[Michael Amott] How to Recreate the Arch Enemy Sound + Guitar Gear and Tone Settings [Effects & Amps]

関連記事

[Neal Schon] How to Recreate the Journey Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.242025.09.24

[Omar Rodríguez-López] How to Recreate the The Mars Volta Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.262025.09.26

[XiVa] How to Recreate the Fairy Empire Sound + Guitar Gear and Tone Settings [Effects & Amps]

2025.09.192025.09.19

Introduction (Overview of Tone)

Michael Amott is a renowned guitarist from Sweden, best known as a founding member of the band Arch Enemy. He is one of the key figures in popularizing the melodic death metal genre, characterized by a sound that is both heavy and melodic, infused with a distinct Nordic lyrical quality.

His guitar playing is marked by aggressive riff work and beautiful twin leads. Iconic songs such as “Nemesis” and “Ravenous” showcase Michael’s unique ability to blend melancholic melodies with overwhelming heaviness.

Over the years, his gear has evolved from ESP models to signature models with Dean, utilizing amplifiers like Marshall and Randall, while combining a variety of effects such as overdrive, delay, and wah. This results in a tone that is raw yet refined, commanding attention in both live and studio settings.

In crafting his sound, Michael emphasizes “midrange clarity,” ensuring that his guitar solos and lead melodies stand out, rather than being overshadowed by heaviness. This blend of classic metal guitar work with influences from blues and classic rock has earned him respect from many guitarists.

This article will delve into the amplifiers, guitars, and effects used by Michael Amott (Arch Enemy), exploring his sound design in detail. Additionally, we will discuss ways for beginners to recreate a similar sound at a relatively affordable price.

▶ Search official YouTube videos of Arch Enemy

List of Amplifiers and Features

One of the significant elements supporting Michael Amott’s sound is his choice of amplifiers. Throughout his career, he has utilized various amps, skillfully incorporating their characteristics depending on the period, tour, or album.

Since the late 2000s, his main amplifier has been the Marshall JVM410H. This amp features a wide range of channels, from clean to high gain, offering stability and versatility during live performances. Amott uses this amp to express everything from tight, sharp rhythm sounds to soaring lead tones.

Additionally, the Marshall JCM800 (white re-finish) has been confirmed as a secondary amp, used when he seeks a sound with a stronger midrange, leaning towards classic metal tones. He has also incorporated modular amps like the Randall RM100 / RM100KH, allowing him to switch between high gain and clean settings through module changes.

Up until around 2008, he used the Randall V2 Ninja, known for its powerful low end and sharp attack. During the 2008 LOUD PARK festival, he was seen using the Krank Revolution / Krankenstein, which features 6550 power tubes for a harder and heavier sound.

Before that, he also had experience with Peavey amplifiers, indicating that he has explored various staple brands in the metal scene to find the optimal combination for his sound.

Thus, Michael Amott has switched amplifiers based on the period and live environment. His style is characterized by a foundation of Marshall amps, combined with high-gain options from Randall and Krank, ultimately establishing a tone that blends the classic Marshall clarity with the aggression of Randall. As information changes with each tour, checking interviews or his social media for the latest gear setup is advisable.

Types of Guitars Used and Features

When discussing Michael Amott’s sound, one cannot overlook his signature V-shaped models. Early in his career, he used technical guitars from brands like Ibanez and Charvel, while during his time with Carcass, he favored Les Paul-style guitars. After forming Arch Enemy, he transitioned to ESP and later partnered with Dean to release numerous signature models.

One of the most notable is the Dean Michael Amott Tyrant series. With models featuring black, splatter paint, and custom graphics, all utilize a mahogany body and ebony fretboard, allowing for powerful rhythm work and sharp lead playing. This Tyrant model has been prominently featured in his latest tours.

Previously, he favored the ESP Michael Amott Ninja V until around 2009, equipped with Seymour Duncan’s popular pickups (SH-4/SH-1). This guitar provided a powerful yet manageable sound, used extensively in early Arch Enemy tracks.

Additionally, the Dean USA Michael Amott Signature Tyrant X was confirmed to be used in 2012, featuring higher-end specifications. He has also utilized the Dean Michael Schenker Model in projects like Spiritual Beggars, showcasing the influence of his brother, Michael Schenker.

