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

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Introduction (Overview of Tone)

Brian May, the iconic guitarist of Queen, has captivated listeners worldwide with his unique guitar sound. The sound produced by his signature custom guitar, the “Red Special,” is both classical and heavy, with an orchestral-like expansiveness.

His flexibility in sound is a significant charm, as he adeptly changes tones across songs—whether it’s the rich multi-tracked lead in “Bohemian Rhapsody,” the grand delay play in “Brighton Rock,” or the sharp, simple solo in “We Will Rock You.”

Moreover, his playing style is not solely defined by the guitar’s tone but is heavily influenced by his unique sound creation, which combines the VOX AC30 amplifier and a treble booster. Additionally, using a British sixpence coin as a pick contributes to a hard yet melodic attack.

In summary, Brian May’s sound can be described as built on three pillars: “classical melodic sensibility,” “experimental use of effects,” and “overwhelming individuality.” Studying his sound creation offers valuable insights into approaching music beyond mere imitation.

▶ Search official YouTube videos of Queen

List of Amplifiers and Features

When it comes to Brian May, the VOX AC30 is synonymous with his sound since his debut. This classic British tube amplifier produces a distinctive bell-like clean tone and a unique compression feel when cranked up to full volume, resulting in a rich distortion. Brian drives this amplifier to its limits and combines it with a treble booster to achieve a soaring and sustain-rich lead tone.

Notably, his AC30 is not standard; it has been modified over the years by technicians like Pete Cornish and Greg Fryer. These modifications include replacing rectifier tubes with transistors and removing unnecessary vacuum tubes to enhance durability, making it suitable for the harsh conditions of live performance. The internal ventilation has also been expanded, and components replaced to ensure stability during long gigs.

During live performances, he often uses up to nine AC30s on stage, with three in operation and two stacked on top for an impressive setup. Some of these are dedicated to repeat delay, helping recreate the expansive delay sound in “Brighton Rock.” This multi-amplifier approach is crucial to supporting Brian’s unique “guitar orchestration.”

In later years, the “VOX AC30 BM Custom,” a signature model, was introduced. This limited edition reflects Brian’s specifications and is a valuable item for fans and players seeking the “real May sound.”

Additionally, for some studio work, it is said that he has used Marshall’s preamp, the “JMP-1,” and the “EL34 100/100” power amp, serving a supplementary role in recordings. However, these are assumed to be used less frequently compared to the main VOX AC30.

Overall, Brian May’s sound creation revolves around the combination of the VOX AC30 and the treble booster, enhanced by adaptations for live environments and supplementary gear. This setup supports the grand and three-dimensional Queen sound that is so characteristic of his style.

Types of Guitars Used and Features

When discussing Brian May’s sound creation, one cannot overlook his custom guitar, the “Red Special.” Built with his father Harold May at the age of 14, this guitar incorporates materials like oak from a fireplace and parts from an old motorcycle, featuring a semi-hollow structure and a unique tremolo unit. It is equipped with Burns Tri-Sonic pickups and has a distinctive design with 24 frets and a zero fret. Using a British sixpence coin as a pick, it produces a unique hard yet smooth attack, making it the core of Queen’s sound.

Brian also uses Fender guitars for specific songs. For instance, in “Crazy Little Thing Called Love,” he opted for a 1978 Fender Telecaster to achieve a lively rockabilly sound. This song stands out in Queen’s catalog for its rock ‘n’ roll flavor, showcasing an experimental approach that incorporated contemporary musical trends.

Furthermore, during the recording of “Somebody to Love,” he used a 1967 Fender Esquire. The sharp edge and clarity of the single-coil pickups allowed him to stand out in a soulful and thick ensemble. By flexibly incorporating guitars other than the Red Special, Brian highlighted the unique colors of each song.

Thus, Brian May’s guitar selection strategy revolves around “using the Red Special as the core while employing secondary guitars as needed.” While he predominantly plays the Red Special live, he diversifies his guitar choices in studio work to expand his tonal palette. Overall, his guitar collection emphasizes practicality.

By utilizing these guitars, Brian achieves a rich and three-dimensional sound known as “guitar orchestration.” The Red Special, in particular, remains a coveted instrument for many fans and guitarists, and its uniqueness is expected to be celebrated alongside his musical career.

