[Brad Delson] How to Recreate the Linkin Park Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Brad Delson, the guitarist of Linkin Park, is known for his heavy riffs and straightforward yet precise guitar arrangements that underpin the band’s overall sound. His approach to sound design merges the heaviness of metal with the experimental nature of alternative music, skillfully combining aggressive distortion with atmospheric effects.

In iconic tracks like “One Step Closer” and “Papercut,” he utilizes high-gain amplifiers from brands like Marshall and Mesa/Boogie to create sharp riffs and thick sonic pressure. Conversely, songs like “In the End” and “Breaking the Habit” showcase his ability to craft backing parts that emphasize clean to crunchy nuances. During live performances, he actively employs noise gates and wah pedals, establishing a unique playing style.

One of Brad’s defining characteristics is his balance of reducing the number of notes while enhancing the overall thickness of the band’s sound. His guitar functions more as a texture to enhance the band’s atmosphere rather than focusing on flashy solos, resulting in Linkin Park’s distinctive modern and emotional sound.

Moreover, his wide range of gear adds to his appeal. He switches between various guitars from brands like PRS, Ibanez, Fender, and Gibson, while selecting amplifiers from Marshall, Mesa, and Randall based on the situation. By combining boutique effects, he creates a powerful sound both in studio recordings and live performances.

Thus, studying his sound design is beneficial not only for guitarists aiming for heavy riff-oriented sounds but also for players looking to learn how to support the entire band with their playing style.

▶ Search official YouTube videos of Linkin Park

List of Amplifiers and Features

Brad Delson primarily uses high-gain amplifiers to support the heavy riffs that define Linkin Park’s sound, focusing on staples from brands like Marshall, Mesa/Boogie, and Randall. During the early “Hybrid Theory” period, he achieved a sharp and aggressive distortion sound using a combination of the Mesa/Boogie Dual Rectifier and Marshall JCM800. In live settings, he incorporated the Randall MTS series, ensuring flexibility with a variety of tones.

In the middle to later albums, he utilized high-gain amps like the Bogner Uberschall and ENGL Fireball 100, emphasizing a more modern and heavy tone. Particularly in aggressive tracks like “Given Up” and “Bleed It Out,” the combination of Mesa/Boogie and Randall creates a solid rhythm guitar foundation. For ballads, he opts for cleaner amplifiers like the VOX AC30 and Hiwatt Custom 50, showcasing a wide musical range.

Additionally, there are notable combinations of amp heads and cabinets. He uses the Mesa/Boogie 4×12 Rectifier Cabinet and Randall MTS Cabinet to maximize stage sound pressure. The integration of rack systems like the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (stereo power amp) contributes to stable sound reproduction during live performances.

Brad’s approach is characterized by his ability to switch tones based on the individuality of each amplifier while maintaining a high-gain foundation. This results in a guitar sound that is heavy yet does not get buried within the band’s overall sound. The amplifiers he is assumed to use are listed below.

Types of Guitars Used and Features

To support Linkin Park’s sound, Brad Delson employs a diverse range of guitars from various brands and models. The guitars confirmed for live and studio use include PRS, Ibanez, Fender, and Gibson, allowing him to adapt his sound to different genres. In tracks like “One Step Closer” and “Papercut,” he uses the 7-string Ibanez RG7620 to emphasize low-end tones, creating the thick sound characteristic of the nu-metal era.

For clean and mid-range parts, he frequently employs models like the PRS Custom 24 and PRS SC 245, achieving a modern and stable tone. The Fender Stratocaster and Rory Gallagher Tribute Stratocaster are used to expand his expressive capabilities in clean tone-centric songs from later albums and live performances. Additionally, models like the Gibson ES-335, Les Paul Classic, and SG contribute to a thicker rock-oriented sound, forming the core of Brad’s guitar sound.

In the acoustic realm, he uses classic models like the Gibson J-45 and J-200, along with Takamine EG461SC and Gibson HG-22, to accommodate studio recordings and acoustic sessions. Furthermore, he incorporates unique models like the Epiphone Wilshire and Fernandes Dragonfly Pro, as well as the Roland GS-500 Guitar Synthesizer, contributing to Linkin Park’s experimental sound design.

