[Terry Balsamo] How to Recreate the Evanescence Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Terry Balsamo, known as the guitarist for Evanescence, captivates fans with his heavy, majestic riff work intertwined with melodic phrases. His sound during the albums “The Open Door” and “Evanescence” showcases thick guitar riffs and leads that form the core of the band’s identity.

Balsamo’s sound design is characterized by “powerful low-end,” “thick distortion,” and “dark, ethereal tones.” He utilizes high-gain amplifiers like Mesa Boogie and Diezel to construct rhythm guitars that stack like a wall. Meanwhile, clean parts effectively incorporate spatial effects and acoustic guitars, supporting Evanescence’s unique gothic metal atmosphere.

In iconic tracks like “Call Me When You’re Sober,” “Lithium,” and “Sweet Sacrifice,” heavy riffs played on a seven-string guitar coexist with beautiful clean arpeggios, perfectly embodying his playing style.

Additionally, to highlight Amy Lee’s piano and vocals, Balsamo emphasizes an “ensemble-focused” approach rather than flashy solos, providing a unique depth to Evanescence’s music. The reason his sound garners attention lies not just in heaviness but in the carefully chosen gear and settings that underscore a gothic and ethereal world. By understanding the combination of amps, guitars, and effects detailed below, you can get closer to Terry Balsamo’s sound design.

▶ Search official YouTube videos of Evanescence

List of Amplifiers and Features

At the core of Terry Balsamo’s sound design is the high-gain amplifier that supports his intense heaviness. Particularly after joining Evanescence, his sound has been centered around the Mesa Boogie Triple Rectifier. This model is synonymous with modern high-gain amps, balancing deep lows with defined distortion. It is frequently seen in live footage and studio photos, forming the foundation of Balsamo’s thick rhythm sound.

Notably, Balsamo does not rely solely on Mesa Boogie but also combines it with high-end German amps like Diezel and Bogner. This combination mixes the aggressive sound pressure of Mesa Boogie with Diezel’s tight, modern low-end and Bogner’s warm, three-dimensional midrange, creating a sound that can be described as a “metal wall.” This setup ensures that the guitar maintains its presence amidst the thick arrangements that include Amy Lee’s piano and strings.

Regarding cabinets, the Mesa Boogie 4×12 Rectifier Cabinet (Straight/Traditional) has been confirmed in multiple live photos. Its pairing with the Rectifier head is a classic choice, offering a compelling combination of powerful low-end and clarity. There are also reports of using Line 6 cabinets as supplementary options, suggesting a flexible approach to live settings and PA requirements.

These amplifier configurations allow Balsamo to achieve a sound that does not get muddled even in heavy riffs like “Call Me When You’re Sober” and “Sweet Sacrifice.” For songs where clean parts and backing nuances are crucial, it is likely he switched channels on the Bogner or Diezel to expand expressiveness. In particular, it is assumed that the natural tone of Bogner was utilized more effectively for clean tones than Mesa alone.

In summary, Terry Balsamo’s choice of amplifiers aims for a sound that matches Evanescence’s symphonic music through a “high-gain focus and a blend of multiple brands.” The confirmed gear is summarized in the table below.

As seen, Terry Balsamo does not depend on a single amplifier but forms his unique sound by combining Mesa with Diezel and Bogner. These combinations align well with Evanescence’s dark and symphonic music, making them a crucial element of his sound design.

Types of Guitars Used and Features

Terry Balsamo has used a variety of guitars depending on the era and nature of the songs. Before joining Evanescence, he had a long-standing love for the Ibanez RG series, including models like the RG570, RG2570 Prestige, RG920, and the seven-string RG1527Z, which are essential to his playing style. The use of the seven-string model is particularly significant for enhancing the low-end and adding heaviness to the music.

Charvel guitars are also a signature choice for Balsamo. Notably, the Warren DeMartini signature models (Blood & Skull, Cross Sword) have been confirmed for live use, offering aggressive looks and sharp tonal clarity. He has also used Custom Shop San Dimas and San Dimas Style I HH (in Snow White and Gray) to achieve a more modern and tight sound. Additionally, unique models like the Desolation Skatecaster SK-1/SK-3 have been spotted in photos.

Gibson guitars are another notable aspect of his setup, with the Les Paul Custom (White) and Standard models known to be used in recordings. These were introduced into live performances based on the producer’s preference, adding thickness to Evanescence’s dramatic sound. The Explorer seven-string (Studio) and Dethklok “Thunderhorse” have also been confirmed for some studio work, broadening his sound approach for different songs.

