[Matt Bellamy] How to Recreate the Muse Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Matt Bellamy, the frontman and guitarist of Muse, is a distinctive sound creator in the history of rock music. His playing incorporates elements of alternative rock and progressive music while uniquely recreating the textures of synthesizers and electronics through the guitar.

Notably, his use of the Z.VEX Fuzz Factory for oscillation sounds and the MIDI control via the KORG KAOSS PAD embedded in his custom Manson guitars supports a bold and experimental style that is unmatched by other guitarists. This allows him to achieve a one-of-a-kind sound where riffs and spatial processing merge seamlessly in iconic songs like “Plug In Baby” and “Supermassive Black Hole.”

Moreover, in live performances, he employs multiple amplifiers simultaneously, blending the brilliance of the AC30 with the high gain of the Diezel VH4. In studio work, he explores sound creation that transcends the boundaries of analog and digital. As a result, Muse’s sound is often described as “guitar yet not guitar-like” and “human-powered electro,” showcasing its innovative nature.

While his technical speed picking and tapping are impressive, Bellamy’s true value lies in his concept of using the guitar as part of sound design. His sound creation is directly linked to the orchestration of the entire band, making him a subject of study for guitarists and producers worldwide.

This article will comprehensively introduce the amplifiers, guitars, and effects that Matt Bellamy has actually used, delving into the characteristics of his sound creation and the secrets behind his settings.

▶ Search official YouTube videos of Muse

List of Amplifiers and Features

When discussing Matt Bellamy’s sound creation, the choice and combination of amplifiers are indispensable. Muse’s music requires a wide range of expressions, from theatrical and heavy riffs to delicate and transparent clean tones. Therefore, he has maintained a style of blending multiple amplifiers rather than relying on a single one for many years.

A prominent example is the Vox AC30, a traditional British amp favored by The Beatles and Brian May, known for its bright, clean, and crunchy sound. Bellamy uses this AC30 as a foundation while combining it with a high-gain amp like the Diezel VH4 to achieve an extremely wide tonal range simultaneously. This approach allows him to obtain a sound that possesses both “thickness” and “clarity” in live and recording settings.

In the studio, he actively employs a technique of connecting a single guitar to multiple amplifiers simultaneously, blending different responses. For instance, layering the brilliance of the AC30 with the weight of the Diezel creates a balanced and thick guitar sound that varies from track to track. Additionally, he has incorporated the Marshall JMP-1 (preamp) and Marshall EL34 100/100 (power amp), using MIDI control for switching in live setups.

Thus, Bellamy’s amplifier selection is based on the strategy of “combining multiple elements rather than relying on a single color.” As a result, his guitar sound takes on a synthesizer-like presence, underpinning Muse’s unique worldview. The following table summarizes the representative amplifiers he has used, but it is assumed that the combinations change depending on the period and song.

Types of Guitars Used and Features

One of Matt Bellamy’s most significant features is his custom guitar from Manson Guitar Works, commonly referred to as the “Mattocaster.” Bellamy has built a deep relationship with Manson, acquiring a majority stake in the company in 2019. He has been involved in the guitar-making process, incorporating experimental specifications to realize his musical vision.

A notable feature is the touch-sensitive MIDI controller pad and models embedded with the KORG KAOSS PAD. This allows him to manipulate the guitar like a synthesizer, controlling filters and arpeggiators directly during performances. Additionally, models equipped with a sustainer allow him to manipulate infinite sustain and feedback effects, creating grand soundscapes.

Moreover, the more affordable signature model, the Cort (Manson) MBC-1, has emerged. This model allows fans to experience Manson’s design philosophy more easily, and Bellamy himself has used a customized MBC-1 in live performances and recordings. For fans, it serves as a relatively accessible entry point to achieve the “Bellamy sound.”

In some specific songs, he has also been seen using a Fender Stratocaster. This guitar is chosen when a softer sound from the front pickup is needed, utilized for simple clean tones and arpeggios. Additionally, during the production of “Will of the People,” he experimented with a Telecaster previously owned by Jeff Buckley as a substitute for the Stratocaster.

These choices of guitars further illustrate that Bellamy is not merely a “guitarist” but a “sound designer.” His approach to evolving the instrument itself to shape musical ideas is quite unique. The following table summarizes the representative guitars he has used, but it is assumed that the specifications vary slightly depending on the song and period.

