[Phil Collen] How to Recreate the Def Leppard Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Phil Collen, the guitarist of Def Leppard, has been a pivotal figure in the band’s sound since joining in 1982. His unique style blends tight, melodic lead playing with the powerful essence of hard rock and the catchy elements of pop. This fusion has played a significant role in the band’s massive hits following their iconic album, “Hysteria.”

Collen’s guitar work showcases technical elements like rapid-fire picking and light-hand techniques while maintaining a production-oriented approach that seamlessly integrates with the band’s overall sound. Particularly since the late ’80s, he has emphasized clarity of tone and extended sustain, continually incorporating cutting-edge gear such as the Jackson PC-1 signature model and the Fractal Audio Axe-Fx.

Notable tracks like “Photograph,” “Pour Some Sugar On Me,” and “Hysteria” exemplify his signature sound, characterized by thick chorus processing and synth-like guitar tones. Collen’s approach to sound design involves not just distortion but also compression and multi-effects, creating a sound that expands like a “wall” of sound.

In recent live performances, he has utilized digital multi-effects (Fractal Audio Axe-Fx III) to faithfully reproduce past recording sounds while adapting to modern mixing environments. Understanding Phil Collen’s sound design is crucial for grasping the evolution of arena rock from the ’80s to the present.

In this article, we will systematically organize his amplifier, guitar, and effects usage, thoroughly explaining the EQ settings required for sound recreation and affordable alternatives for beginners.

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List of Amplifiers and Features

Phil Collen’s amplifier journey reflects the evolution of guitar technology, transitioning from analog head amps in the ’80s to rack systems in the ’90s, and now to fully digital modeling. His sound design consistently aims for a “thick wall of sound” while ensuring stability during live performances, which has influenced his amplifier choices.

During the recording of “Hysteria” in 1987, he primarily used the Scholz Rockman, developed by Boston’s Tom Scholz. The Rockman’s unique compression and spatial processing contributed to the “synth-like guitar sound” emblematic of the ’80s, becoming a defining element of Def Leppard’s musical identity. Following this period, he adopted the Randall RG100 and the rack-mounted Marshall JMP-1 preamp to achieve a more modern and stable tone.

In the ’90s and 2000s, Collen relied heavily on the combination of the Marshall JMP-1 and Randall power amps, further enhancing his sound with TC Electronic’s rack-mounted delay and chorus effects. The JMP-1’s MIDI control capability allowed for instantaneous program changes tailored to the setlist, making it an indispensable tool for live performances.

In recent years, he has fully transitioned to the Fractal Audio Axe-Fx II/III as his main amplifier system. By utilizing Fractal’s high-precision amp modeling, he can directly output studio album sounds to the PA, maintaining consistency across different venues by using full-range speakers like the Atomic CLR for stage monitoring. This setup enables him to deliver a high-fidelity sound that minimizes variations from venue to venue during Def Leppard’s world tours.

Additionally, there are mentions of using the Mesa/Boogie 20/20 Dyna-Watt as auxiliary equipment in his rack to enhance sound thickness and response. Although the presence of traditional amp heads has diminished in his current live setup, digital equipment faithfully reproduces the analog tones, allowing audiences to enjoy the classic Def Leppard sound as it was in the past.

In summary, Phil Collen’s amplifier system has evolved through three phases: “Rockman for recording,” “Marshall/Randall for live stability in the ’90s,” and “Fractal Audio for modern reproduction.” Each era’s characteristics are etched into his sound throughout his career, and understanding these phases can provide insight into his sound design direction.

Types of Guitars Used and Features

The core of Phil Collen’s sound is undoubtedly his signature model, the Jackson PC-1 series. Since the 1990s, the PC-1 has been the foundation for both live performances and recordings, capable of handling high gain while providing rich sustain. The built-in Sustainer circuit is a crucial element that defines his lead tone, allowing for feedback-like sounds that sustain beautifully even on single notes.

One notable model is the Jackson USA Signature Phil Collen PC-1 (30th Anniversary Splatter). This guitar features a mahogany body paired with a quartersawn maple neck, equipped with a DiMarzio Super 3 in the bridge and a Sustainer Driver in the neck. The heavy gauge strings (.013–.054) ensure a dense sound even in arena-sized performances.

Other variations include the PC-1 Satin Natural (featuring a quilted maple top and HSS configuration with HS-2 DP116) and the PC-1 Curly Maple neck version (equipped with DiMarzio X2N, Sugar Chakra, and Sustainer). Each of these models reflects Collen’s meticulous specifications, balancing clarity and sustain.

Noteworthy is the PC-1 “London 57”, created for his 50th birthday, and the PC Supreme series with its ultra-thick U-neck. These models utilize FU-Tone titanium parts to enhance tuning stability and direct sound. Since 2014, the X-Stroyer has also been introduced, delivering impactful performances with a powerful sound centered around Super 3 and X2N pickups.