Effects and Pedalboard Setup

The presence of effects is indispensable in Brian May’s sound creation. Particularly, the “treble booster” is essential for emphasizing high frequencies when driving the VOX AC30 to full volume, producing a core and sustained sound. Initially, he used the Dallas Rangemaster, but after losing it, he switched to custom models and Pete Cornish’s TB-83, later favoring the duplex version, TB-83X. In the late ’90s, he transitioned to a Greg Fryer model, and in the 2010s, he adopted a KAT booster, demonstrating a consistent foundation of “booster + AC30” throughout his sound evolution.

Delay effects play a particularly crucial role in his sound. The multi-delay during the guitar solo in “Brighton Rock” is legendary, initially using the Maestro Echoplex EP-3. After 1985, he incorporated the MXR Delay System II, achieving stable long delays that allowed for a layered soundscape during live performances.

In terms of modulation, the Foxx Foot Phaser was used in early tracks like “Keep Yourself Alive,” and by the late ’70s, he introduced the BOSS CE-1, later using the BOSS CE-3. These chorus effects added thickness to Queen’s unique three-dimensional guitar sound.

For wah effects, he initially used the Jen Crybaby, confirmed in songs like “Great King Rat.” Later, he transitioned to the Jim Dunlop GCB-95 Crybaby for stable operation. During the 1985 Japan tour, the Ibanez Auto Filter AF-9 (auto-wah) was noted, showcasing his willingness to experiment with funkier expressions.

Additionally, he employed a custom harmonizer for special effects, adding bold soundscapes in live performances like “Get Down Make Love.” The combination of delay and harmonizer exemplifies what he refers to as “guitar orchestration.”

For noise reduction, he began using the Rocktron Hush II C after introducing the MXR Delay System II, effectively suppressing unwanted noise in complex effect chains. Furthermore, he integrated a Cornish Line Driver (a strap-mounted buffer) to maintain sound quality over long signal chains, ensuring stability during live performances.

Initially, he operated floor pedals individually, but from the mid-’70s onward, he transitioned to a custom pedalboard by Pete Cornish, significantly enhancing live usability and stability. This thoughtful system construction is what allowed for the grand and intricate Queen sound to emerge.

Tone Settings, EQ, and Mixing Approaches

Brian May’s sound creation goes beyond mere gear selection; it is completed through amplifier settings, EQ balance, and mixing techniques. The fundamental amplifier setting involves cranking the VOX AC30 to full volume and combining it with a treble booster, which is crucial. Driving the AC30 to its limits yields a unique compression feel, while the treble booster compensates for the often lacking high frequencies, resulting in a clear sound. This setup is consistent in both live and studio settings, forming the core of the “Brian May tone.”

Regarding EQ, the basic approach is to keep the midrange thick while emphasizing the highs. The Burns Tri-Sonic pickups of the Red Special have a strong output and a slightly midrange character, so adding brightness with the treble booster allows the sound to stand out in the band ensemble. The low frequencies are intentionally kept in check to avoid interference with John Deacon’s bass lines and Roger Taylor’s drum sounds, ensuring clarity in the overall mix.

Brian’s use of different settings for each song is also notable. In “Bohemian Rhapsody,” he constructs a guitar orchestration through multi-tracking, adjusting EQ to disperse the sound range and create a rich orchestral sound. Conversely, in “We Will Rock You,” he emphasizes the rawness of the guitar with a simple setup, highlighting the song’s overall power. In “Brighton Rock,” he sets multiple delay times and distributes them across left and right amplifiers to recreate a three-dimensional sound close to the studio recording during live performances.

From a PA and engineering perspective, Brian’s sound creation is quite unique. For instance, during live shows, he simultaneously uses multiple VOX AC30s, assigning different roles to each to achieve a three-dimensional mix. By separating them into main lead, rhythm reinforcement, and dedicated delay, he ensures smooth transitions between solos and backing. The arrangement of the amplifiers also alters the sound’s spread, allowing the audience to experience a “wall of guitar sound.”

