
It’s been 25 years since the downtuned guitar duo helped pioneer a sonic path that changed metal. Here they reveal how dealing with the loss of heroes and friends informed their 13th studio album, The Nothing.
There are big rock bands, and then there are bands that completely change the sonic landscape. Korn is definitely one of the latter. The moment this Bakersfield 5-piece’s first single, “Blind” hit the airwaves in the mid ’90s, grunge died, hip-hop was adopted by the heavy rock crowd, and Metallica was no longer the metal band to beat. From that point on, metal had to be down-tuned, groovy, and exceptionally twisted.
Their impact on the guitar was even more dramatic. The band’s earth-moving use of the Ibanez 7-string guitar brought more notoriety to the design than the instrument’s guitar-hero designer, Steve Vai, ever did. And when they paired these extended range instruments with Mesa/Boogie Triple Rectifiers, a gut-rumbling sound was pounded into the metal-guitar vernacular that has remained a standard to this day.
Korn enjoyed a meteoric rise to fame, but the sound they fearlessly pioneered, now called nu-metal, was soon aped by thousands of me-too bands who watered down its impact and created a tidal wave of backlash. Down-tuned riffing, emotionally frightening vocals, and hip-hop influence were now to be avoided like the plague. However, Korn—guitarist Brian “Head” Welch, guitarist James “Munky” Shaffer, vocalist Jonathan Davis, bassist Reginald “Fieldy” Arvizu, and Ray Luzier on drums (Luzier replaced David Silveria in 2007)—always seemed to be the one band to maintain their loyal fanbase and continue delivering the goods.
That’s thanks in large part to their willingness to experiment with their winning formula. After Brian “Head” Welch temporarily left the band in 2005, they began taking some chances with their music that kept fans scratching their heads. See You on the Other Side (2005) boasted a hefty list of co-writing credits with pop mega-hit writers like Matrix, responsible for such chart-topping artists as Shakira, Avril Lavigne, and Britney Spears. Then came 2011’s The Path of Totality, which blended in a massive dose of EDM heavyweights, including Skrillex, Noisia, and Excision.
Since then, Head rejoined his brothers in Korn, officially in 2013. And, with his help, they’ve begun steering the massive ship back to their beloved, gut-pummeling, emotion-wrenching sound.
“The first record with me back [Paradigm Shift] was more electronic-based with a little bit of heavy mixed in,” he remembers. “But [Serenity of] Suffering was heavy. And now this one’s even more. It’s been a process of making sure everyone can enjoy making music and enjoy Korn.”
Longing for heavy riffs was only part of what has brought the band roaring back. The last few years have also been filled with personal and professional tragedy, including the death of Davis’ ex-wife and some of their most celebrated peers and heroes in the music industry. Needless to say, they had plenty to write about when they hit the studio, and it all culminated in their most recent offering, The Nothing.
The album opens with Korn’s trademark bagpipes as Davis’ familiar roar mixes with his equally identifiable pain-filled cries. As soon as the album’s first full song, “Cold,” kicks into gear, it’s clear that Korn has returned. But it’s the album’s fifth track, “Idiosyncrasy,” that may be the best example of their current sonic incarnation. From the clicking slap bass and pulverizing metal tones to the “Got the Life”-like disco-drum beat in the chorus, everything that made the band great is on full display. And each of these elements has been given a shot of adrenaline, making them heavier, groovier, and more powerful than they’ve ever been.
Much of that power can be attributed to producer Nick Raskulinecz, who has built an impressive resume helping such iconic bands as Rush, Alice in Chains, and Mastodon maximize the impact of their unique attributes. And he does it while continually pushing the bands for more than even they knew they were capable of.
“He’s listening from a perspective, a vantage point, that really lends to being objective,” James “Munky” Shaffer points out. “He’ll say, ‘Let’s not do that. I feel like I’ve heard that from you guys, and it sounds typical for Korn.’ But we also don’t want people to forget who we really are.”
It’s safe to say The Nothing has achieved on both fronts: new, pulverizing production and plenty of Korn’s iconic character. Fans can always count on Korn to eventually return to their roots. But it’s been a long journey back this time around—one defined by loss, renewed friendships, and sonic discovery. But they’re finally here.
Munky and Head took time with Premier Guitar to reflect on this journey. In their familiar, laid-back, California way, they detail how everything that went into The Nothing still came down to coping with life through 7-strings and Mesa/Boogies.
The Nothing has some of Korn’s heaviest moments in years. What inspired a return to such an aggressive sound?
Head: What helped a lot on this record was Jonathan falling in love with heavy music again. We don’t want to make him do something he didn’t want to do. But he just fell in love with it again.
Then having Nick Raskulinecz onboard, he used to flip burgers and listen to “Here to Stay” at the burger joint. He’s like, “Dude, I know what I want to hear as a fan.” We were all on the same page. That’s how it ended up, this type of record.
Korn’s 13th studio album was produced by Nick Raskulinecz, who also produced Korn’s 2016 album, The Serenity of Suffering.
