[Glenn Tipton] How to Recreate the Judas Priest Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Glenn Tipton, the guitarist of Judas Priest, is one of the key figures in defining the sound of heavy metal. His lead tone is characterized by a sharp yet melodic quality, blending technical prowess with lyrical expression. Iconic songs such as “Painkiller,” “Electric Eye,” and “Beyond the Realms of Death” showcase solos and riffs that symbolize his distinctive sound.

Tipton’s sound is rooted in traditional guitars like the Fender Stratocaster and Gibson SG, while also incorporating specialized metal gear such as the Hamer Phantom GT and ESP LTD GT-600. His flexibility in using a range of amplifiers, primarily centered around the Marshall JCM800, and high-powered ENGL systems, along with rack systems and synthesizers, has contributed to the richness of his tone. This diverse selection of equipment and meticulous settings allow him to navigate a wide sonic spectrum, from intense distortion to clear, transparent tones.

Moreover, his picking nuances, harmonics, sweep picking, and precise fast playing are significant elements in shaping his sound. Together with his playing style, Judas Priest’s sound stands as a benchmark for “British heavy metal.”

Understanding Glenn Tipton’s sound serves as a guiding reference for aspiring metal guitarists. In the following sections, we will explore his amplifiers, guitars, and effects used throughout different periods.

▶ Search official YouTube videos of Judas Priest

List of Amplifiers and Features

When discussing Glenn Tipton’s sound, one cannot overlook the amplifiers, primarily centered around Marshall. In the early 1970s, he utilized vintage 50W/100W Marshall amps (non-master volume), which laid the foundation for a straightforward and raw British sound. This sound can be traced back to albums like “Sad Wings of Destiny” and “Sin After Sin,” supporting the sonic landscape before heavy metal was fully established.

As the 1980s approached, the Marshall JCM800 1959 MkII Super Lead became his main amplifier, used extensively in live performances. The JCM800’s characteristic hard and tight gain solidified Judas Priest’s aggressive sound, directly influencing the solos on landmark albums such as “Screaming for Vengeance” and “Defenders of the Faith.” Live photos and interviews frequently feature the JCM800 stack in the background, making it synonymous with Tipton’s sound during this era.

In the 1990s, as musical styles evolved, Tipton began incorporating ENGL amplifiers. Notably, during the Ripper era, records indicate the use of the Crate Blue Voodoo, suggesting a departure from exclusively Marshall gear. By the 2000s, he transitioned to a rack system, integrating the ENGL E-580 MIDI Preamp and E850 Power, alongside digital equipment like the Line 6 HD100, Lexicon MX-200, and Rocktron Intellifex, ensuring a wider variety of sound options.

Recent interviews related to the album “Invincible Shield” mention the use of the ENGL Invader II E642II and E412VGB 4×12 cabinet, indicating a shift towards ENGL as his primary rig. Additionally, in the studio, he employs a diverse range of amplifiers, including Marshall, ENGL, Mesa, Crate, VOX AC30, and Cornell, showcasing his adaptability in sound selection for different tracks. This diversity in amplifier choice reflects Tipton’s evolution in lead tone, consistently adapting to the times.

Overall, his amplifier sound can be summarized as a dual-axis structure: “traditional British tone based on Marshall, reinforced with modern high-gain amplifiers like ENGL.”

Types of Guitars Used and Features

Glenn Tipton’s choice of guitars has evolved significantly over the years, reflecting his sound development. In the early 1970s, he favored the Fender Stratocaster, particularly a 1961 cream-colored model. As CBS took over, he modified his Stratocaster to include two DiMarzio Super Distortion pickups and a Kahler Pro flat mount, complete with a mirror pickguard. This modified Strat was used in the solo of the iconic song “Metal Gods.”

Other Stratocasters from the 60s were also used in live performances and recordings until around ’78, supporting the early sound of Judas Priest. On the Gibson side, he utilized multiple SG models, including classic PAF-equipped versions and others with an EMG81 bridge pickup, chosen for their diverse sound capabilities. Additionally, between ’78 and ’79, he used a black Gibson Les Paul Custom, and in the 90s, he introduced a Les Paul 1960 Reissue, which delivered a thick and sustaining lead tone.

