[Mike Einziger] How to Recreate the Incubus Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Mike Einziger, the guitarist of Incubus, has been a prominent figure in the alternative rock and nu-metal scenes since the late 1990s. His sound is characterized by a unique blend of hard rock thickness, ambient space processing, and experimental tones. This distinctive approach has allowed him to create a sonic identity that stands out in the crowded landscape of rock music.

Albums like “Make Yourself” and “Morning View” showcase his ability to switch between heavy and clean tones using Mesa/Boogie amplifiers, while employing phasers and delays to achieve a one-of-a-kind texture in his music. In the iconic track “Drive,” he layers delicate arpeggios with reverb and chorus, whereas in “Megalomaniac,” he utilizes an octave pedal and phaser to create an aggressive soundscape, highlighting the vast range of his tonal capabilities.

Einziger has established a unique style in live performances, often setting up two amplifiers to maintain a clean tone while generating distortion through pedals. This method allows for a seamless transition between clean and dirty tones, which is a crucial aspect of his sound design philosophy.

The allure of his sound design goes beyond mere equipment combinations; it is also reflected in his playing style. He tends to treat the guitar not just as a riff machine but as an instrument for constructing soundscapes, actively incorporating ambient phrases and chord work. Therefore, Incubus’s music offers valuable insights for guitarists looking to expand their own sound.

This article will delve into the specific amplifiers, guitars, and effects used by Einziger, explaining how he crafts his sound. Additionally, we will introduce alternative gear that beginners can use to achieve similar tones, making it accessible for those looking to emulate his style.

The reason his sound garners attention lies in its innovative nature, transcending traditional rock guitar by integrating elements of environmental sound and experimental music into the rock band format. Exploring his sound design is an invaluable learning opportunity for modern guitarists.

▶ Search official YouTube videos of Incubus

List of Amplifiers and Features

In Mike Einziger’s sound design, the choice of amplifiers plays a crucial role. He adheres to a philosophy of keeping amplifiers clean while creating distortion and texture through pedals. This often results in the use of two or more amplifiers during live performances, allowing for a smooth coexistence of clean arpeggios and heavy backing in Incubus’s songs.

One of his primary amplifiers is the Mesa/Boogie Dual Rectifier Head, which he frequently used during the late 90s for its powerful distortion. In recent years, he has favored the Mesa/Boogie Tremoverb Combo, setting it up clean and relying on overdrive pedals for distortion. This configuration helps maintain the dynamics of the music, even when applying ambient space processing.

Einziger has also utilized Marshall amplifiers, such as the 1959 SLP Reissue and JCM800, particularly during the heavy sound phase around 2006. The Plexi was modified with a master volume for added versatility. Additionally, he has employed a Vox AC30 Reissue, which has been modified for rectifier changes to deliver a jangly clean tone. His amplifier setup can be described as a combination of “modern Mesa clean + Marshall thickness + Vox brilliance.”

During live performances, he pays close attention to cabinet combinations, often using a Mesa 2×12 cabinet with Celestion V30 speakers alongside a Marshall 4×12 slant cabinet. The Mesa cabinet, marked with “Veritas,” has become iconic among fans. The Marshall cabinet features a combination of Celestion V30 and G12T-75 speakers, providing a broad output range.

For practice or pre-production, Einziger sometimes uses smaller amps like the Fender G-DEC Junior, demonstrating his adaptability and efficiency in studio work. This choice reflects his approach of selecting the optimal solution based on the situation rather than merely relying on high volume.

Overall, while Mike Einziger has changed his amplifier choices over the years, he consistently employs the “clean amp + pedal drive” method, which contributes to the unique, layered sound characteristic of Incubus.

Types of Guitars Used and Features

Mike Einziger’s choice of guitars is heavily influenced by his musical curiosity and physical limitations, such as carpal tunnel syndrome. Throughout his career with Incubus, he has used a variety of guitars, each selected not merely for appearance or brand but for their playability and unique sound.

