[Wayne Sermon] How to Recreate the Imagine Dragons Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Wayne Sermon, the guitarist for Imagine Dragons, supports the band’s sonic landscape with emotional guitar phrases and expansive soundscapes.
His sound design can be described as a bridge between rock and electronica, characterized by a wide range of expressions from shimmering clean tones to grand riffs and lead phrases.

In iconic tracks like “Radioactive,” “Believer,” and “Thunder,” the guitar serves as a foundation for the songs, akin to a synthesizer, while also delivering sharp attacks that make a strong presence.
To achieve this sound, Sermon utilizes multiple vintage Vox AC30 amplifiers and custom guitars from BiLT, along with a rich array of effects to meticulously craft his tones.

Moreover, his playing style emphasizes a combination of backing and atmospheric approaches. He skillfully employs delay and reverb to expand simple chord work, creating an overwhelming sense of scale even in arena-sized performances.
By prioritizing the overall atmosphere of the songs rather than overly technical playing, he supports the sound balance of a globally recognized pop-rock band.

Thus, Wayne Sermon’s sound design is not merely about “guitars for guitarists,” but rather “sound design that enhances the music.” Understanding his gear and approach provides significant insights for guitarists looking to emulate Imagine Dragons.

▶ Search official YouTube videos of Imagine Dragons

List of Amplifiers and Features

The backbone of Wayne Sermon’s sound is undoubtedly his collection of Vox AC30 amplifiers. He owns several vintage models from the 1960s (such as ’64, ’66, and ’67) and has been confirmed to use them in a Wet/Dry/Wet configuration on stage.
His technician has noted that he uses models equipped with Celestion Blue speakers, which provide a bright and articulate clean tone that underpins the sound of Imagine Dragons.

The AC30 is known for its bright and punchy tone, making it less likely for the sound to get buried in larger venues. Sermon particularly relies on clean-based amplifiers as he employs stereo delay and reverb effects.
This has led him to sometimes line up three vintage AC30s, although he has mentioned in interviews that he has switched to more reliable newer models in recent years.

In the studio and at some live performances, he also uses the Friedman Smallbox 50, paired with a 65 Amps “Whiskey” cabinet to achieve a more modern and thicker distortion.
Additionally, for the recording of “Loom,” he reportedly used a 1955 Fender Tweed amp, infusing a warm and classic sound into the tracks.

Sermon’s choice of amplifiers clearly reflects a distinct direction: “vibrant and expansive on stage,” while “warmth and depth are prioritized in the studio.” Each amplifier is selected to match the scale of the song or venue, demonstrating his uncompromising approach to sound design.
However, not all models are confirmed, and some assumptions are made based on his statements and photographic evidence.

Types of Guitars Used and Features

Wayne Sermon’s guitar collection is uniquely centered around custom models from BiLT. Notably, the “BiLT Volaré” features gold plating and is equipped with two Lindy Fralin Twangmaster pickups, frequently seen as his main guitar in numerous live performances.
He uses Elixir .011–.052 strings and Dunlop 0.88mm nylon picks, achieving both a shimmering, pronounced clean tone and tight riffs.

Another impressive model is the “BiLT Relevator,” which comes in Shoreline Gold and includes built-in MXR Carbon Copy and BiLT Fuzz effects, along with a Sustainiac pickup in the neck. On stage, he attaches a Pedaltrain Volto power supply to the strap, creating a unique system that combines expandability and convenience. This guitar is often used in half-step down tuning, producing a rich and ethereal sound.

Additionally, the BiLT baritone prototype, used in A tuning, is noteworthy. It features a Mastery bridge and tremolo, equipped with two Bare Knuckle Mule pickups. He uses Elixir .012–.068 strings, adding a dark and heavy resonance. The heavy low-end riffs that occasionally appear in Imagine Dragons’ songs are likely derived from this guitar.

On the acoustic side, he favors the Gibson J-35 (in half-step down tuning) and the LG-2 American Eagle (in standard tuning), both equipped with LR Baggs M1 pickups for live performances and recordings. These guitars are essential for adding warmth and an acoustic texture to the band’s music.
Moreover, during the recording of the latest album “Loom,” he also used a 1964 Fender Stratocaster and a 1958 Gibson Les Paul Goldtop, incorporating traditional rock tones into modern arrangements. The Les Paul Goldtop, in particular, has been confirmed as one of his main instruments in recent live footage from 2024.