From the mid-80s onward, Tipton deepened his relationship with Hamer, using models like the Phantom GT, his custom-designed GT Custom, and the mirror-finished Hamer Mirror model. These guitars, equipped with Kahler tremolos, were optimized for metal, solidifying Tipton’s image. In the 2000s, he adopted the ESP LTD GT-600 signature model, featuring the red-covered EMG “GT Vengeance” set, which stood out on stage during live performances.

Furthermore, he incorporated synthesizer-compatible guitars like the Roland G-707 and Godin LGXT, allowing for symphonic approaches in albums like “Nostradamus.” Records also indicate experimentation with Ibanez RG seven-string models, showcasing his adaptation to the low-end tendencies of metal. Acoustic guitars, including Ovation, Yamaha 12-string, Taylor 814CE, and Epiphone Riviera 12-string, were used for specific tracks, as seen in songs like “The Fire Burns Below” and “Searching.”

This diverse range of guitars suggests that Tipton has balanced “classic elements of British metal” with “modern metal sound,” supporting the band’s long-term evolution.

Effects and Pedalboard Setup

Glenn Tipton’s sound, while appearing simple and direct, is underpinned by a diverse array of rack effects and switching systems. Particularly since the 1980s, he has transitioned to a rack system, combining wahs and noise gates with multi-effects and spatial effects to achieve a stable tone in live settings.

Initially, his setup included basic components like Cry Baby wahs and simple boosters. However, as high gain became more prevalent, his system grew increasingly complex. A standout effect is the Dunlop Cry Baby DCR-2SR, a rack-mounted wah that allows for remote control, significantly enhancing stage flexibility.

For noise management, he employed the MXR Smart Gate and Rocktron Hush Super C, effectively eliminating unwanted noise when handling the powerful gain from Marshall and ENGL amps. Additionally, he integrated preamps and multi-effects like the Digitech GSP-1101 and ENGL E-580, establishing a style that allows for instant switching between different presets for each song via MIDI control.

In terms of spatial effects, Tipton favored rack-mounted units such as the Rocktron Intellifex, Yamaha SPX90II, and Lexicon MX-200. These devices enable a wide range of delay, reverb, and pitch-shifting effects, directly contributing to expansive sounds in tracks like “Beyond the Realms of Death” and “A Touch of Evil.”

To ensure stage stability, he also utilized the Korg DTR-1 rack tuner, Furman PL-8 power conditioner, and Dunlop DC Brick. For switching, he relied on Voodoo Lab GCX and custom loop switchers by Mike Hill, simplifying the operation of his complex rack setup. While these components may not seem flashy, they play a crucial role in supporting Tipton’s sound.

In summary, Tipton’s effects setup revolves around “high-gain amps + rack multi-effects + strict noise management,” aiming to deliver a consistent sound in both live and studio environments.

Tone Settings, EQ, and Mixing Approaches

Glenn Tipton’s sound is not only defined by his equipment choices but also significantly supported by his amplifier EQ settings and mixing techniques. Using high-gain amplifiers like Marshall and ENGL, he adopts different approaches for lead and rhythm, ensuring his presence within the band sound.

In the era centered around the Marshall JCM800, his settings often emphasized treble and presence while slightly reducing mids and balancing bass towards the midrange. This configuration prioritizes the clarity of lead playing, allowing him to distinctly separate his character from that of fellow guitarist K.K. Downing during twin lead sections.

Conversely, during the ENGL Invader II and rack system period, he actively utilized mids to achieve a thicker, more modern gain while tightening the low end, balancing sound pressure and clarity.

For specific EQ examples, the settings often include:
– Bass: 4-5 (to prevent excessive low-end buildup)
– Middle: 6-7 (to ensure lead presence)
– Treble: 6-7 (to emphasize cutting clarity)
– Presence: 6 (to support clarity in solos)
These settings are considered basic guidelines. However, adjustments are routinely made based on live environments and the amplifiers used, with even finer tuning occurring during studio recordings.

Regarding distortion quality, Tipton primarily relies on the amp’s natural overdrive while utilizing the boost functions of preamps and multi-effects to achieve a well-defined sound. The introduction of noise gates (MXR Smart Gate, Rocktron Hush) minimizes unwanted noise, even during tight riffs and fast solos. This meticulous approach to “high gain + noise management” is central to achieving a clear and listenable metal sound.

