[Dave Keuning] How to Recreate the The Killers Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Dave Keuning, the guitarist of The Killers, is a pivotal figure in crafting the sound that defined the indie rock scene of the 2000s. The blend of synth-pop elements from the “Hot Fuss” era with distorted guitar riffs created a fresh sonic landscape that invigorated alternative rock at the time.

Keuning’s guitar playing is characterized by melodic riffs and sharp, yet simple chord work. For instance, in “Mr. Brightside,” the bright and driving arpeggios symbolize the band’s identity. In contrast, tracks like “When You Were Young” and “Human” showcase his adept use of spatial effects to create a grand sense of scale.

Central to his sound is the selection of amplifiers and the combination of effects. By merging the clean, shimmering tones of the Fender Hot Rod DeVille with expansive delays from the Ibanez AD9 and Boss DD series, he produces a guitar sound that stands out even against synth-heavy backgrounds.

This article will thoroughly explore the amplifiers, guitars, and effects that Dave Keuning has used, unraveling how his distinctive sound is created. We will also introduce affordable alternative gear for those looking to replicate The Killers’ sound.

Finally, I recommend checking out his sound through official music videos. You can find them through the link below.

▶ Search official YouTube videos of The Killers

List of Amplifiers and Features

At the core of Dave Keuning’s sound is his choice of amplifiers. His playing style emphasizes bright, expansive cleans and a balanced midrange that retains clarity even when distorted. Since the early days of “Hot Fuss,” he has prominently used the Fender Hot Rod DeVille. He often switches between 2×12 and 4×10 models depending on the situation, providing a stable sound for both studio and live settings. The ability to achieve a “core transparency” in both clean and driven tones is a significant reason for this choice.

In live performances and recordings, he has sought a British sound, leading to the use of the Hiwatt Gilmour 100 Head paired with a 4×12 cabinet. This choice likely stems from a desire for a wide-ranging, deep clean tone reminiscent of Pink Floyd’s David Gilmour. Additionally, he has expressed a preference for the Roland JC-120, which adds a classic “super clean” quality to his stage sound.

Records also indicate that he has used the Matchless DC-30, which is seen as a choice for a more vintage-like, harmonically rich sound. To complement modern distortion, he owns a Bogner Shiva 2×12, and he has mentioned utilizing the Fender Mustang modeling amp for solo projects and unique setups. Specifically, he has chosen the Princeton setting on the Mustang to recreate softer tones during studio recordings.

Thus, Keuning’s amplifier selection can be summarized as follows: “Fender DeVille as the foundation, Roland JC-120 for clean specialization, and Hiwatt or Matchless for depth and presence.” This adaptability allows him to construct a dynamic soundscape that aligns with the band’s songs and tours. All of these choices are either confirmed through his own statements or supported by reliable sources, making them valuable references for fans and guitarists aiming to replicate his sound.

Types of Guitars Used and Features

Dave Keuning’s sound is symbolized by his diverse guitar collection. He selects the optimal guitar for each song by The Killers, skillfully controlling tone and presence. Notably, during the debut album “Hot Fuss,” the Ibanez Destroyer 2459 was a primary choice, with Keuning stating, “Many of the early songs were recorded with this guitar and the Fender Hot Rod DeVille.” This combination was essential for sharp cuts and bright riffs.

Later, his use of the visually striking Fender Starcaster can be seen in the music videos for “For Reasons Unknown” and “Human.” The semi-hollow body provides a depth of sound that supports the band while intertwining with synths and vocals. Similarly, the Gibson ES-335 has become a staple on stage, playing a crucial role in songs like “Human” and “This Is Your Life.”

For more aggressive tones, he opts for unique-shaped guitars like the Gibson Explorer and Flying V, which stand out in live performances and emphasize the band’s rock aspect. Additionally, single-coil guitars such as the 1979 Fender Stratocaster and Fender Jaguar are used to balance the bright tones.

Notably, the Gibson Trini Lopez used during the 2009 performance in the Netherlands and the Gretsch White Falcon featured in the “Bones” music video add visual flair and tonal diversity to his stage presence. Early in his career, he also used the Epiphone G-400, and he has mentioned utilizing the Fender Telecaster for recordings in his solo work.

In recent years, he has incorporated modern brands like Bilt Relevator LS and Songhurst J.E.T Doubletone, showcasing his continuous exploration in gear selection. Records of ownership for the Dean ML 79 Floyd have also been confirmed, indicating that his sound is supported by a balance of “traditional classics and modern challenges.” These guitars are assumed to be used according to the atmosphere of the songs.

