[Kerry King] How to Recreate the Slayer Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kerry King, the iconic guitarist of Slayer, is a pivotal figure in the world of thrash metal. His sound is characterized by ultra-fast riffs, aggressive tremolo picking, and intense, noise-laden solos. Notable tracks like “Raining Blood” and “Angel of Death” showcase his sharp, aggressive guitar tones that define the band’s extreme image.

King’s sound design revolves around a thick low end and a roaring midrange distortion, primarily achieved through his signature Marshall JCM800 amplifier. This setup, combined with EMG active pickups and powerful boosts, is designed to deliver a consistent, violent sound across various environments. Additionally, his use of effects like wah and flanger adds an eerie dimension to his music.

His philosophy emphasizes that “the sound should always be violent,” a principle he maintains in both live performances and studio recordings. By utilizing signature models of guitars and amplifiers, anyone can approach King’s unique “metal steel sound.”

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List of Amplifiers and Features

When discussing Kerry King’s sound, his long-standing relationship with Marshall amplifiers is crucial. His main amplifier for years has been the Marshall JCM800 2203, which reached a new level of recognition with the release of his signature model, the Marshall JCM800 2203KK, in 2007. This model features a “Beast” switch for tighter, more aggressive gain and an integrated boost circuit, allowing for a consistently powerful sound during live performances.

King has also been known to use the Marshall Mode Four MF400B cabinet, equipped with Celestion G12 K-100 speakers. This cabinet is particularly suited for heavy riffs, providing the necessary low-end support. The K-100 speakers are preferred for their tighter and more powerful response compared to standard Greenbacks or Vintage 30s, especially for Slayer’s fast-paced riffs.

Throughout different recording and touring periods, King has occasionally combined classic JCM800 models and other Marshall variants. There are rumors from fan sites and interviews suggesting he may have experimented with brands like Mesa/Boogie in the studio, but these remain unconfirmed and are considered to be auxiliary tests.

Thus, while Kerry King’s amplifier choices consistently revolve around Marshall, they reflect a pursuit of a “tighter and more aggressive sound” to support the high volume and speed characteristic of thrash metal. Therefore, starting with a JCM800-based amplifier is essential for anyone looking to replicate his sound.

Types of Guitars Used and Features

Kerry King’s sound is built upon a unique collection of guitars that reflect his personality. He is famously known for his use of B.C. Rich flying V-style guitars, characterized by tribal graphics and custom signature models that leave a strong impression among fans. The B.C. Rich Kerry King V (2nd Gen/Tribal) features an EMG KFK set (81/85 + PA-2) and a Sustainiac on the neck side, allowing for infinite sustain during solos. Additionally, it is equipped with a Kahler 2315 tremolo, supporting the aggressive whammy techniques typical of thrash metal.

King also employs various models from the KKV/KKV Tribal series, all featuring EMG active pickups and Kahler bridges. This setup ensures clarity even amidst heavy distortion, preventing his sound from getting lost in live environments.

In recent years, he has signed with Dean Guitars, using new signature models like the Dean Kerry King V Black Satin and Dean USA Overlord “Battalion Grey.” The Black Satin model features EMG 81/85 pickups, a PA-2 booster, and a Kahler Hybrid bridge, ensuring stable sustain and tuning accuracy, making it a staple from the latter part of Slayer’s tours into his solo career.

The underlying philosophy in his guitar selection is to balance aggression with visual impact. The striking appearance, high-output active pickups, and unique feel of the Kahler bridge perfectly match his playing style. Thus, Kerry King’s guitars are more than just instruments; they embody his identity.

Overall, as evident from live footage and official interviews, he consistently chooses guitars designed for “high-output, aggressive tones.” Regardless of the model from any era, the commonality is a “violent and cutting metal sound.”

Effects and Pedalboard Setup

Kerry King’s sound is further defined by a few key effects that complement the explosive distortion of his amplifiers. His pedalboard is not overly complex, primarily featuring a wah, flanger, overdrive, and equalizer. This simple setup allows him to maintain a stable tone even during intense stage performances.

One of the most notable effects is the “Dunlop Cry Baby.” Around 2013, he used the Zakk Wylde Wah, stating that he chose it because “the sound is nasty.” He later transitioned to the rack-mounted Cry Baby DCR-2SR for its stability and consistency in sound during tours. The wah effect is particularly prominent during his solos, creating a dissonant and aggressive atmosphere.

Another staple is the “MXR M117R Flanger.” Confirmed in Rig Rundown, this classic effect is essential for creating eerie sounds during solos and intros. The live version of “Raining Blood” highlights the unsettling atmosphere created by the flanger.

For distortion, he employs the “MXR Overdrive (ZW44 Berzerker OD → Wylde Audio Overdrive).” This effect adds extra attack to the already intense Marshall distortion, with a long history of using the Zakk Wylde model before transitioning to Wylde Audio. It effectively boosts solos and enhances the punch of riffs.

Additionally, the “MXR KFK-1 ‘Kerry King’ 10-Band EQ” is crucial for his sound. This EQ allows him to sharpen the guitar’s frequencies while reinforcing the low end, serving as a secret weapon that supports his signature tone.

Reports also indicate that during recording or certain periods, he has used effects like the “Pro Co RAT,” “Tech 21 SansAmp GT2,” and “Boss GE-7/RGE-10.” These were likely used as enhancements for specific songs or studio environments but remain unconfirmed and are considered to have been used as auxiliary tools.

In summary, Kerry King’s pedalboard is simple yet powerful, functioning as a reinforcement tool to accentuate the violent distortion of his Marshall amplifiers. The Cry Baby and KFK EQ are particularly essential elements that symbolize his sound.

