus on “utilizing the mids of the amp, contouring with the booster, and adding nuance with delay and wah.” By doing so, even beginners can relatively easily approach his sound.

Summary and Conclusion

Reflecting on Adrian Smith’s sound design, its essence lies in “a foundation of classic rock sound while continuously evolving with flexibility.” Through his work with UFO and Iron Maiden, he has demonstrated not only a pursuit of guitar tone but also a clear positioning of his role within the overall sound of the band.

Starting with the 1971 Gibson Les Paul Deluxe, he transitioned through unique models like the Ibanez Destroyer and Dean Baby ML in the 1980s, ultimately settling on Jackson’s signature models. This progression illustrates his constant pursuit of balancing “classic thick tones” with “modern playability.”

In terms of amplifiers, he has centered his sound around traditional models like the Marshall Plexi and JCM2000, while also incorporating unconventional choices like Gallien-Krueger and Blackstar. This has resulted in a flexibility that allows him to adapt to a wide range of sounds, from classic British tones to futuristic synth-like sounds and modern high-gain tones.

His effects setup is simple yet effective, often revolving around the “three essential effects” of Tube Screamer, delay, and wah, while also incorporating synths and pitch shifters as needed. This philosophy of “a simple core plus flexible expansion” makes his sound unique.

When it comes to sound design, the most critical aspect is EQ balance. Adrian Smith emphasizes utilizing the mids, ensuring his tone does not get lost in the mix even in a twin or triple guitar setup. By controlling the lows and enhancing the highs, he achieves a balance between the weight of riffs and the melodic expression of solos.

In conclusion, to recreate Adrian Smith’s sound, it is not about having “luxurious gear” but rather understanding the direction of the sound and finding balance in your environment. Affordable amps and effects can produce a similar sound, and what’s essential is to focus on the touch of your playing and the philosophy behind your sound design.

Finally, it is important to emphasize that the charm of Adrian Smith’s sound lies not in “the speed of technique” but in “the melodic expressiveness that aligns with the music.” Readers are encouraged to reference his gear and EQ techniques while incorporating them into their own playing style. This is likely the shortest route to recreating Adrian Smith’s sound.