Effects and Pedalboard Setup

In Dave Keuning’s sound design, effects are as crucial as the guitars and amplifiers. The Killers’ songs feature bright, expansive delay sounds, thick distortion, and modulation effects that create a wide soundscape. His pedalboard is simple yet contains carefully selected effects, each fulfilling a necessary role in the songs.

As Keuning himself stated, he combines the Ibanez AD9 Analog Delay with Boss DD-3 and DD-7. The AD9 provides a warmth characteristic of analog delays, adding depth to leads and arpeggios, while the DD series offers precise and clear repeats. This combination allows riffs like “Mr. Brightside” to stand out without getting buried in the mix.

For distortion, the Electro-Harmonix Big Muff (especially the Sovtek “Green Russian” and Tone Wicker models) has been confirmed on his pedalboard, providing a thick sustain. Additionally, he uses the Tone Freak Abunai 2 and Ibanez TS9 Tube Screamer as overdrive options. These pedals push the natural distortion of the amp and emphasize the midrange, creating a sound that is both bright and powerful.

In terms of modulation, the MXR Phase 100 has been confirmed, adding a psychedelic swirl to his sound. He also utilizes pedals like the Retro-Sonic Stereo Chorus and Eventide ModFactor to enhance the synth-like quality with complex modulation.

Supporting effects include the Source Audio Programmable EQ and Seymour Duncan SFX-01 Pickup Booster, which allow for fine-tuning of volume and EQ, adapting to the needs of each song. He has mentioned using the DigiTech Whammy DT for pitch shifting, actively incorporating it into his solo work. Furthermore, for live performances, he has integrated the Axess Electronics FX1 MIDI controller to efficiently manage his complex pedalboard.

Keuning’s effects setup is characterized by a balance of “analog and digital,” effectively utilizing minimal distortion and spatial effects. The combination of delays is particularly crucial for his sound, making it a key area for fans to focus on when attempting to replicate his tone. All of this gear is based on his statements, live board photos, and official manufacturer pages, reflecting reliable information. Ultimately, this results in a “layered structure to create a bright soundscape.”

Tone Settings, EQ, and Mixing Approaches

Reproducing Dave Keuning’s sound involves more than just selecting gear; it requires careful settings of amplifiers and effects, EQ adjustments, and creating a place for the guitar in the overall mix. The Killers’ songs often feature tightly woven arrangements of synths, vocals, and rhythm sections, necessitating that the guitar occupies a position that is “present but not overpowering.”

For basic amp settings, it is assumed that Keuning often used the Fender Hot Rod DeVille with a clean tone as the foundation while lightly boosting the Drive channel. The EQ settings likely balanced at around 5 for bass, 6-7 for mids, and 5-6 for treble, avoiding excessive treble while thickening the midrange to ensure the guitar doesn’t get buried in the mix. Particularly, the arpeggios in “Mr. Brightside” are characterized by a clean foundation with added delay and light distortion, creating a bright soundscape.

Delay settings vary by song, with the Ibanez AD9 set for 2-3 repeats and moderate feedback, allowing for depth without overwhelming the sound. Digital delays like the Boss DD-7 are synced to the tempo, providing eighth-note or dotted eighth-note delay times that add rhythmic expansion to riffs and leads. In “Somebody Told Me,” a shorter delay thickens the riff, while “Human” features a long delay that constructs a grand space.

Distortion usage is also crucial. The Tone Freak Abunai 2 and TS9 are often used for light boosts, reinforcing the amp’s natural drive. In contrast, when using the Big Muff, the fuzz adds thickness to ensure the sound pressure matches the synths. However, it is assumed that EQ adjustments cut lows to prevent fuzz from overwhelming the mix, allowing the guitar to shine in the mid-high range.

For modulation, the MXR Phase 100 is set to a moderate rate, adding a psychedelic texture to riffs and solos. The Retro-Sonic Chorus and Eventide ModFactor are employed to enhance the spatial quality, emphasizing stereo effects. In grand tracks like “When You Were Young,” these spatial combinations allow the guitar to play a role beyond mere accompaniment.

In mixing, it is assumed that the guitar’s low end is kept in check while boosting frequencies around 2kHz-4kHz, ensuring it stands out without being buried by synths and vocals. This approach is likely mirrored in live settings, where not only amp settings but also PA-side EQ processing plays a crucial role.

