[John Sykes] How to Recreate the Blue Murder Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

John Sykes is a legendary guitarist known for his work with Thin Lizzy, Whitesnake, and his own band, Blue Murder. His guitar playing is characterized by “aggressive yet beautiful sustain” and “melodic phrases,” seamlessly blending elements of hard rock, heavy metal, and blues from the 1980s.

Iconic tracks such as “Still of the Night” and “Is This Love” from Whitesnake’s 1987 album, along with Blue Murder’s “Valley of the Kings,” showcase the exquisite interplay between thick rhythm guitar and lush lead tones, earning them a place in rock history. The powerful sound of his Les Paul, combined with settings from Mesa Boogie and Marshall amplifiers, has established his unique sound.

In addition to his fast picking and sweep picking techniques, Sykes also excels in delivering beautiful clean tones during ballads, showcasing a wide range of expressive capabilities. His approach to sound design continues to draw attention due to its ability to convey an overwhelming presence even with a simple gear setup.

This article will thoroughly explore the amplifiers, guitars, effects, and specific EQ settings used by John Sykes during his time with Blue Murder.

▶ Search official YouTube videos of Blue Murder

List of Amplifiers and Features

A significant element supporting John Sykes’s sound is his choice of amplifiers. Throughout the 1980s and 1990s, he primarily used Mesa Boogie and Marshall amplifiers, incorporating different systems over time. Notably, during the recording of Whitesnake’s 1987 album, he utilized Mesa Boogie Coliseum and Mark III amplifiers to create a thick rhythm guitar sound.

During the Blue Murder era, Sykes reportedly had multiple Mesa Boogie Mark IIC+ and Mark III amplifiers, using them for rhythm and lead tones respectively. His rack system included the Tri-Axis preamp, Strategy 500 power amp, and H&H V800, creating a cutting-edge setup that allowed him to achieve studio-quality sound during live performances.

Additionally, the Marshall JCM 800 (50W) was a staple since his Thin Lizzy days, often used in conjunction with Mesa Boogie for lead guitar. It is also said that he recorded with a modified Marshall 100W owned by Keith Olsen, which contributed to the distinctive overdrive sound on the “Whitesnake 1987” album.

In recent years, he has been seen using the EVH 5150III Stealth and EL34 versions, paired with an EVH 4×12 cabinet. This setup provides a modern high-gain sound that retains the powerful characteristics of his earlier Mesa tones.

For cabinets, Sykes has favored the Mesa Boogie Recto 4×12 and Half Back 4×12, known for their heavy and tight sound. This combination allows for a soaring lead tone during solos while maintaining a thick backing sound.

In summary, John Sykes’s amplifier settings are built around “high-gain Mesa Boogie and the sharpness of Marshall,” forming the foundation of his unique sound. While his rack systems and modified amplifiers can be complex, the core remains a straightforward use of Mesa and Marshall amplifiers.

Types of Guitars Used and Features

The core of John Sykes’s sound lies in the guitars he has favored throughout his career. The most famous is his black 1978 Gibson Les Paul Custom, which has served as his main guitar since his Thin Lizzy days. This guitar features chrome parts, medium jumbo frets, and a low action setup that accommodates fast playing. The ebony fingerboard contributes to the sharpness of his characteristic tone.

At times, he has equipped the bridge with Gibson “Dirty Fingers” pickups, and since 1998, he has switched to DiMarzio pickups, often combining them with Gibson PAF reissues to achieve a powerful drive sound. He has also made modifications such as using Grover tuners and a brass nut, showcasing his attention to detail.

In recordings, he has used a vintage 1959 Les Paul Sunburst, particularly highlighted in his solo album “Loveland,” although this guitar rarely appears on tour due to its rarity. For clean tones, he has employed a 1961 Fender Stratocaster, which can be heard in tracks like “Is This Love,” showcasing its transparent sound.

Additionally, he used a Charvel San Dimas Custom on parts of the Whitesnake 1987 album, taking advantage of its tremolo system for expressive phrases. Recently, he has been seen using the EVH Frankenstein, indicating a shift in his preferred guitars over time.