In summary, Sermon pursues uniqueness through custom guitars while also integrating classic vintage instruments for foundational tones. His live performances are primarily centered around BiLT models, while vintage Fenders and Gibsons are favored in the studio, indicating a flexible approach tailored to musical demands.

Effects and Pedalboard Setup

Wayne Sermon’s pedalboard is complex and designed to reproduce a wide array of sounds, suitable for arena-sized stages.
At the center of his setup are overdrive pedals like the Klon Centaur and Aion Refractor (a Klon clone). By adding a slight distortion to his clean tone, he creates a nuanced sound that maintains presence without overpowering the overall song.

He also uses classic overdrives like the Analog Man King of Tone and Paul Cochrane Timmy to vary the texture for different songs.
For noise reduction, he employs the ISP Decimator II, effectively cutting out unwanted noise during high-gain situations on large stages.

For spatial effects, he uses the Eventide H9 and Eventide 7600 rack unit, allowing for high-quality control of delay, reverb, and pitch-shifting, achieving the signature “synth-like and three-dimensional guitar sound” of Imagine Dragons.
Additionally, the Electro-Harmonix POG2 and Superego are used to generate synth-like sounds, while the Malekko Vibrato is incorporated into loops to create modulation effects.

In terms of modulation, he has the Voodoo Lab Micro Vibe, J. Rockett Mark Sampson Hightop, and Wampler Ego Compressor on his board. Furthermore, the DigiTech Whammy and Source Audio Programmable EQ expand his tonal range, allowing for various textures depending on the song.
These effects are controlled comprehensively by the RJM Mastermind GT/22, enabling real-time manipulation of tones with an expression pedal.

Notably, the BiLT Relevator guitar itself includes built-in MXR Carbon Copy (delay) and BiLT Fuzz, allowing for unique effects without relying on external pedals. The combination with the Sustainiac pickup produces a fantastical and infinitely sustaining sound that resonates impressively during live performances.
This setup is continually evolving, and based on interviews and photographic evidence, it is assumed that “expandability and layered sound” are key themes in his approach.

Tone Settings, EQ, and Mixing Approaches

Wayne Sermon’s sound design is not merely about the combination of guitar and amplifier; it encompasses a comprehensive approach that includes mixing and PA considerations. Imagine Dragons primarily performs in arena-sized venues, and the guitar sound is designed as “part of the overall band sound.”
Therefore, his sound design involves layered techniques such as EQ adjustments, amplifier channel switching, and spatial effect layering.

Regarding amplifier settings, when using the Vox AC30 as a base, it is often utilized in a range from clean to crunch. By raising the treble and slightly cutting the bass, he maintains a clear tone even in large venues. The midrange is kept moderate, while adjustments to the midrange are often made with subsequent effects or EQ.
In tracks like “Believer,” which features a percussive riff, he tends to keep the amp’s drive low, emphasizing the attack with a compressor and EQ.

The use of EQ is particularly tied to the arrangement of each song. In synth-driven tracks like “Radioactive” and “Thunder,” the guitar is set to suppress low frequencies while emphasizing high mids to serve as the “edge of the rhythm.” Conversely, in ballads like “Demons,” settings are adjusted to highlight the low end, enhancing the warmth of the acoustic guitar.

Additionally, Sermon places great importance on spreading delay and reverb in stereo, working closely with PA engineers to finely adjust the positioning and wet/dry ratio. Especially with a Wet/Dry/Wet amplifier setup, the central dry signal serves as a foundation while spatial effects are deployed across the left and right amplifiers. This creates a “wall of sound” that envelops the entire venue.

In recording, he diversifies the character of the sound by using vintage amps and classic Gibson/Fender models for different tracks. For example, in the recording of “Loom,” he recorded shimmering arpeggios with a Fender ’64 Stratocaster and layered thick leads with a Gibson Les Paul Goldtop. By adjusting EQ and compression during the mixing stage, he ensures a “moderate presence” that doesn’t get buried under synths and drums.

For live settings, the RJM Mastermind GT/22 system control allows for instant switching between presets. This design enables him to replicate different EQ and effect combinations for each song. For instance, in “Whatever It Takes,” he may use a high-gain setting, while in “On Top of the World,” he might switch to a light overdrive and stereo delay, showcasing varying tonal roles for each track.