In recording, while leveraging the characteristics of the Red Special, he employs multiple microphones and overdubbing techniques. For example, he records one amplifier with both dynamic and condenser microphones, mixing their frequency ranges to create a rich sound. Additionally, panning tracks widely creates an “orchestral” effect solely with guitars.

Furthermore, to capture the nuances of his picking, Brian emphasizes the attack of his right hand and the resonance of the strings, which becomes a crucial element in the mixing stage. The hard picking with a sixpence coin is easily highlighted in EQ and extends sustain, making it compatible with reverb and delay.

In summary, Brian May’s sound creation balances the boldness of cranking the amplifier and the meticulous adjustments of EQ and effects. This ingenuity ensures that his guitar stands out powerfully, whether in solos or within the band, recognized for its unique tone. While some of this information is inferred from live photos and audio analysis, it is assumed that such settings were employed.

Affordable Alternatives to Recreate the Tone

While fully replicating Brian May’s sound is challenging, beginners and intermediate players can enjoy a similar tone by combining relatively affordable gear. The key is to focus on three elements: “VOX-style amplifier,” “treble booster,” and “delay.” By assembling these components, you can get much closer to that unique, singing guitar sound.

For amplifiers, while the VOX AC30 itself is pricey, alternatives like the VOX AC15 or the more budget-friendly VOX Pathfinder 10 can be excellent choices. These models replicate the “chimey highs” of the AC30 through tube models or modeling technology, making them suitable for home practice or small gigs.

Next, regarding treble boosters, the original Dallas Rangemaster is hard to find and expensive. Instead, consider the BOSS BD-2 Blues Driver or, for a more authentic approach, the Catalinbread Galileo (designed with Brian May’s tone in mind). The BD-2, in particular, is affordable and accessible for many players. Setting the amp to crunch and engaging the BD-2 can help recreate a glossy and clear lead tone similar to May’s.

For delay, the BOSS DD series (such as DD-7 or the current DD-8) are among the most user-friendly options. While fully replicating the multi-echo of “Brighton Rock” is difficult, simply setting a long delay can capture the essence of the sound. Additionally, affordable multi-effects units (like the ZOOM G1 FOUR or BOSS GT-1) can reproduce everything from treble boosters to delays and reverbs in one package.

Interestingly, the choice of pick is also quite important. While Brian used a British sixpence coin, it may not be practical for everyone. Instead, trying stainless steel or metal picks can yield a similar attack feel. Combining these elements allows for a surprisingly “authentic” sound even on a budget.

In conclusion, if you have “VOX-style amplifier + treble booster-type effect + delay + metal pick-like attack,” even beginners can play Queen’s classics in a Brian May style. You don’t need extensive gear; with some creativity, you can have a great time making music.

Summary and Conclusion

The essence of Brian May’s sound creation lies in “the result of thoroughly pursuing a unique individuality.” As exemplified by his custom guitar, the “Red Special,” he has consistently innovated to produce the sounds he desires without relying on existing products. By cranking the VOX AC30 to full volume and combining it with a treble booster, he achieves sustain and brilliant highs. His use of delay to create “guitar orchestration” results in a sound that reaches an unparalleled realm.

Moreover, his approach does not lean towards complicating systems; rather, he masterfully utilizes a simple configuration. By maximizing the limited elements of Red Special, VOX AC30, and treble booster through situational EQ and effect adjustments, he creates a sound that is both simple and rich in depth, dominating the overall band sound.

Modern guitarists aiming for Brian May’s sound need not completely copy his gear. Instead, understanding “why he chose that gear” and “the background behind his settings” is crucial. For instance, the Red Special is not just a custom guitar; it was born from the need to create a sound that existing products could not provide, reflecting a philosophy towards music.

For readers, the key is not merely to imitate Brian’s settings but to incorporate that “way of thinking” into their playing and sound creation. Pursuing your ideal tone and innovating your gear as needed is what makes his sound unique.

In summary, to recreate Brian May’s sound, the first step is to grasp the core elements: “Red Special,” “VOX AC30,” “treble booster,” and “multi-delay.” However, the essence beyond that is “creativity and commitment to individuality.” With this perspective, anyone can gain insights into creating their own “guitar orchestration.”