In summary, Keuning’s sound design is a culmination of “thicker midrange settings on the amp,” “depth created through delay tailored to each song,” “using distortion as a supplement,” and “expanding space with modulation.” Simply copying gear won’t suffice; a mix-focused approach that considers the entire band is essential. These techniques are derived from interviews, gear photos, and live recordings, ultimately aiming to achieve “brilliance and harmony within the band ensemble.”

Affordable Alternatives to Recreate the Tone

To fully replicate Dave Keuning’s sound, acquiring the actual gear he uses (like the Fender Hot Rod DeVille, Ibanez Destroyer, and vintage effects) is ideal, but it can also become quite expensive. Therefore, I will introduce alternative gear that beginners and intermediate players can use to get closer to his sound, with a price range of approximately $100 to $500 (up to $1,000) in mind.

Starting with amplifiers, the Fender Hot Rod DeVille is costly and designed for high volume, making it less suitable for home practice or small gigs. Alternatives like the “Fender Champion 40” or “Fender Mustang LT25,” which both offer clean tones similar to Fender amps, are more practical. The Mustang series, in particular, can replicate the tones of the DeVille and Princeton through digital modeling, making it user-friendly for practice.

For delays, while the Ibanez AD9 and Boss DD-7 are staples, options like the BOSS DD-8 and Electro-Harmonix Memory Boy offer excellent cost performance. The BOSS DD-8, priced around $200, features tempo-synced delay and modulation delay functions, making it suitable for achieving the layered arpeggios heard in “Mr. Brightside” and “Human.”

In terms of distortion, the Ibanez TS9 Tube Screamer is relatively affordable at around $150, making it ideal for replicating Keuning’s midrange-focused sound. For a Big Muff alternative, the Electro-Harmonix Big Muff Pi (standard version) is easily accessible and provides thick lead tones. Since the Tone Freak Abunai 2 is less common, I recommend the BOSS SD-1 Super OverDrive as a suitable alternative.

For modulation, while the MXR Phase 100 is somewhat pricey, the MXR Phase 90 can be purchased for around $100, allowing players to experience Keuning’s phaser sound simply. Additionally, for chorus effects, the BOSS CE-2W (Waza Craft series) is a reliable choice.

Lastly, if you’re looking to consolidate your gear, investing in a multi-effects unit can be effective. The “BOSS GT-1000CORE” or “Line 6 HX Stomp” can be obtained for under $1,000 and cover a wide range of effects, including delay, phaser, chorus, and boost, allowing for a sound closely resembling Keuning’s.

In summary, the key points are to establish a clean tone based on Fender amps, use TS9-style overdrives, and create depth with delays. By focusing on these three elements, you can achieve a sound reminiscent of The Killers at a relatively affordable cost.

Summary and Conclusion

In this article, we have explored the essential amplifiers, guitars, effects, settings, and beginner-friendly alternatives that contribute to Dave Keuning’s sound. But what is the essence of his tone?

First and foremost, it is crucial to highlight that “the guitar and the band’s ensemble are harmoniously balanced.” The Killers’ synths and rhythm sections fill the space, while Keuning’s guitar is designed to “stand out without being overpowering.” The quality of the midrange—slightly “pushed” by the Drive and TS9—and the “expansion” provided by delays, choruses, and modulation create that bright and pleasant sound.

Secondly, his gear selection reflects a style that merges “tradition and trend.” The combination of classic instruments like the Ibanez Destroyer and Gibson models with modern brands like Bilt and Songhurst illustrates his approach as a guitarist. His choice of amplifiers also symbolizes this, as he selects from the universal sound of the Fender DeVille to the distinct characteristics of Hiwatt, Matchless, and Bogner.

Thirdly, the core of his sound lies in his “awareness of sound design.” It is not merely about using “vintage gear,” but rather about how to create the spatial feel that the songs demand, how to depict depth with effects, and how to balance clean and distorted tones. This sophisticated approach is something many guitarists aspire to replicate, which is why we have proposed alternatives for beginners throughout this article.

Overall, Dave Keuning’s sound is built on “a series of choices and adjustments based on a clear vision,” balancing a sharp personality with harmony within the band, and a commitment to meticulous settings that support that iconic guitar tone.

I hope readers can grasp through this summary that the essence lies not in “mere gear imitation,” but in “sound design that considers the entire song.” I encourage you to pursue your own version of the Keuning sound based on your performance situations and favorite songs. This will be the first step towards achieving the most authentic tone.