One of his signature guitars is the Music Man Albert Lee HH Signature, which he has extensively used since 2012. This guitar features dual humbuckers that deliver a powerful sound while its smooth neck reduces strain on his wrist, making it the most comfortable option for him.

Another key axis of his guitar arsenal includes Fender models, particularly the Thinline Telecaster and custom-built Telecasters. These guitars are lightweight and primarily utilize the neck pickup, yielding a warm and soft tone. The Telecaster currently used in live performances is a completely handmade model without a logo, likely equipped with Seymour Duncan pickups, allowing for the ambient chord work heard in songs like “Wish You Were Here” and “Circles.”

Additionally, the Jazzmaster (1965 original + reissue) was prominently featured during the “Light Grenades” era and continues to be used in live performances, such as “Morning View XXIII.” It is equipped with a Seymour Duncan JM-2 pickup, producing a rich alto tone. Einziger has also been fond of PRS guitars since the early days, with models like the Silver Sparkle Standard auctioned for charity and others like the Hollowbody II and Custom 24 appearing on stage in the past.

On the acoustic side, he uses the Martin 000-15M and Guild D-40. The Martin was featured in his collaboration with Avicii on “Wake Me Up,” showcasing the warm tones characteristic of mahogany small-body guitars. The Guild D-40, equipped with a D-TAR pickup, has also been a reliable choice for live performances.

As for unique instruments, Einziger has incorporated the Jerry Jones Electric Sitar and a Chinese pipa into his stage and recording work. Notably, the pipa, gifted by Steve Vai, was used in “Aqueous Transmission,” creating a distinctive track in Incubus’s history.

In summary, Mike Einziger’s guitar selection reflects a balance of “playability” and “musical uniqueness,” allowing him to adapt his choices to different musical contexts. This flexibility contributes to the expansive soundscape characteristic of Incubus.

Effects and Pedalboard Setup

One of the most critical elements of Mike Einziger’s sound is his effects pedalboard. Since he consistently keeps his Mesa/Boogie amplifiers set to clean, the character of distortion, space processing, and tone is primarily generated through effects. As a result, his pedalboard has evolved over time, incorporating a diverse array of pedals.

Notably, he employs two Boss PH-2 Super Phasers, each set to different depths of modulation. This unique approach is evident in tracks like “Megalomaniac,” “Vitamin,” and “Are You In,” where one phaser creates a deep swirl while the other adds a subtle touch. The Boss OC-2 Octaver is another essential pedal that has been a staple throughout his career, particularly in songs like “The Warmth” and “Nice To Know You,” where it reinforces the low-end frequencies.

In terms of spatial effects, the Boss RV-3 Reverb/Delay was frequently used during the early to mid-period, creating the swell at the beginning of “The Warmth.” In recent years, he has added the Electro-Harmonix Deluxe Memory Man and Holy Grail Nano to achieve deeper reverb and delay effects. The MXR EVH Phase 90 and EHX Micro POG have also been integrated into his setup, providing a unique dimensionality in tracks like “Warning” and “Nowhere Fast.”

For filtering effects, the DOD FX-25 Envelope Filter and Electrix Filter Factory were prominent during the “SCIENCE” era. He also utilized the rare DOD FX-13 Gonkulator, a ring modulator that introduced experimental sounds to his live performances. Additionally, he employs a wah pedal (Dunlop 95Q) and the Hughes & Kettner Tube Rotosphere (Leslie simulator) to create organ-like tones.

In terms of distortion, he uses a variety of pedals, including the Digitech Tone Driver, DOD Overdrive Preamp/250, and MXR EVH 5150 Overdrive, adjusting the distortion based on the amplifier setup. This versatility allows him to recreate a wide range of tones, from the aggressive sound of “Pardon Me” to the clean tones of “Wish You Were Here.”