For acoustic performances, Balsamo has used Ibanez acoustic guitars during ballads and acoustic sets. He has also incorporated the PRS SE Baritone Mike Mushok model, contributing to the sound with the unique low-end of the baritone guitar.

These guitars have been carefully selected to achieve the balance of “heavy riffs” and “ethereal clean tones” required in Evanescence’s music. The confirmed information from photos, interviews, and live footage is summarized in the table below.

Thus, Terry Balsamo utilizes a combination of Ibanez, Charvel, and Gibson guitars to pursue the appropriate sound for each song. The adoption of seven-string and baritone models is assumed to be a crucial element supporting Evanescence’s heavy atmosphere.

Effects and Pedalboard Setup

Terry Balsamo’s pedalboard is known for its practical setup, emphasizing functionality over flashiness. His sound primarily relies on high-gain distortion directly from the amp, but several devices are introduced for noise control, spatial effects, and enhancing stability during live performances.

The most notable piece is the “T.C. Electronic G-System,” frequently seen during tours. This functions as a multi-effect and switching system, allowing for the control of amp switching and multiple effects in one unit. Given Evanescence’s songs often switch between riffs, clean tones, and arpeggios, such a system was essential on stage.

Additionally, to ensure stable power, he has incorporated the “Furman PL-Pro C Power Conditioner.” In large tours, addressing power issues and noise is crucial, making this a common choice in professional settings.

Among the simpler pedals, the “BOSS TU-2 Chromatic Tuner” has been confirmed, featuring a distinctive white casing. Following that, the “BOSS NS-2 Noise Suppressor,” also in white, is essential for his style of combining high-gain amps with seven-string guitars, serving as a crucial noise reduction tool.

Moreover, the “Dunlop MC401 Boost/Line Driver” is speculated to be used during leads or when clarity is needed. This boosts output during solos or emphasized phrases, allowing the guitar to stand out amidst the wall of band sound. For wah effects, he has utilized the “Dunlop Jimi Hendrix Signature Wah JH1D,” adding expression to specific songs or improvised lead phrases.

All these equipment choices are centered around maintaining “live stability” and ensuring “presence amidst thick sounds.” The confirmed gear is organized in the table below.

Overall, Terry Balsamo’s pedalboard is characterized by a “minimal yet efficient” setup. The core of his sound is created through the combination of amps and guitars, with pedals serving a supplementary role.

Tone Settings, EQ, and Mixing Approaches

Terry Balsamo’s sound design is characterized not just by high gain but by leaving “clarity within thickness.” Evanescence’s songs feature a wealth of sounds, including Amy Lee’s piano, strings, and synths, requiring the guitar to maintain balance within the band. Thus, his EQ and amp settings show careful consideration to enhance low-end while not overly cutting midrange frequencies.

When using the Mesa Boogie Triple Rectifier as the main amp, it is speculated that he often keeps the gain at around 60-70%. Raising the gain too high can squash the definition, making it logical to use a booster (like the Dunlop MC401) to push the sound forward only when necessary. The tone control is assumed to be set with low-end at 4-5 (50-60%), midrange at 5-6 (slightly emphasized), and high-end at 6-7, ensuring a balance between heaviness and clarity.

When using Diezel and Bogner, it is assumed that the tightness from Diezel complements the aggressive lows and highs of Mesa, while Bogner adds thickness to the midrange. Especially in live settings, mixing 2-3 amps creates a wall of sound pressure when processed through the PA. This allows for a thickness akin to double-tracking in real-time during songs.

In terms of EQ, during recordings, it is often assumed that engineers cut the low-end below 100Hz while tightening the 200Hz-400Hz range. Additionally, slightly boosting the 3kHz-5kHz range ensures that distorted riffs do not get buried in the mix, allowing them to coexist with Amy Lee’s vocals. This can be particularly heard in tracks like “Lithium” and “Sweet Sacrifice.”

For clean parts, it is likely that he switched amp channels or added spatial effects via the G-System to emphasize nuances. Short delays are used to widen the sound image, while reverb is kept subtle to maintain clarity without becoming overly wet. This approach ensures that clean tones do not get lost even when overlapping with piano and strings.

Moreover, during live performances, noise suppression using the BOSS NS-2 is crucial. With a seven-string guitar and high-gain settings, hum noise can increase significantly, so it is assumed that the NS-2 is set to “Threshold around 11-1 o’clock, Decay around 10 o’clock” to maintain a natural sound cut-off during performances.

Mixing-wise, the characteristic of rhythm guitars being hard-panned left and right is notable in recordings. Terry Balsamo is assumed to perform double-tracking accurately, achieving a thick guitar sound. Meanwhile, lead guitars and overdubs are placed closer to the center, considering harmony with Amy Lee’s vocals.