Overall, Brad’s ability to choose guitars based on their character for each song helps maintain the overall sound balance of the band. He focuses on playing that supports riffs and space rather than flashy solos, resulting in a multi-layered musicality for Linkin Park. The guitars he is assumed to use are listed below.

Effects and Pedalboard Setup

Brad Delson’s pedalboard is constructed around staple pedals from BOSS, complemented by unique boutique pedals from brands like Z.Vex and EarthQuaker Devices. In live settings, he incorporates practical gear like noise reduction and tuners while strategically using boosters and fuzz to recreate studio-quality sound.

The BOSS NS-2 and TU-2 are consistently integrated into his pedalboard, ensuring a stable performance environment. The MXR Micro Amp and CAE Booster serve to enhance volume during leads and heavy riffs. Additionally, the Dunlop Crybaby Wah and Ibanez LF7 Lo-Fi add distinctive phrases and effective tonal variations. Rack systems like the TC Electronic G-Major and Voodoo Lab GCX facilitate multi-effect processing and efficient switching.

Furthermore, reverb pedals like the Holy Grail Reverb and Strymon BigSky, along with delay and tremolo effects from EarthQuaker Devices, contribute to the cinematic sound that Linkin Park is known for. The fuzz pedals like the Z.Vex Mastotron and Devi Ever Shoe Gazer are chosen to construct noisy and experimental sounds. Wireless systems from Audio-Technica and Shure ensure stable signal transmission, with a focus on reliability in power supply and noise reduction.

In summary, Brad’s pedalboard is characterized by a combination of “solid foundation plus unique pedals,” maintaining consistency between live and studio settings while pursuing innovative sounds. The effects he is assumed to use are summarized below.

Tone Settings, EQ, and Mixing Approaches

Brad Delson’s sound design emphasizes supporting the overall sonic image of the band, focusing on the role of the guitar within the mix rather than flashy individual notes. Linkin Park’s sound is characterized by a fusion of hip-hop beats and heavy rock, and if the guitar becomes too dominant, it disrupts the overall balance. Therefore, his EQ and gain adjustments are meticulous, ensuring a secure place for the guitar within the mix.

His amp settings typically trend towards high gain, slightly scooped mids, and boosted low end. When using the Mesa/Boogie Dual Rectifier, he aims for deep bass while maintaining tightness in modern mode. With the Marshall JCM800, he increases the presence to ensure the guitar does not get buried within the band. When using the Randall MTS system, he switches modules based on the song, ranging from clean to heavy distortion, ensuring responsiveness on stage.

In terms of EQ, he often cuts frequencies below 80Hz and adjusts low mids around 200Hz to differentiate from the bass, while boosting around 3kHz to 4kHz to enhance the attack of the riffs. This approach maintains a balance where DJ Joe Hahn’s samples and electronic elements do not clash, allowing the vocals to stand out.

On the effects side, the BOSS NS-2 is frequently kept on for noise reduction, ensuring stability in high-gain environments. For leads and breakdowns, he uses the MXR Micro Amp and CAE Booster to elevate volume, adding expression with the wah pedal. In clean or ambient sections, he utilizes Strymon BigSky and Electro-Harmonix Holy Grail reverb to create a spacious sound throughout the tracks.

During recording, he often layers the same riff with different guitars and amps, for instance, recording one side with Mesa and the other with Bogner to create thickness and dimensionality. The engineer typically places the guitar prominently in the L/R spectrum while centering vocals, drums, and bass, establishing a classic mix balance. This allows the guitar to deliver a wall-like power while not interfering with the centrally placed elements.

For specific songs, in early hits like “One Step Closer” and “Papercut,” he sets the gain high to form thick, wall-like riffs. In contrast, for tracks like “Numb” and “Leave Out All the Rest,” he utilizes clean to crunchy tones, applying reverb generously to create a dreamy atmosphere. After the album “Minutes to Midnight,” he actively incorporated delay and tremolo, constructing a more expansive guitar sound.