Tone Settings, EQ, and Mixing Approaches

Kerry King’s sound cannot be replicated merely by connecting amplifiers and effects. The key feature is the EQ balance and settings that maintain a “violent and cutting metal sound.” His tone, based on the Marshall JCM800 2203KK, relies on intense gain, tight low end, and a prominent midrange.

For actual settings, he typically sets the gain high (around 7-8), increases presence (6-7), and boosts treble (6-7) to create piercing high frequencies. The bass is kept moderate (4-5) to prevent muddiness, while the mids are slightly boosted (6-7) to ensure a “forward sound” that stands out in the mix. Additionally, using the MXR KFK-1 EQ, he often lifts frequencies around 80Hz-120Hz and emphasizes the 3kHz-4kHz range, which is considered a typical setting.

Live and studio approaches differ. During live performances, the priority is on the overwhelming volume and pressure on the audience, so the low end is not overly emphasized, allowing tight and sharp riffs to be heard clearly. In the studio, however, he often layers guitars like a triple-tracked setup, with one track having a hard tone and another slightly darker EQ, panning them left and right to create a wall of sound.

For solos, wah is frequently utilized, with the Cry Baby producing dissonant tones that stand out in the mix. Engineers often apply strong compression to ensure noise and sound clusters are brought forward. Furthermore, using the flanger (MXR M117R) during solos and intros adds spatial depth while introducing an unsettling wavering effect to the music.

Double tracking is essential for rhythm guitar recordings, as seen in Slayer’s iconic tracks like “Angel of Death” and “South of Heaven,” which feature a wall-like sound image. King’s parts are mixed to link with Tom Araya’s bass while contrasting with Gary Holt and the late Jeff Hanneman, emphasizing their distinct roles. Therefore, the balance of EQ settings, panning, and compression processing becomes crucial.

In summary, Kerry King’s settings are based on a consistent philosophy of “high gain for violence,” “prominent mids for cutting through,” “tight lows without muddiness,” and “spicing up with EQ and effects.” When listened to in isolation, his guitar may sound noisy and rough, but it only completes the overall sound when integrated into the band’s mix.

Affordable Alternatives to Recreate the Tone

Kerry King’s sound is built around high-end gear like the Marshall JCM800 signature amplifier and B.C. Rich/Dean signature guitars, but it is possible for beginners and intermediates to get close with relatively affordable equipment. Here, we focus on gear within the price range of $100-$500 (up to $1,000) and explain why they can achieve a similar tone.

First, utilizing amp simulators or modeling amplifiers can be effective. The BOSS “Katana series” can produce sounds close to the JCM series in high-gain mode, and boosting the midrange can replicate Slayer’s sharpness. Additionally, multi-effects units like the Line 6 HX Stomp are recommended; combining Marshall modeling with a booster can yield a remarkably similar tone.

Regarding guitars, while authentic B.C. Rich or Dean signatures can be expensive, V-type models from brands like ESP LTD or Jackson priced around $500-$700 can provide the necessary vibe. Choosing models equipped with active pickups (like EMG 81/85 or their budget versions) can recreate the aggressive attack characteristic of Kerry King.

For effects, the “Dunlop Cry Baby Standard” is essential. Even without the rack version or Zakk Wylde model, the basic sound character of the wah is consistent, allowing for a close approximation of solo nuances. Additionally, the “MXR 10-Band EQ (M108S)” serves as an excellent budget alternative to the Kerry King model, enabling frequency adjustments that enhance the sound’s aggression.

For overdrive, the “BOSS SD-1” or “MXR ZW44 (used)” are recommended. Placing these before Marshall-type amplifiers or models will increase the punch of riffs and solos, achieving that signature thrash metal attack. For flangers, the “BOSS BF-3” can adequately substitute the MXR M117R, providing an eerie wavering effect at a lower cost.

In conclusion, a combination of “V-type guitars with active pickups,” “Marshall-type simulation amplifiers,” and “Cry Baby wah + EQ + overdrive” allows beginners to approach Kerry King’s sound. The key is to maintain a focus on achieving a “violent and forward-cutting tone,” which can yield Slayer-like intensity regardless of gear quality.

Summary and Conclusion

Reflecting on Kerry King’s sound design, its essence can be summarized as “the aesthetics of violence.” His tone is far removed from polished cleans or delicate expressions, consistently overwhelming audiences with explosive volume and cutting attack. Centered around the Marshall JCM800 and utilizing guitars with EMG active pickups, he amplifies aggression through wah and EQ. This simple yet thorough style has supported the Slayer sound for over 40 years.

Notably, he balances “high output and tightness.” By avoiding excessive bass and emphasizing midrange, he ensures that his sound stands out even amidst overwhelming volume, leading the band. His meticulous EQ adjustments demonstrate that he is not merely a fast-playing metal guitarist but someone who is conscious of the overall sound design of the band.

Moreover, the visual impact is inseparable from his sound design. The tribal graphics on B.C. Rich and Dean V shapes are not just designs but integral elements of “seeing the sound.” The integration of sound and visuals on stage is part of Kerry King’s identity and one of the reasons Slayer remains a unique entity.

For those aspiring to approach his sound, it’s essential to focus not on “perfect replication” but on embodying a “violent and cutting sound.” Affordable modeling amps and V-type guitars can effectively recreate the vibe with careful EQ and boost adjustments. The key is to keep sound design simple and always aim for a forward presence.

Finally, when emulating Kerry King’s sound, it is beneficial to focus on “the precision of powerful riffs” and “consistent aggression in live settings.” While the sound may be rough, the performance remains tight. This contrast is the essence of the Slayer sound and the reason Kerry King is a legendary figure in metal guitar history.

In summary, to replicate his sound, one needs not expensive gear but a mindset of “thorough aggression” and “midrange prominence.” Understanding this will bring anyone closer to achieving a Kerry King-like sound.