Other guitars he has used include the Gibson Les Paul Custom and SG Standard, particularly during his Carcass era, where the thick sound of Les Pauls was prominent. He also experimented with the Ibanez RG series and Charvel Model 6, which are reminiscent of 80s hard rock guitars. The Fernandes Les Paul model was also a favorite during the early days of extreme metal.

Throughout his long career, Michael has transitioned through various guitars, ultimately settling on the “sharp V shape + Seymour Duncan pickups” style. As the models he uses vary by live performance or recording, fans pursuing his sound are encouraged to refer to tour photos and recent interviews for the latest updates.

Effects and Pedalboard Setup

Michael Amott’s sound is completed not only by the power of his amp but also by a carefully selected array of effects that add nuance and color. He typically creates distortion through his amp, using effects more as supplements, but his approach is highly strategic.

One of his staple overdrives is the Ibanez TS808, which is essential for pushing Marshall-style amps to achieve tight, punchy metal riffs. He often leaves it on, serving as a booster. Around 2008, he also introduced the MAXON OD820, aiming for a fatter, warmer tone during that period.

For distortion, he has used the BOSS HM-2, a pedal directly linked to the signature “chainsaw sound” of early Swedish death metal. He also employs the BOSS OC-2 Octave to thicken the low end, enhancing the heaviness of his riffs.

In terms of spatial effects, he favors BOSS DD-6 and Ibanez AD9 delay pedals. He uses warm analog delays and sharp digital delays depending on the context, adding depth to his lead playing. He has also used the Providence DELAY 82 / DELAY 80’s prototype, adding precision to his sound.

For modulation, he incorporates the MXR Phase90 and Providence Phase Force, which add dimension to his solos and riffs. The Providence is particularly favored in his current setup.

Wah pedals are crucial, with a variety including the classic Jim Dunlop Cry Baby, rack-mounted Cry Baby, VOX V847, and the HBE Michael Amott Signature Wah. The signature wah, featuring a yellow Fasel inductor, is optimized for his playing style.

Since 2008, he has integrated the Digitech GSP1101 as his main multi-effects unit/preamp. Although rack-mounted and less visible on stage, it contributes to stability during live performances. He also uses the Line6 Wireless Relay G90 system, ensuring reliable signal while moving freely on stage.

Classic Marshall preamps like the Marshall JMP-1 and power amps like the Marshall EL34 100/100 have also been part of his setup, allowing for flexible configurations. Overall, Michael’s pedalboard evolves over time, but it consistently revolves around overdrive, delay, and wah, balancing the intricacies and power typical of melodic death metal. As setups change with tours and releases, checking his social media or live photos for the latest board configuration is advisable.

Tone Settings, EQ, and Mixing Approaches

Michael Amott’s sound design is characterized not just by high gain but by achieving a balance between “midrange clarity” and “lead presence.” His sound consistently stands out within the thick ensemble of Arch Enemy, achieved through meticulous EQ and effect balancing.

The basic amp settings revolve around the Marshall JVM410H, typically with GAIN set relatively high (6-7), BASS kept moderate (3-4), MIDDLE emphasized (6-7), TREBLE around moderate levels (5), and PRESENCE boosted (6-7). This setup allows the band to handle the low end with bass and drums while ensuring the guitar cuts through the mix with mid to high frequencies.

During live performances and recordings, he switches amp channels between rhythm and lead. For rhythm, he utilizes a tight midrange setting, while for leads, he adds delay to create a wider sound. Specifically, he uses the BOSS DD-6 and Ibanez AD9 with shorter delay times to maintain clarity while adding spatial thickness.

The Ibanez TS808 overdrive is kept on to ensure tightness without excessively raising the amp’s gain. This results in a tightened low end, providing the punch needed for riffs. At times, he combines it with the MAXON OD820 for added thickness.

The wah pedal is crucial for expressive solos. The HBE Michael Amott Signature Wah is designed to bring midrange forward, enhancing his lead playing. In recordings, he has also used a rack-mounted Cry Baby to ensure stable variable range.

During the PA and mixing stages, the guitar is typically double-tracked, panned left and right. For backing, distortion is kept hard, while leads are EQ’d to further emphasize the midrange to avoid being buried in the mix. Additionally, to ensure clarity, he lightly cuts frequencies below 200Hz while boosting around 3kHz to achieve a “cutting guitar” sound.

