Techdeth
RESIDENT ROCK PROFESSOR
Yes this is Marshalls . Idk what they use in the video
ChurchHill
Well-known member
Not really what I think of when I think Marshall. The core tone isn't terribly different than Slayer's, though; mid heavy with rounded off lows/highs. This is more gated, though, and sounds like there's a lot of EQ and some compression going on after the preamp, if not after the mic/speaker. Wouldn't surprise me if it was an IR. Boosted 2203 with a gate and 10-band EQ in front, 31-band EQ and compressor in back should get you close.
RaceU4her
Well-known member
It wasn’t an IR in 1994.
I don’t think the tones are all that spectacular, but it fits what they were doing at the time
ChurchHill
Well-known member
Didn't know when that came out. Sounds like a lot of post processing. Yeah, fits what they were doing, but I agree, not really spectacular, either.
DrewJD82
Well-known member
Ugh….the days you could find Ibanez Universes and JCM800’s in pawn shop for under $600.
Me in 1997-
“Korn fucking sucks, you can’t even fucking tell what the fuck they’re playing because it’s a wall of mushy noise bullshit. I’m pretty sure they just slam their hands down on the guitar and call it good. This isn’t even music, why the fuck would I waste my time listening to shit like this when I want to be a better guitar player, not a shitter one?”
Me in 2026-
Fuck yeah. I still don’t like the production on the first two albums but thoroughly realize how important and integral it was to their sound when they came out. My idea of a great tone is one that serves the song the best and in this case, these are stellar fucking tones, I just wouldn’t want anything to do with them for my own music or playing. Or any of their other albums.
When they put out Follow The Leader and I could actually make out what they were playing, that’s when I jumped on the Korn train.
Got to chat with Michael Beinhorn a few months back about his work on the album they did with him, that’s one cool ass motherfucker. I told him I thought he was pranking the band by getting them to put “Alone I Break” on the album because I literally laughed my ass off when I first heard that song, “FUCKIN’ SELL OUTS!!! HAHAHAHHAHAHAHAHHA”, it was such a poppy chorus. That’s actually the song that made me realize that there’s a difference between being a metalhead and being a songwriter.
I pretty much said that to him word for word and he replied that Davis actually wrote that song on his own before they started the album and when he finished tracking it in the studio for the album, him and Beinhorn went into Davis’ car to listen to it and Davis was trippin’ out, not believing he was capable of writing a song like that and had an emotional reaction to hearing it.
That’s precisely why I give so much pushback when people are quick with the “sell out” thing; I thought for sure that song existed just to get more fans of the band and never would have thought it was actually a deep and meaningful song to the dude who actually wrote it.
Me in 1997-
“Korn fucking sucks, you can’t even fucking tell what the fuck they’re playing because it’s a wall of mushy noise bullshit. I’m pretty sure they just slam their hands down on the guitar and call it good. This isn’t even music, why the fuck would I waste my time listening to shit like this when I want to be a better guitar player, not a shitter one?”
Me in 2026-
Fuck yeah. I still don’t like the production on the first two albums but thoroughly realize how important and integral it was to their sound when they came out. My idea of a great tone is one that serves the song the best and in this case, these are stellar fucking tones, I just wouldn’t want anything to do with them for my own music or playing. Or any of their other albums.
When they put out Follow The Leader and I could actually make out what they were playing, that’s when I jumped on the Korn train.
Got to chat with Michael Beinhorn a few months back about his work on the album they did with him, that’s one cool ass motherfucker. I told him I thought he was pranking the band by getting them to put “Alone I Break” on the album because I literally laughed my ass off when I first heard that song, “FUCKIN’ SELL OUTS!!! HAHAHAHHAHAHAHAHHA”, it was such a poppy chorus. That’s actually the song that made me realize that there’s a difference between being a metalhead and being a songwriter.
I pretty much said that to him word for word and he replied that Davis actually wrote that song on his own before they started the album and when he finished tracking it in the studio for the album, him and Beinhorn went into Davis’ car to listen to it and Davis was trippin’ out, not believing he was capable of writing a song like that and had an emotional reaction to hearing it.
That’s precisely why I give so much pushback when people are quick with the “sell out” thing; I thought for sure that song existed just to get more fans of the band and never would have thought it was actually a deep and meaningful song to the dude who actually wrote it.
japetus
Awawa
Moderator
BALL TONNGUEEEE
ners
Well-known member
Didn't think a Marshall could be that dark, not a fan.
Snave
Well-known member
They only got good guitar tones when they stopped working with Ross Robinson. That album may be a Marshall, but it's not stock (it had a gain mod by who knows which modder) and it's not straight into the amp. They extensively used Big Muffs at Indigo Ranch.
valve
Well-known member
hate the old (modified?) big muff sound.
Korn is recto to me. Issues for me is the peak. somebody someone, my favorite song from them, is on that one.
untouchables is the turning point for me. thoughtless and hollow life are good and the super dense gain (VH4 i guess) is really cool on those tracks. rest sounds kind of solid state and like they are using the neck PU for rhythm.
Take A Look In The Mirror sucks (production and songs). Makes me want to sell my Diezel.
there is good stuff after that but it never was the same for me.
Korn is recto to me. Issues for me is the peak. somebody someone, my favorite song from them, is on that one.
untouchables is the turning point for me. thoughtless and hollow life are good and the super dense gain (VH4 i guess) is really cool on those tracks. rest sounds kind of solid state and like they are using the neck PU for rhythm.
Take A Look In The Mirror sucks (production and songs). Makes me want to sell my Diezel.
there is good stuff after that but it never was the same for me.
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