Effects and Pedalboard Setup

A significant element that defines Matt Bellamy’s sound is his unique choice of effects and how he utilizes them. His guitar playing is often described as “synth-like” and “experimental,” largely due to the controllers embedded in his guitar and the unconventional effect chains he employs.

One of the most famous effects is the Z.VEX Fuzz Factory. It is known not only for its use as a standard distortion but also for its oscillation sounds created through knob manipulation and the unique style of being embedded directly into the guitar for real-time control. This aggressive fuzz sound is prominently featured in tracks like “Plug In Baby” and “Stockholm Syndrome.”

For modulation, he uses the MXR Phase 90 and MXR Phase 100, adding a wavering tone to his songs. These effects are effectively used in tracks like “Knights of Cydonia” and “New Born,” providing dynamic movement to the music. Additionally, the Digitech Whammy is an essential part of Bellamy’s setup, allowing him to dramatically shift melodies using octave up and down or pitch-shifting techniques.

Furthermore, the KORG KAOSS PAD integrated into his Manson guitar allows him to control filters and arpeggiators in real-time during performances. This unique setup enables what is referred to as a “human synthesizer” style of play. Recently, it has been rumored that he is developing an original fuzz pedal (prototype), showcasing his continuous pursuit of new sound possibilities.

In live and recording settings, Bellamy often opts for integrating effects into the guitar itself rather than constructing a complex pedalboard. This means that his effect configuration is a means to “extend the guitar and amp,” representing a concept that transcends mere external pedalboards.

The following table summarizes the representative effects he has used. While there may be slight variations depending on the song and period, the core effects have remained consistent over the years, forming the backbone of the Muse sound.

Tone Settings, EQ, and Mixing Approaches

Matt Bellamy’s sound creation encompasses not just “guitar settings” but a comprehensive sound design that includes amplifiers, effects, PA mixing, and modifications to the guitar itself. Here, we will outline his EQ and mixing characteristics, as well as how he varies them for different songs.

Starting with the basic amp settings, the Vox AC30 is often utilized for its clean channel, with treble set high to achieve brightness. On the other hand, the Diezel VH4 is typically used with a slight cut in the mids while emphasizing lows and presence to deliver a metal-like punch. By blending the two, it is presumed that he creates a tone that combines sharpness and thickness.

Regarding EQ processing, due to the heavy use of fuzz and Whammy effects, the midrange can easily become muddy. In the studio, he emphasizes the 2kHz to 4kHz range to ensure attack clarity. The low end is often low-cut below 80Hz to make room for the bass and kick, while slightly boosting the 100-200Hz range to maintain the power of the riffs. During live performances, the PA further corrects the sound, so it is believed that the guitar itself is set to a somewhat raw configuration.

His approach to varying settings for different songs is also notable. For example, in “Plug In Baby,” he pushes the Fuzz Factory to oscillate, boldly emphasizing the high mids. In “Supermassive Black Hole,” he combines phasers and filters, reducing the mids to create spatial expansion. In “Knights of Cydonia,” he adds reverb and delay to the clean tone while cutting treble to introduce warmth, showcasing meticulous EQ changes tailored to each song.

Additionally, in studio work, he employs double-tracking and triple-tracking techniques, using different amplifiers for the left and right channels. By placing the bright tone of the AC30 on the left and the heavy low end of the Diezel on the right, he maximizes stereo width. Furthermore, spatial effects are set with shorter reverb times to prevent the sound from getting buried in arenas. Recently, there have been rumors of utilizing digital environments (such as Fractal Audio Axe-Fx), suggesting that he employs impulse responses (IR) for diverse cabinet simulations during pre-production.

In live settings, collaboration with the PA engineer is crucial. On Muse’s large stages, the guitar mixes with other synthesizers and orchestrations, meaning Bellamy’s sound is not just “complete as a guitar” but is adjusted as “part of the overall ensemble.” In other words, the guitar’s EQ is always designed with the “entire band’s mix in mind.”

Overall, the essence of Matt Bellamy’s sound creation lies in the concept of treating the guitar in a synthesizer-like manner, and EQ and mixing are extensions of that idea. Settings that may sound somewhat extreme when isolated are designed to blend seamlessly within the overall mix during PA or recording, shaping the unique, heavy, and futuristic sound of Muse.