Munky: I also think, the tragic loss of some of our heroes recently, like Chester [Bennington], Chris Cornell, and Vinnie Paul. There’s frustration there. That frustration turns to anger, and the only way we know how to release it is through our music. These artists influenced us and influenced us to make it really aggressive. And it tears out your soul when you hear about these tragedies that could’ve been prevented. I think a lot of it came from there.
That also goes for Jonathan’s tragedy. All that pain and anger and not knowing what to do reflects in the music.
The album seems to combine all of your trademark elements, but they’re amplified to new levels. Is it important to keep those “Korn-isms” front and center?
Head: We don’t sit there and go, “We want to sound like this record.” We’re just going day by day. It’s like, “What do you want to hear today, John?” He’ll say, “Think Vulgar Display of Power today.” That’s what sparked that opening riff for “Idiosyncrasy.”
Munky: There’s definitely a balancing act that has to take place. Sometimes we get really comfortable doing what we do. Fieldy is really comfortable playing his bass that way. But sometimes, we have to pull some out and focus on the meat and potatoes of the song. It’s like, “Does it sound enough like Korn? We’ve done that so many times, maybe we don’t need to do that here.” That’s where Nick Raskulinecz really helps.
What is it like working with Nick, and how did he push you to try new things?
Munky: It doesn’t feel like work. It’s like, “Let’s go in and have some fun. Come on, man.” It’s not like clocking in and putting in the hours. We’d play until we’re burned each day. Jonathan has a different story because the lyrics are a whole ’nother animal. But for us, writing the music is, “Does it feel good? Are you happy with it?”
Head: Honestly, he’s another member of the band. And he’s a fan from back in the day. But we know that he’s leading the project with us. He is a producer, and we’re following his lead. But it goes both ways. If he comes in with an idea and we’re not feeling it, we just change it.
Head’s signature Ibanez KOMRAD was his go-to axe before switching to ESP in 2017. Head’s guitar approach is “melodic,” while he describes his guitar cohort Munky as a “mad scientist.” Photo by Annie Atlasman
How were you guys able to stretch out as guitarists on this album?
Munky: I just tried a lot of new chord voicings. I tried to spread those chord voicings out across different amps and get to a wider tone. I’d pull back the main rhythms and let the voicings in the chord use different amps and different sounds, placing it in the far-left speaker or the far-right speaker. I think that Jerry [Cantrell] actually did that on the [Alice in] Chains album. That’s what Nick said anyway.
Did you track each note of the chord separately?
Munky: Some of the stuff, yes.
Head: I’d say, messing with the Kemper for some atmospheric sounds. I’m the guy that loves simple notes that move you because of the sound and the atmosphere, like on “Falling Away from Me.” I’m just trying to think of what would move us live and what would move the crowd. “What are we going to do to make the crowd just go nuts?” That’s what we’re thinking on this record.
Your playing styles have always perfectly complemented each other. How would you define each other’s style?
Munky: I think through the years, our roles became more defined. He definitely has this great sense of melody. Whenever I start to play this weird chord progression, he has this gift of coming up with amazing melodies that lift and bring out notes that I didn’t even hear.
I tend to gravitate towards more of a textural sound. I’m always trying to make my guitar not sound like a guitar. I think a lot of people do that, because you push the boundaries of your guitar, whether it’s with pedals or whatever. I’m always reaching for those unconventional sounds, and he’s always reaching in towards the deeper melody. I think that’s why it works so well.
Head: He’s the mad-scientist type of guy. He sounds more intricate. His notes sometimes will be that trippy, Mr. Bungle, robotic feeling. I’m more melodic. Usually, we know who is playing what because that’s how we track it.
But live, Munky can play everything. All the stuff played on the record, he’s always taking the challenge. He wants the challenging parts, and I’m like, “Go right ahead!” [Laughs.]
It’s fascinating that neither one of you mentioned the heavy riffs, which is the core of everything.
Head: Heavy riffs could go to either one of us. Whoever has the riff has the riff. It’s probably about 50-50 nowadays. Nick brought in a couple riff ideas, too. I can’t remember which ones. Fieldy came in this record with a couple things.
When you guys hit the scene, you changed the rules of heavy metal. One of the most obvious was the use of 7-string guitars. And Ibanez has always been along for the ride. Is that still the case?
Munky: When you hear the Korn records through the years, 90 percent of every rhythm track is done on those Ibanez 7-strings. We’ve done a lot of signature stuff in the past. And now we’re about to release a new one. It’s going to be called the K720, marking our 20th anniversary of the first K7.
Wow, congratulations.
Munky: Thank you. It’s really cool. I’m so excited to let people see this guitar because I can’t believe it’s been that long. It’s a real honor to work with the company and for so long. They’ve been so loyal, and they’ve always tried to accommodate the crazy ideas that we have.