Unique guitars include the 1986 model “Bela” (featuring a paint job inspired by horror actor Bela Lugosi) and the modified “Felix”, a 70s Japanese Strat. The latter was prominently used on the classic album “Hysteria,” later modified with a Floyd Rose and DiMarzio Tone Zone S pickups. Recently, he has also incorporated the Fender Acoustasonic Telecaster for acoustic songs in live performances.

Overall, Phil Collen’s guitar collection can be summarized as comprising “modern, sustain-rich tones from the Jackson PC-1 series,” “the shimmering quality of modified Strats from the ’80s,” and “special models for stage impact.” These choices support his wide range of tonal variations.

Effects and Pedalboard Setup

Phil Collen’s effects setup has evolved significantly over the years. In the ’80s, he primarily used a rack system, transitioning to a hybrid setup combining preamps and multi-effects in the ’90s, and now utilizing a fully digital system centered around the Fractal Audio Axe-Fx III.

Notably, the rack system during the “Hysteria” era featured the Scholz Rockman at its core, combined with the TC Electronic 1210 (Expander/Chorus/Flanger) and TC 2290 Digital Delay. This combination produced a thick, synth-like chorus and delay sound, establishing the “stadium rock” sound unique to Def Leppard.

Post-1990s, the rack setup evolved, incorporating the Marshall JMP-1 with MIDI-controlled effects. Systems like the RJM Mastermind GT/22 and RJM IS-84 allowed the technical team offstage to switch programs for each song, enabling instant recall of the required tones.

Since the 2010s, the evolution of digital multi-effects has led to the Fractal Axe-Fx II/III handling nearly all effects processing. This includes amp modeling, delay, chorus, compressor, sustainer, and reverb, establishing a direct output to the live PA system. This setup minimizes acoustic differences between venues while maintaining album-like sound fidelity.

For wireless systems, Collen has adopted the Shure Axient and UR4D+. The guitar input switching is managed through the Radial JX42, allowing efficient management of multiple signature models. Additionally, he uses Atomic CLR for stage monitoring, providing full-range sound for his guitar.

In summary, Phil Collen’s effects system has transitioned through three phases: “Rockman and TC rack for ’80s sound,” “JMP-1 linked rack for ’90s live adaptability,” and “Fractal Axe-Fx for modern full-digital operation.” Currently, nearly all effects are managed by Fractal, reflecting the evolution of gear while always aiming to maximize the impact of Def Leppard’s music.

Tone Settings, EQ, and Mixing Approaches

Phil Collen’s sound design is characterized by a mix-oriented approach that goes beyond merely combining “distortion” and “spatial effects.” Def Leppard has created a “wall” of sound by overdubbing dozens of guitar layers in studio albums, achieving a thick chorus work synchronized with the rest of the instruments. Within this context, Phil’s guitar is meticulously EQ’d to avoid clashing with Rick Allen’s drums and Joe Elliott’s vocals.

Starting with the basic distortion settings, Collen tends to emphasize the mids while cutting the lows and boosting the highs just enough to avoid harshness. This approach is designed for large arenas and stadiums, as excessive low-end can mask the bass and drums, while overly bright highs can overshadow the vocals. Therefore, his EQ typically aims to bring the midrange forward, ensuring it remains audible even when blended with other instruments.

Specifically, when using rack preamps like the Marshall JMP-1, he reportedly sets Treble to 6-7, Middle to 7-8, Bass to 3-4, and keeps Presence at a moderate level. This setup allows for the nuances of picking to shine through while avoiding the compression characteristic of high-gain settings. In modern live performances with the Fractal Axe-Fx III, he prepares presets for each song, fine-tuning EQ and compression according to the song’s style. For instance, “Photograph” features a bright, sharp tone, while “Hysteria” has a synth-like quality with deeper delay effects.

During recording sessions, the unique sound of the ’80s using the Scholz Rockman stands out. The Rockman’s signature compression tightens the midrange, creating a unique sustain that includes harmonics. Layering multiple takes allowed for a sound that approached the expansiveness of synths. Additionally, careful panning adjustments ensured that guitars did not mask each other, directly influencing the production quality.

In the mixing stage, producer Mutt Lange’s meticulous layering and EQ processing played a crucial role. Guitars may sound somewhat thin when isolated, but they function as “ideal thickness” when layered with other instruments. This approach is also reflected in Phil’s live settings, where digital multi-effect presets are adjusted based on the “sound completed by the band.”

Moreover, the use of the Sustainer is a distinctive aspect of his sound design. By activating the Sustainer circuit on the PC-1, he can control feedback during solo sections, achieving a “singing lead tone” that incorporates sustain and harmonics. This adds expressive qualities to his sound that cannot be achieved through EQ alone.