In terms of effects, he avoids excessive modulation, using only minimal phasers and delays for color. For example, the Providence Phase Force is used sparingly to create depth in solos without muddying the overall sound.

Flexibility in settings based on the stage size is also a hallmark of his approach. In smaller venues, he tends to emphasize the amp’s low end, while in stadiums, he pushes the midrange to achieve a tone that carries far. Collaborating closely with engineers, he finely adjusts his sound to balance “thickness and clarity.”

Overall, Michael Amott’s sound design is built on a simple equation of midrange focus + moderate high gain + minimal spatial effects. When combined with his playing style and EQ adjustments, it results in the sharpness and weight that define Arch Enemy’s sound.

Affordable Alternatives to Recreate the Tone

Michael Amott’s sound is crafted through signature models and high-end Marshall/Dean products, but it’s entirely possible for beginners and intermediate players to recreate a similar tone using gear within a more accessible price range. Here, we recommend equipment that can be acquired for approximately $100 to $500 (up to $1,000).

First and foremost is the overdrive pedal. While the Ibanez TS808 is somewhat pricey, more affordable options like the Ibanez TS9 Tube Screamer or BOSS SD-1 Super OverDrive can similarly emphasize midrange and tighten low end. When paired with Marshall-style amps, they can effectively replicate the sharpness of riffs and clarity of leads.

Next, for delay effects, while Amott uses the BOSS DD-6 and Ibanez AD9, more budget-friendly alternatives like the BOSS DD-3T or NUX Analog Delay can achieve similar results. A light application during leads can evoke the grandeur typical of melodic death metal.

The wah pedal is essential for his playing style, but the standard model GCB95 from Cry Baby is available for a reasonable price and offers sufficient expressiveness compared to the Signature Wah. Its ease of acquisition makes it a great choice.

Regarding amplifiers, while the Marshall JVM series can be expensive, modeling amps like the Marshall Code 50 or Boss Katana 50 MkII serve as effective alternatives. They can simulate Marshall-style distortion and include built-in effects for delay and reverb, making them ideal for beginners.

For guitars, while the Dean Tyrant may be out of reach, options like the Epiphone Flying V or Jackson JS Series King V can be acquired for around $300 to $600. Models with mahogany bodies and humbucker pickups can closely replicate the desired tone.

Additionally, for those looking to acquire a complete setup, multi-effects units like the ZOOM G3Xn or BOSS GT-1 offer a convenient solution. They encompass overdrive, delay, wah, and more in a single unit, suitable for practice and small gigs.

In summary, the key points to focus on are “tightness through overdrive,” “emphasizing midrange,” and “using delay to enhance leads.” Even without expensive signature models, these strategies can allow you to enjoy a sound reminiscent of Amott’s style.

Summary and Conclusion

Reflecting on Michael Amott’s sound design, its essence lies in the “fusion of aggression and lyricism.” He has immersed himself in the world of high gain since the early stages of his career, yet he carries influences from blues and classic rock, infusing his melodies with soul rather than merely focusing on heaviness or speed. This approach makes Arch Enemy’s sound truly unique.

On the gear front, he combines Marshall-based amp settings with overdrives like the Ibanez TS808 to construct a clear, cutting sound with emphasized midrange. During leads, he skillfully integrates delay to create the grand soundscape characteristic of melodic death metal. His guitars, primarily V-shaped models from Dean, balance visual impact with sharp sound.

Moreover, his sound design exemplifies the “beauty of subtraction.” Rather than overloading on effects, he introduces only the necessary elements, maximizing the expressiveness of his playing. Thus, even without completely replicating his gear, understanding his philosophy allows one to approach a tone reminiscent of Amott’s.

For readers aiming to recreate his sound, the focus should first be on constructing tight riffs with overdrive + Marshall-style amp. Then, ensure midrange is emphasized in EQ adjustments, and during leads, set delay to shorter times to widen the sound. By mastering these three points, one can achieve a distinctly “Arch Enemy-like sound” without needing professional signature models.

Overall, Michael Amott’s sound design continues to influence many guitarists as the “core of melodic death metal.” Whether practicing at home or performing in a live venue, pursuing this sound will lead to discovering new expressive capabilities on the guitar.