Ultimately, the essence of Wayne Sermon’s sound design lies in creating a three-dimensional sound within the overall band sound rather than having the guitar stand out on its own. His approach resembles that of a “sound designer” rather than just a guitarist, which aligns with his philosophy of “choosing the sounds that the song requires.”
This layered setup and EQ processing are essential elements that support the modern and grand sound of Imagine Dragons.

Affordable Alternatives to Recreate the Tone

Wayne Sermon’s sound design features high-end gear like BiLT custom guitars, vintage Vox AC30 amplifiers, and Eventide rack equipment, which can be expensive and hard to obtain. However, it is unrealistic to acquire all of these, so here are some affordable alternatives (approximately $100–500, with a maximum of $1,000) that can help recreate the sound for the average guitarist.
By combining these pieces of gear, you can get closer to the grand and synth-like sound of Imagine Dragons.

For amplifiers, if you want to replicate the shimmering clean tone of Sermon’s Vox AC30, the “Vox AC15C1” is a budget-friendly option. While it is 15W instead of 30W, it provides sufficient volume for home use or small gigs. With a Celestion speaker, it can also reproduce bright top-end tones.

When it comes to guitars, while it is challenging to find a direct alternative to BiLT, versatile options like the “Fender Player Telecaster” or “Yamaha Revstar” can provide modern and manageable tones. The Telecaster, in particular, excels in mid to high frequencies, making it compatible with stereo delay and reverb for an Imagine Dragons-like spatial feel.

For effects, instead of the expensive Eventide H9 multi-effects unit, consider using the “Zoom G3Xn” or “Line 6 HX Stomp,” which can reproduce a wide range of tones. These units cover reverb, delay, and pitch-shifting, and they also support stereo output, making it easier to get closer to Sermon’s expansive tone.

For overdrive, options like the “BOSS OD-3” or “Fulltone OCD” are sufficient. They can create light distortion that maintains a clean sound, replicating the “crunch” often found in Imagine Dragons’ songs. If you want to add synth-like overtones, consider adding the “Electro-Harmonix POG Nano” as a substitute for the POG2.

In summary, when using affordable alternative gear, focus on three key points: “make extensive use of spatial effects,” “keep distortion light,” and “utilize stereo output.” By keeping these in mind, you can get much closer to Wayne Sermon’s sound design. While perfectly replicating his sound may be challenging, you can achieve a level that captures the essence during live performances or home practice.

Summary and Conclusion

Wayne Sermon’s sound design transcends the role of a mere guitarist, embodying the “sound design of the entire band.” Imagine Dragons’ music prominently features synthesizers and programmed rhythms, leading the guitar to be designed as a “layer that complements the song” rather than dominating the mix.
Thus, his gear and settings consistently fulfill the role of “blending into the band sound while standing out when necessary.”

Specifically, he establishes a unique tone through BiLT custom guitars and balances brightness and thickness using vintage Vox AC30 and Friedman Smallbox 50 amplifiers. Additionally, by skillfully combining spatial and pitch effects like the Eventide H9 and POG2, he transforms the guitar into a “synth-like sound source.” This versatility allows him to adapt from the expansive sound of “Radioactive” to the aggressive riffs of “Believer.”

His approach to using different gear for stage and studio is also noteworthy. In the studio, he opts for classic vintage guitars like the Fender Stratocaster and Gibson Les Paul Goldtop, layering different textures for each track. Conversely, in live settings, he prioritizes reliability and functionality with BiLT customs and multi-effects, creating a three-dimensional sound that envelops the audience.
For Sermon, the question of “which sound is optimal” is always dependent on the song and situation, reflecting a flexible approach rather than a fixed gear set.

In conclusion, the essence of Wayne Sermon’s sound design lies in his role as a “designer of the band sound” rather than merely a “guitar hero.” For readers looking to replicate his sound, it is more important to focus on the balance within the overall music rather than just acquiring high-end gear like BiLT or AC30.
By “retaining only the necessary sounds and cutting out the unnecessary,” “using clean tones as a foundation and expanding with spatial effects,” and “creating synth-like layers,” you can get closer to Sermon’s approach.

Behind the grand and modern sound of Imagine Dragons lies Sermon’s thorough philosophy of sound design. Learning from his approach can lead to a fundamental perspective on “how to support the song,” beyond merely imitating gear.