Other essential effects include noise reduction (Boss NS-2), equalization (Boss GE-7), power supply (Voodoo Lab Pedal Power), selector (Whirlwind Selector), and tuners (Boss TU-2/TU-3, Korg DTR). Notably, he places the tuner at the end of the pedal chain for stability and uses it as a buffer, demonstrating practical ingenuity.

In summary, Mike Einziger’s pedalboard centers around “spatial processing + filtering + diverse drive,” which he skillfully combines to create the distinctive soundscape of Incubus. While there may be some variations in his setup over time, the essence of his sound design lies in the principle of “painting a soundscape with pedals rather than relying solely on amplifiers.”

Tone Settings, EQ, and Mixing Approaches

Mike Einziger’s sound design encompasses not only equipment selection but also meticulous EQ settings, effects combinations, and mixing techniques. His philosophy revolves around keeping amplifiers clean while creating distortion and texture through effects, necessitating precise setups to achieve his desired sound.

When setting EQ on amplifiers like the Mesa/Boogie Tremoverb or Dual Rectifier, Einziger tends to keep gain low, slightly reducing bass, emphasizing mids, and keeping treble modest. This approach ensures clarity even when layering spatial effects, allowing the guitar to stand out within the band ensemble. When blending with Marshall Plexi or JCM800, he retains a thicker mid-low range, complementing the Mesa side for a fuller sound.

For specific song settings, in “The Warmth,” he sets the RV-3’s reverb/delay to a deeper level, using an envelope filter and Rotosphere to create dimensionality. By adjusting the guitar’s volume, he can seamlessly transition between ambient swells and powerful backing. In “Megalomaniac,” he combines the OC-2 with a phaser to reinforce the low end while adding modulation, resulting in a heavy yet ethereal tone.

Live, Einziger avoids frequent channel switching, keeping the amplifier clean. Instead, he switches between overdrive, octave, and wah pedals to create dynamic expressions. The OC-2 is positioned after the compressor, balancing harmonics and thickness. Additionally, placing the tuner at the end of the effects chain serves as a buffer, showcasing practical ingenuity.

In studio recordings, he often opts for “blending multiple amps” over double tracking to achieve thickness. By recording both Mesa and Vox simultaneously and panning them in the mix, he creates a wide stereo image while maintaining a solid center. This approach is evident in signature tracks like “Drive” and “Wish You Were Here,” where the spatial quality is pronounced.

For EQ processing, both live and in mixes, he lightly cuts frequencies around 250Hz to 400Hz while boosting around 2kHz to ensure his tone doesn’t get buried within the band. Additionally, he adjusts the pre-delay of reverb to avoid interference with vocals. This “subtracting EQ” technique allows him to maintain clarity even with multiple effects in use, showcasing Einziger’s unique approach to sound design.

From a PA engineer’s perspective, his guitar sound is characterized by “expansion and depth.” Thus, it is common to capture a clean signal via DI (direct box) and blend it with mics during live performances. This method ensures that Incubus’s soundscape is faithfully reproduced for both the stage and the audience.

In conclusion, Mike Einziger’s sound design is built on the combination of “clean-based amplifiers,” “diverse tonal changes via pedals,” “ensuring clarity through EQ,” and “blending amps in mixes.” These elements come together to create the distinctive, ambient rock sound that defines Incubus.

Affordable Alternatives to Recreate the Tone

Mike Einziger’s gear often includes high-end models from Mesa/Boogie, PRS, and vintage Fender, making it challenging for many to replicate his sound without a significant investment. However, by understanding the essence of his sound design, it is possible to achieve a similar “Incubus-like” tone using relatively affordable gear. Here, we will introduce alternative equipment that beginners and intermediate players can easily adopt, typically priced between $100 and $500.

Starting with amplifiers, while acquiring the sound of Mesa/Boogie or Vox AC30 may be difficult, options like the Boss KATANA series or Blackstar HT Club series provide solid clean tones and pair well with pedals, making them suitable for Einziger-style setups. The KATANA, in particular, excels with spatial and distortion effects, making it a versatile choice for both live and practice scenarios.