Sykes also owns an Ibanez JS1200 gifted by Joe Satriani and an official signature model, the Gibson John Sykes Les Paul Custom. The signature model is especially emblematic of Sykes’s sound, making it a popular choice among his fans and aspiring guitarists.

Overall, John Sykes’s guitar selection is centered around achieving “thick rhythms and sharp leads,” primarily using the Les Paul while also incorporating Strats and custom guitars depending on the song and context.

Effects and Pedalboard Setup

John Sykes prefers a straightforward approach to sound design, primarily relying on amp distortion while incorporating effects to add subtle nuances. During the Blue Murder era, he implemented a rack system to ensure studio-quality sound during live performances.

A standout effect in his setup is the Dunlop Crybaby (rack-mounted DCR-1SR). Unlike traditional wah pedals, this model can be integrated into a rack system and controlled via a foot controller on stage. It was frequently used to emphasize bluesy solos and gritty sounds.

For spatial effects, he incorporated the Lexicon PCM 41 and PCM 70 into his rack. These were professional-grade digital effects units of the time, capable of adding a variety of reverb, delay, and modulation effects. Notably, the short delay (40-50ms) from the PCM 41 played a crucial role in adding depth to his lead tones.

Additionally, he has relied on the classic analog chorus, BOSS CE-2, and the simple one-knob MXR Phase 90. These effects have been used since before his rack system, contributing warmth and the unique floating sensation characteristic of Sykes’s tone.

Moreover, he would emphasize reverb and chorus as needed, employing PAN processing during solo sections to create a spacious sound image. His choice of equipment reflects a balance of simple analog effects and professional-grade digital racks, resulting in a complex yet effective sound design.

Tone Settings, EQ, and Mixing Approaches

John Sykes’s sound design may appear simple at first glance, but it is actually highly calculated. The foundation is built on the powerful high-gain sound of his Gibson Les Paul Custom, directly connected to Mesa Boogie or Marshall amplifiers, with detailed EQ adjustments and rack effects added to create a unique thickness.

In terms of amp settings, Sykes often used the Mesa Boogie Mark IIC+ / Mark III, with a tendency to slightly boost the mids while keeping the lows tight. This approach ensures that even thick rhythm guitars do not become muddy, while the lead tones stand out prominently. A typical EQ setting might be Bass 3-4, Mid 6-7, Treble 6-7, and Presence around 5, with adjustments made based on the situation.

For lead tones, he would add a short delay (40-50ms) to thicken the sound and utilize the Lexicon PCM 41 to add depth. This combination ensures that even fast single-note runs remain clear and resonate in a three-dimensional manner. Particularly in Blue Murder tracks like “Valley of the Kings,” the delay creates a wide sound while maintaining a distinct outline.

For clean tones, the combination of the Fender Stratocaster and BOSS CE-2 is crucial. A light chorus adds transparency to the clean sound, enhancing the emotional tone in tracks like “Is This Love” and ballads. EQ settings for clean tones typically involve cutting the lows, keeping the mids subdued, and slightly boosting the treble to highlight chord clarity.

In mixing, Sykes often employs double-tracking for rhythm guitars, positioning leads centrally. By layering PAN and chorus effects, he achieves a powerful, three-dimensional guitar sound. Notably, albums like “Whitesnake 1987” and Blue Murder feature a mix where the guitars spread out like a wall, while Sykes’s solos pierce through the center.

In live settings, he has incorporated modern amps like the EVH 5150III, focusing on stability while reproducing studio sounds. The fundamental approach remains “thick rhythms and piercing leads,” with EQ and effects tailored to achieve this goal.

Overall, John Sykes’s sound design can be summarized as “building on the high-energy tone of the guitar, enhanced by EQ and spatial processing.” His sound is not a matter of chance; it is the result of meticulous calculations, from amp settings to EQ and delay timing.