In mixing, Tipton’s guitar is often positioned slightly high in the mix, typically panned left and right with K.K. Downing’s guitar. This arrangement prevents overlapping sounds during twin leads, allowing each guitar part to be clearly heard. Additionally, lead solos often emphasize delay, creating a spatial expansion that leaves a strong impression on the audience.

In the iconic “Painkiller” guitar solo, the mid-high frequencies are sharply boosted, and the EQ tightens the lows. In “A Touch of Evil,” deeper reverb and delay are applied to create a dramatic sense of space. These variations in sound approach for different songs are crucial to understanding Tipton’s sound design.

Ultimately, the essence of Tipton’s sound lies in “a foundation of high-output amplifiers, thorough EQ and noise management, and the use of spatial effects tailored to each song.” This method ensures that his guitar consistently stands out within the overall band sound, contributing to the iconic metal sound that has persisted for decades.

Affordable Alternatives to Recreate the Tone

Reproducing Glenn Tipton’s sound entirely would require investing in high-end professional gear such as the Marshall JCM800 or ENGL Invader II, along with a comprehensive rack system. However, it is not practical for beginners or intermediate players to make such a significant investment right away. Here, we will explore ways to achieve a Tipton-like sound using “relatively affordable” and “commercially available models.”

For amplifiers, the BOSS “Katana” series and Marshall’s “Code” series are budget-friendly options. These modeling technologies can replicate the sounds of the JCM800 and modern high-gain tones, suitable for everything from headphone practice to live performances. The Katana, in particular, offers excellent distortion quality and includes built-in noise gates and EQ, making it easier to create a Tipton-esque high-gain tone.

In terms of effects, BOSS’s “MT-2 Metal Zone” and “DS-1X” are effective distortion pedals that are affordable yet tailored for metal. The MT-2 has a strong “scooped” character, allowing you to raise the mids slightly to approximate Tipton’s signature tone. Additionally, pairing it with the “DD-8 Digital Delay” can enhance the spatial quality of solos.

Entry-level multi-effects units like the “NUX MG-400” or “Zoom G1 Four” are also recommended. These devices come with a wealth of amp modeling and effects, allowing users to save presets that emulate Marshall and ENGL tones, making it easier for beginners to experiment with Tipton-like sounds.

When it comes to guitar selection, mid-range models from ESP or LTD, or Epiphone’s Les Paul Custom and SG models, offer excellent cost-performance. Particularly, models equipped with humbucker pickups can get you closer to Tipton’s unique metal sound when combined with distortion pedals.

In summary, a combination of “Marshall-style modeling amp + BOSS distortion + delay” can allow you to experience Tipton’s lead tone for around $500. While it may lack the depth and power of the original equipment, it is sufficient to grasp the fundamental nuances of his sound.

Summary and Conclusion

Reflecting on Glenn Tipton’s sound, its essence lies in the “fusion of classic and modern.” He has built a sound foundation on traditional British tones exemplified by the Marshall JCM800, while actively incorporating modern gear like ENGL and rack systems to create optimal sounds for each era.

His sound is not merely about high gain; it consistently embodies “clarity,” “definition,” and “melodic leads,” representing the ideal form of metal guitar. Furthermore, his guitar selection is remarkably diverse, ranging from traditional models like the Fender Stratocaster and Gibson SG/Les Paul to specialized metal designs like the Hamer Phantom GT and ESP LTD GT-600. His willingness to explore synthesizer and acoustic guitars reflects a musical curiosity that transcends the label of “heavy metal guitarist.”

This exploration has led to memorable performances, such as the lyrical solo in “Beyond the Realms of Death” and the rapid leads in “Painkiller,” which resonate deeply with listeners.

While beginners seeking to replicate Tipton’s sound do not need to acquire all his gear, it is crucial to focus on the core elements: “high gain yet clear,” “EQ adjustments to prevent leads from getting buried,” and “adding drama with spatial effects.” By grasping these approaches, players can experience the “Judas Priest-like power” with their existing gear.

In conclusion, Glenn Tipton’s sound design is built on four key elements: “the framework of traditional Marshall sound,” “modern arrangements utilizing ENGL and racks,” “meticulous EQ and spatial processing,” and “the diverse use of guitars.” Understanding and applying these principles can provide insights that extend beyond mere sound replication, enriching one’s own playing style. As a guitarist embodying the spirit of British metal, Tipton’s sound design will continue to influence countless guitarists for years to come.