For guitars, the Fender Squier Classic Vibe series offers Jazzmaster and Telecaster models that closely resemble Einziger’s choices. Particularly, the Jazzmaster can get quite close to the tones of the “Light Grenades” era when equipped with Seymour Duncan pickups. Squier models are known for their excellent cost-performance ratio, making them accessible for students and beginners.

Effects are crucial in discussing Einziger’s sound design. Essential pedals include phasers, octavers, and reverb/delay. The MXR Phase 90 can achieve the phasing effects found in tracks like “Warning” and “Nowhere Fast,” while the Boss OC-5 serves as a reliable alternative to the OC-2 for low-end reinforcement. For reverb/delay, the Boss RV-6 and Electro-Harmonix Canyon Delay are recommended for their multifunctionality and affordability.

Moreover, for spatial processing, introducing a multi-effects unit like the Line 6 HX Stomp can cover delay, reverb, and modulation in one device, offering a cost-effective way to recreate the ambient sound. This is particularly wise for beginners struggling with pedalboard construction.

For overdrive, options like the Boss SD-1 or MXR Distortion+ can help approximate Einziger’s sound. While they may not fully replicate the thickness of Mesa, emphasizing the midrange can help achieve the “Incubus-like” airy distortion. For tuning and buffering, the Boss TU-3 is a solid choice, as Einziger has used the TU-2/TU-3 for years, making it a reliable addition to any setup.

In summary, the key is to focus on “solid clean amplifiers,” “the combination of phaser + octaver + reverb/delay,” and “midrange-focused EQ processing.” By adopting this approach, even without investing in expensive Mesa or PRS gear, players can get quite close to Einziger’s sound.

Summary and Conclusion

Reflecting on Mike Einziger’s sound design, its essence lies in “not relying on amplifiers but focusing on pedal and playing style-based sound design.” While he utilizes classic amplifiers like Mesa/Boogie and Marshall, he maintains a clean setting, employing phasers, octavers, reverbs, and delays to create the unique ambient world of Incubus.

This approach emphasizes “expanding the sonic space” rather than merely “filling the gaps.” By treating the guitar not just as a riff instrument but as a means to construct soundscapes akin to environmental sounds or synthesizers, he maintains a consistent sonic identity across delicate tracks like “Drive” and “Wish You Were Here,” as well as aggressive songs like “Megalomaniac” and “Pardon Me.”

Moreover, his sound design is deeply intertwined with his physical circumstances (carpal tunnel syndrome), leading to the natural selection of comfortable guitars like the Music Man Albert Lee HH and lightweight Telecasters. This highlights the important message that “comfortable playing leads to good sound.” In essence, gear is not just a tool for producing sound but a bridge connecting one’s body and musical expression.

To recreate his sound, it is not about acquiring expensive vintage gear but rather adopting the mindset of “layering spatial and filtering effects over a clean foundation.” By combining phasers, octavers, and reverb/delay while focusing on midrange EQ, one can achieve a tone with the expansive qualities characteristic of Incubus. Furthermore, practicing Einziger’s philosophy of maintaining clean settings and generating distortion through pedals can bring players closer to his authentic sound.

Finally, it is crucial to emphasize that the core of Mike Einziger’s sound design lies not merely in “gear combinations” but in his “musical attitude.” He continually views the guitar as a new means of expression, even incorporating unconventional instruments like the pipa and sitar. This flexible mindset is what has led Incubus’s music to become a unique presence in the music world.

For readers aspiring to replicate his sound, it is essential to prioritize the perspectives of “how to fill the sonic space” and “what role to play within the band.” With this mindset and the introduction of key effects like phasers and octavers, along with thoughtful EQ adjustments, achieving a “Mike Einziger-style sound” is entirely feasible.

In summary, what can be learned from his sound design is more about “thought” than “technique.” Treating the guitar not just as a lead instrument but as a supporting soundscape for the entire music is the first step toward approaching the sound of Incubus.