Affordable Alternatives to Recreate the Tone

While John Sykes’s sound relies heavily on vintage Les Pauls and Mesa Boogie amplifiers, there are ways for beginners and intermediate players to achieve a similar sound at a more affordable price. Here, we will introduce commercially available products that provide high replicability.

For guitars, the original Gibson Les Paul Custom is expensive, but the Epiphone Les Paul Custom or Les Paul Standard presents a realistic alternative. Choosing models with ebony fingerboards or high-gain pickups can help replicate Sykes’s sharp sound. Additionally, swapping pickups for DiMarzio Super Distortion or Gibson Dirty Fingers can yield a more authentic high-gain tone.

Regarding amplifiers, since the Mesa Boogie Coliseum and Mark III are hard to find and costly, alternatives like the BOSS Katana series or Marshall DSL series are recommended. These modeling amps can easily create high-gain tones that pair well with Les Pauls, suitable for both live and home practice.

For effects, the MXR Phase 90 and BOSS CE-2W (Waza Craft version) are particularly recommended. Both can be acquired for around $100-$200, accurately replicating the nuances of Sykes’s sound. Additionally, to recreate the short delay, options like the BOSS DD-8 or MXR Carbon Copy are effective. Setting a short delay around 40-50ms can thicken lead tones, achieving the three-dimensional quality characteristic of Sykes.

For beginners or home recording, multi-effects units like the Line 6 Helix Stomp or BOSS GT-1000 Core are also effective. These devices include modeling for Mesa and Marshall, allowing for easy simulation of Sykes’s sound. Utilizing the built-in chorus, phaser, and delay can help recreate his rack system affordably.

Finally, strings and picks are also important. John Sykes uses Ernie Ball Regular Slinky (.010-.046) and Dunlop 1.14mm Tortex picks, both of which are inexpensive and readily available, making them essential components to consider.

In summary, a setup of “Epiphone Les Paul + BOSS Katana amp + MXR Phase 90 + BOSS DD-8” can effectively recreate the thickness and brilliance characteristic of Sykes during the Blue Murder era.

Summary and Conclusion

Exploring John Sykes’s sound reveals that its essence lies in “mastering a simple gear setup to achieve refined tone control.” He has centered his sound around a 1978 Les Paul Custom, creating thick rhythms and expressive leads through Mesa Boogie and Marshall amplifiers, enhanced by delay and chorus effects.

Notably, his approach maximizes the individuality of the guitar itself. Modifications such as pickup swaps, brass nut replacements, and low action setups reflect his attention to detail, all while building on the “intense sustain that comes from the Les Paul.” By utilizing EQ and short delays, he achieves a balance between piercing leads and expansive backing.

Understanding his sound design also requires acknowledging the “evolution over time.” During his Thin Lizzy days, he capitalized on the sharpness of the Marshall JCM 800; in the Whitesnake era, he embraced the modern, thick tones of the Mesa Boogie Coliseum and Mark III; and during the Blue Murder period, he introduced a depth of sound with his rack system. Recently, he has adopted the EVH 5150III, integrating the latest gear while maintaining his core tone.

Regarding effects, Sykes adheres to a style of “using necessary effects when needed,” avoiding excessive use. By combining classic analog effects like the BOSS CE-2 and MXR Phase 90 with professional-grade Lexicon rack gear, he creates a simple yet rich sound image. This combination supports Sykes’s distinctive three-dimensional guitar sound.

Ultimately, it is essential to recognize that “you do not need to have the same gear to replicate his sound.” Instead, understanding the character of the guitar and skillfully utilizing EQ and spatial effects to achieve balance is key. By focusing on these aspects, even an Epiphone Les Paul or a BOSS multi-effect can yield a Sykes-like tone.

Learning from John Sykes’s sound design teaches us the importance of “setting and the nuances of the player” over the extravagance of gear. Ultimately, his sound is the result of years of playing style and accumulated sensitivity. Readers are encouraged to grasp the fundamental settings while adding their nuances to discover their own “Sykes tone.”