From a PA and engineering perspective, Brad’s sound design focuses on “integrating the guitar as part of the overall mix rather than pushing it to the forefront.” Therefore, to recreate his sound, one must consider not just mimicking the amps and effects but also how to position the guitar within the band. This directly connects to the essence of Linkin Park’s sound design.

In summary, Brad Delson’s EQ and settings are filled with efforts to balance heaviness and tightness while drawing out the appropriate expressions for each song. The essence of his sound design lies in achieving a “heavy yet organized sonic image,” and this sense of balance is assumed to support Linkin Park’s uniqueness.

Affordable Alternatives to Recreate the Tone

While Brad Delson’s sound design is supported by high-end gear like PRS and Mesa/Boogie, it is possible for beginners and intermediates to recreate a similar sound using relatively affordable commercial equipment. Key aspects of Linkin Park’s guitar sound include “thick high-gain riffs,” “clean and expansive tones,” and “depth through spatial effects.” Selecting cost-effective products to achieve these elements is crucial.

For amplifiers, modeling amps like the BOSS Katana series or Line 6 Catalyst serve as effective alternatives to Marshall and Mesa. These amps feature a variety of distortion modes and can handle a wide range from clean to metal, making them suitable for modern Linkin Park-style sound design. The Katana series, particularly, is accessible at a price range of $300 to $500, making it user-friendly for beginners.

In terms of effects, the BOSS NS-2 (noise gate) and MXR Micro Amp (booster) that Brad favors can be acquired at relatively affordable prices. For delay and reverb, pedals like the NUX Atlantic Delay & Reverb and TC Electronic Hall of Fame 2 Reverb offer excellent quality while keeping costs down. This makes it easier to recreate the expansive sound of spatial effects.

When it comes to guitars, targeting budget versions of PRS and Ibanez is a smart move. For example, the PRS SE Custom 24 is a more affordable alternative that still delivers a modern and balanced tone. Entry-level models from the Ibanez RG series (like RG350 or RG421) can also capture the nuances of the 7-string and modern metal sound that Brad employs. Additionally, the Fender Player Stratocaster is a great choice for clean-tone-centric songs, aligning well with Linkin Park’s later sound.

Below are specific examples of equipment that can help recreate Brad Delson’s sound at a relatively low cost.

Summary and Conclusion

Brad Delson’s sound design is not merely about producing heavy distortion; it is a meticulous design aimed at supporting the overall sound of Linkin Park as a band. He does not push guitar solos to the forefront but instead strengthens the structure of songs through riffs and backing, providing a “foundation” for vocals, DJ elements, and electronic influences to freely interact.

The gear he uses spans classic high-gain amplifiers from Marshall and Mesa/Boogie to modern amps like Bogner and Randall, carefully selecting the necessary sound character for each performance. He primarily uses modern models from PRS and Ibanez while also incorporating Fender and Gibson to seamlessly transition between clean and heavy tones. Furthermore, his effects setup, based on BOSS, incorporates boutique brands like Z.Vex and EarthQuaker Devices to add unique textures.

In terms of EQ and settings, there is a clear direction of “boosting low frequencies, organizing mids, and emphasizing attack in high frequencies.” This approach is essential for ensuring that the guitar does not interfere with other instruments and samples while maintaining its presence within Linkin Park’s layered sound. Notably, during recording, he often layers different amps and guitars, utilizing stereo positioning to create a “wall-like guitar sound.”

For beginners looking to approximate his sound, expensive gear is not a necessity; affordable options like the BOSS Katana modeling amp or budget versions of PRS and Ibanez guitars can effectively capture the nuances. The key lies in the concept of “how to position the sound,” which aligns with professional engineering perspectives.

Ultimately, the essence of Brad Delson’s sound design lies in the balance of “heaviness and spaciousness.” His settings and choices, focused on the overall resonance of the band rather than just the guitar, are what make Linkin Park’s sound unique. Therefore, studying his sound design leads to learning the philosophy of being a guitarist who supports the band sound.