In summary, Terry Balsamo’s sound design can be distilled into the following points:

• High gain is based on Mesa, with multiple amps sharing sound roles.
• Low-end is emphasized, but the 200Hz range is tightened to prevent muddiness in the mix.
• Midrange is utilized to maintain presence, while high-end is boosted for clarity.
• Clean tones use spatial effects sparingly to maintain transparency.
• Noise control and boosters ensure stable sound during live performances.

Through these accumulated efforts, Evanescence’s “heavy yet ethereal” sound is assumed to be established.

Affordable Alternatives to Recreate the Tone

The gear that Terry Balsamo actually used, such as Mesa Boogie, Diezel, and custom Charvel models, is primarily professional-grade and quite expensive. However, to recreate the heavy and ethereal sound of Evanescence, it is not necessary to have the exact same gear. By selecting equipment that is relatively affordable, beginners and intermediate players can get close to his tone.

For amp simulators, BOSS’s “GT-1000 Core” or “ME-90” are strong candidates. These models feature high-gain amp modeling, capable of reproducing Mesa Boogie Rectifier tones. With built-in effects, they can perform multi-functional control similar to the G-System. The Line 6 HX Stomp is also a popular choice, offering modeling for Diezel and Bogner amps, allowing for thick sounds reminiscent of Evanescence.

Regarding guitars, mid-range models from the Ibanez RG series are optimal. Models like the RG370 or RG421 can be purchased for around $500-$600, featuring thin necks and high-output pickups that align with the modern metal playability Balsamo sought. For those looking to incorporate a seven-string guitar, entry-level models like the Ibanez RG7421 or Jackson JS22-7 are relatively affordable. Downtuning these will make it easier to recreate low-end riffs like those in “Sweet Sacrifice” or “Call Me When You’re Sober.”

For effects, the “BOSS NS-2” is a standard choice for noise reduction. This is equipment that Balsamo himself used and can be purchased for around $100. It effectively suppresses unnecessary noise in high-gain environments, bringing you closer to a professional sound. Additionally, using a booster like the “MXR Micro Amp” or “BOSS SD-1 Super OverDrive” will enhance clarity during solos.

The “Dunlop Cry Baby Standard” is an ideal entry-level wah pedal. While he used the Hendrix model, the basic sound character is similar, and the price is reasonable. To expand clean tones and arpeggios, utilizing a multi-effect pedal with reverb and delay (like the Zoom G2 Four) can help recreate an ethereal atmosphere.

Below is a summary of alternative gear that can help you build an Evanescence-like sound at a lower cost.

By combining this equipment, you can approach Evanescence’s ethereal and heavy sound at a reasonable cost. The set of Ibanez RG series + Line 6 HX Stomp + BOSS NS-2 is especially recommended as a practical configuration for beginners to intermediate players.

Summary and Conclusion

In summary, Terry Balsamo’s sound design embodies “a simple gear setup that achieves overwhelming heaviness and ethereality.” The high-gain amplifiers he has used, such as the Mesa Boogie Triple Rectifier, Diezel, and Bogner, are undoubtedly important, but the key lies not solely in the gear but also in his playing style and the role he plays within the ensemble.

For instance, his riff work is not flashy; instead, he creates a “wall of sound” through down-tuning and emphasizing low-end with seven-string guitars, along with precise double-tracking. This thick riff envelops Amy Lee’s vocals, piano, and strings, supporting Evanescence’s dark and gothic atmosphere.

Moreover, his approach to clean tones is distinctive. Rather than simply turning off distortion, he skillfully adds spatial effects to create a transparent resonance, enhancing the drama of the songs. This contrast between stillness and motion is particularly striking in ballads like “Lithium” and “Good Enough,” leaving a strong impression on listeners.

Equally important is the “minimalist” choice of effects and settings. By equipping only the essential tuner, noise suppressor, booster, and wah, while leaving complex switching to the multi-effects unit, he creates an environment that enhances focus on performance while improving live reproducibility.

If readers aim to replicate his sound, the key points are to focus on “high-gain sounds that dominate the low-end” and “transparent clean tones.” Incorporating boosters and noise reduction will help achieve a tighter, more practical sound.

Ultimately, Terry Balsamo’s sound design is established more by “clarity of roles” and “consideration for the ensemble” than by the opulence of gear. For players looking to copy Evanescence’s songs or aim for his sound, understanding this philosophy will provide the greatest insight.

In the end, what supports his sound is the “thick wall-like riffs and the contrast of transparent cleans that highlight them.” By being mindful of this in gear selection and performance, you should be able to get significantly closer to an Evanescence-like sound.