Affordable Alternatives to Recreate the Tone

Matt Bellamy’s sound is built on very expensive and specialized equipment, such as Manson custom guitars and the Diezel VH4. However, it is possible for beginners and amateur guitarists to approach the “Muse sound” at a relatively low cost. Here, we will outline commercially available equipment that can be acquired for around $100 to $1,000, focusing on points to recreate the Bellamy sound.

First and foremost is the fuzz sound. While the Z.VEX Fuzz Factory is synonymous with his tone, its high price is a drawback. Instead, using the BOSS FZ-5 or Electro-Harmonix Big Muff Nano can create aggressive distortion and sustain. The Big Muff, in particular, is well-suited for mimicking the fuzz power of Muse and is available for under $200.

Next, for pitch-shifting effects, the Digitech Whammy is essential, but it is also on the pricier side. As an alternative, I recommend the BOSS PS-6 Harmonist. It features octave up and down and detune functions, allowing you to recreate Muse’s dramatic sound leaps. It is available for around $300.

For modulation, while the MXR Phase 90 is a representative choice, the more affordable BOSS PH-3 Phase Shifter is also a viable option. It can create a wide range of phase effects and add a wavering tone to the music. For spatial effects, using the BOSS DD-8 or TC Electronic Flashback Delay can help recreate expansive arpeggios and synth-like sounds.

Regarding amplifiers, acquiring a Diezel or Vox AC30 can be challenging, but the BOSS Katana series offers a cost-effective alternative. Particularly, the Katana 50/100 features a variety of amp modeling and built-in effects, making it suitable for everything from home practice to live performances. It provides sufficient fidelity for situations where clean and high-gain tones are required, similar to Muse.

Additionally, integrating multi-effects units like the Line 6 HX Stomp or ZOOM G5n can cover Whammy, phaser, and fuzz effects comprehensively, allowing you to recreate Bellamy’s diverse sound creation easily. This is particularly effective for beginners, as it enables them to achieve a “Muse-like sound” with just one device.

The following table summarizes representative equipment that is relatively affordable and accessible, helping you get closer to the Muse sound. While it may be challenging to replicate the exact tone, understanding “why it resembles” and implementing these alternatives can significantly bring you closer to the unique, futuristic sound of Muse.

Summary and Conclusion

In summary, Matt Bellamy’s sound creation is rooted in “sound design that transcends the guitar.” He has integrated synthesizer-like functions into his custom guitars from Manson Guitar Works, utilizing fuzz and pitch-shifting to present a “futuristic sound image” that differs from the traditional guitar hero archetype. As a result, Muse’s music has acquired a unique worldview that possesses elements of rock, electro, classical, and cinematic scale.

Bellamy’s sound is not confined to individual equipment like amplifiers and effects but emphasizes “combining multiple elements.” By simultaneously producing the brilliance of the Vox AC30 and the heaviness of the Diezel VH4, along with the violent oscillation sounds of the Z.VEX Fuzz Factory and the dramatic pitch shifts of the Digitech Whammy, he crafts the unique Muse sound.

Moreover, his sound creation flexibly adapts to the scale of the songs and stages. In smaller venues, he may simplify his setup with basic amps and effects, while in large arenas, he blends multiple amplifiers and meticulously adjusts with the PA. This flexibility is possible not merely due to equipment dependence but because he possesses the “ear to oversee the entire sound.”

For readers wishing to recreate Bellamy’s sound, the most important aspect is to “broaden the concept of sound.” Introducing iconic effects like the Fuzz Factory and Whammy is effective, but it is even more crucial to consider “how to treat the guitar like a synthesizer.” With creativity, even affordable gear can incorporate his sound philosophy.

Finally, it is essential to emphasize that Matt Bellamy’s sound creation transcends the act of “playing the guitar” and embodies the attitude of “manipulating sound itself.” His innovative approach cannot be reached merely by mimicking equipment. Rather, the challenge lies in how to reflect one’s ideas in sound, which is the core of the Muse sound. Therefore, while using this article as a reference, adding your interpretation to the sound creation process is the most Bellamy-like approach one can take.