In summary, Phil Collen’s sound design is built on “midrange-focused EQ,” “depth through delay and chorus,” “sustain through the Sustainer,” and “design considering the overall mix.” Simply assembling the gear is not enough; understanding how to position one’s guitar within the overall sound of the band is essential for achieving a truly Def Leppard-like sound.

Affordable Alternatives to Recreate the Tone

Phil Collen’s signature gear, such as the Jackson PC-1 and Fractal Axe-Fx III, tends to be professional-grade and expensive. However, it is entirely possible for beginners and intermediate players to achieve a “Def Leppard-like thick sound” using relatively affordable gear. Here, we will introduce products available for around $100 to $500 that can effectively recreate his tone.

For amp simulators and multi-effects, the Line 6 POD Go and BOSS GT-1000CORE are excellent recommendations. While professional-grade options like the Fractal Axe-Fx may be out of reach, these devices are rich in amp modeling and spatial effects, making it easy to recreate the Def Leppard sound with a chorus and delay combination. Additionally, BOSS’s multi-effects units are intuitive to operate, making them user-friendly for live settings.

If you prefer standalone effects, consider the BOSS DS-1 Distortion or MXR Super Badass Distortion. To replicate the tight, high-gain tone similar to Collen’s DiMarzio Super 3 or X2N, these distortion pedals can serve as the foundation, combined with a compressor and delay for added atmosphere. The BOSS CS-3 is a standard compressor that can help even out the sound while extending sustain.

For spatial effects, the BOSS DD-8 Digital Delay and TC Electronic Flashback 2 Delay are great options. Both support stereo output, ideal for creating the expansive sound characteristic of Def Leppard. Furthermore, pairing these with the BOSS CE-2W Chorus can easily recreate the shimmering tones heard in “Photograph” and “Hysteria.”

While the Jackson PC-1 is the ideal guitar, more budget-friendly options include the Jackson X Series Soloist and Ibanez RG series. Many of these models come equipped with Floyd Rose tremolos, ensuring stability for the whammy techniques essential to Collen’s playing style. Additionally, swapping in DiMarzio pickups can bring you closer to his signature sound.

Lastly, for accessories, consider high-quality parts from Gotoh or Wilkinson as alternatives to the titanium components favored by Phil (like FU-Tone). These can enhance tuning stability and improve the core sound, helping you achieve a consistent tone on stage.

In conclusion, while fully replicating Phil Collen’s sound may be challenging, focusing on a basic setup of “high-gain pedals + compressor + delay + chorus” can get you quite close. Introducing a multi-effects unit can also simplify switching tones for different songs, allowing you to experience the arena rock sound reminiscent of Def Leppard.

Summary and Conclusion

Reflecting on Phil Collen’s sound design, its essence lies in achieving a presence that stands out while seamlessly blending into the overall sound of the band. Def Leppard has crafted grand soundscapes through the meticulous production techniques of producer Mutt Lange, layering guitars, vocals, drums, and synthesizers to create a rich auditory experience. Within this context, Phil’s guitar serves as a pillar that shapes a thick sound image while ensuring that his solos resonate.

The Sustainer featured in his signature Jackson PC-1 series is not merely an effect but a “tool for expression” closely tied to his playing style. The ability to control harmonics while producing a sustained lead tone emphasizes Phil’s unique musicality, adding the essential “emotional element” required in Def Leppard’s songs. Furthermore, the modern multi-effects operation centered around the Fractal Audio Axe-Fx III allows for faithful reproduction of classic albums like “Hysteria” and “Pyromania,” while also adapting to contemporary arena PA systems.

His EQ balance is “midrange-focused,” which not only brings the guitar forward but also considers the overall mix of the band. When attempting to replicate Def Leppard’s songs, it is crucial to avoid excessive distortion and instead focus on combining a compressor, delay, and chorus to emphasize “clarity” and “depth.” Particularly when playing riffs from “Photograph” or “Hysteria,” aiming for spatial depth rather than a dry sound will highlight Phil’s signature style.

For beginners, while the Jackson PC-1 and Fractal may be prohibitively expensive, combining BOSS or Line 6 multi-effects with more affordable models like the Jackson X Series or Ibanez RG series can yield impressive results. The key is not the price of the gear but the “direction of sound design,” and adopting a perspective that considers the overall sound image of the band is the first step toward achieving a truly Def Leppard-like sound.

In summary, Phil Collen’s sound design is a triad of “technique, gear, and production.” His technique includes rapid picking and tight articulation, while his gear provides expressive capabilities through the Sustainer and Fractal. The production aspect, inherited from Mutt Lange, involves meticulous layering of sounds. By understanding and incorporating these elements into your playing, you can experience the “Def Leppard world” beyond mere imitation.

If you are looking to play Def Leppard’s classic tracks, remember to focus not just on the “sound of the guitar alone” but on the “complete sound of the band.” In doing so, you will draw closer to the essence of his sound.