Guitars
ESP LTD SH-7 EverTune Brian “Head” Welch signature 7-string
ESP SH-7 EverTune custom signature 7-string
Amps
Mesa/Boogie Triple Rectifier
Bogner Shiva (studio only)
Diezel Herbert (studio only)
Kemper Profiler (studio only)
Mesa/Boogie Rectifier 4x12 with Celestion Vintage 30s
Effects
Chase Bliss Audio Tonal Recall
Boss CE-5 Chorus Ensemble
Boss RV-5 Reverb
DigiTech XP-100 Whammy-Wah
Various Uni-Vibe-style pedals
Strings and Picks
D’Addario XL 7-string sets (.010–.060)
Dunlop Tortex .73 mm
Guitars
Ibanez K7 signature 7-strings
Ibanez APEX200 signature 7-strings
Ibanez K720 20th Anniversary signature 7-string
Amps
Mesa/Boogie Triple Rectifier
Bogner Uberschall (studio only)
Diezel VH4 (studio only)
Kemper Profiler (live clean tones only)
Mesa/Boogie Rectifier 4x12 with Celestion Vintage 30s
Effects
Dunlop 105Q Cry Baby Bass Wah
DigiTech XP-100 Whammy-Wah
Various Uni-Vibe-style pedals
WMD Geiger Counter
Malekko Downer
MXR Phase 90
Ibanez BC-9 Bi-Mode Chorus
Boss RV-5 Reverb
Boss Metal Zone (live AM radio sounds)
Electro-Harmonix Micro-Synth
Boss DD-3 Delay
Electro-Harmonix Memory Boy
Various Devi Ever pedals (studio only)
Various EarthQuaker Devices pedals (studio only)
Strings and Picks
D’Addario XL 7-string sets (.010–.060)
Dunlop Tortex .73 mm
Head, you were a long time Ibanez player but released your signature Sir Headley 7-string with ESP in 2017. Why the move to ESP?
Head: There were changes at Ibanez, and people that we knew for years were gone. I also started to get involved with searching out this EverTune idea. With our low tuning, I was in love with that because there have always been tuning issues live. I have to switch guitars a lot. I wanted something more dependable. I heard ESP were the forerunners with putting that system on the guitar. Munky actually was the one who told me to check them out.
I have some off-the-rack ones that I bring on tour, and I have some custom ones. I have LTDs and, I think, two ESP customs. But they’re all very similar, and they play the same. I can’t tell the difference.
Did you track the album with your ESPs?
Head: Oh, yes. Heck, yes. We pulled in some old vintage guitars a little bit, and, if needed, Munky will throw me his guitar. But I’d say 95 percent was my ESP.
You guys are also synonymous with the Mesa/Boogie Triple Rectifier. Is that still the formula for your trademark tone?
Munky: It’s usually a combination. Each track, we use a few different combinations of amps. For main rhythms, I used a Bogner [Uberschall] with a Triple Rectifier and a Diezel [VH4] going into three separate cabinets. They’d each be miked with two mics and then a room mic. You’re getting six microphones back to three channels. Each rhythm track is a texture of that, which is pretty intense. Then, of course, if you’re doubling it, it sounds like a frickin’ freight train.
Head’s got his own setup. His other amps were a Diezel Herbert and Bogner Shiva.
I remember watching your Rig Rundown from 2013. I was struck with how few pedals you both use to get all of your different tones. Is that still the case?
Munky: Yes. It’s how we play. It’s this thing we’ve developed that’s a combination of the effects and a pick scrape or something. What sounds like it might be three or four pedals is only one pedal with a specific technique. We try to keep it simple but sound complicated.
What kind of pedals did you guys use in the studio? What are some of your go-to’s?
Munky: Our go-to’s are the XP-100 [Whammy] from DigiTech and an old Ibanez chorus pedal. Another pedal that I love is called the [WMD] Geiger Counter. It has endless amounts of fuzz. It’s the one sound you hear just before the bridge of “You’ll Never Find Me.”
Malekko has made some really cool shit lately. They have a few pedals that I used on the new record. One of them is called the Downer. It’s a pretty crazy-sounding octave-fuzz type thing. I also have a few of their modular things because I’m getting into that old modular scene.
Head: Munky is the mad scientist. The dude sits there with that sound generator. He sits there and tweaks out on it for four hours. I’m like, “What are you doing?” He goes, “I don’t know. It just makes my anxiety go away.” It gives me anxiety. [Laughs.] He has all these weird pedals that make these weird sounds, and he’ll experiment.
I’ve had, like, six pedals for years. I changed a couple just recently. But for the most part, I’ve kept to about five pedals, and I adjust the levels and modulation for different songs. I want something familiar so I can concentrate on the song, the melodies, and the heavy riffs. I’m just more of a simple dude that way.
Korn changed the sound of metal with your very first single. That sound was eventually tagged nu-metal and got a lot of backlash. Why was Korn able to rise above that and remain such an influential band?
Head: We have a darker edge than a lot of those bands did back in the day. Also, we were never a rap-metal band. We had some guests that rap. But Jonathan never rapped. He was always darker. He was into the Cure growing up, and he had a Nine Inch Nails influence. I feel like he stood on his own.
Munky: There’s always those purists that say, “That’s not what metal is about.” But I felt like, “Well, hey, man, we’re doing what we love to do. It sounds good, and it feels good to create something different.”
Through the years, we kept our heads down and tried not to pay attention to what everybody else was saying and doing. It just continued to evolve and work. We just really care that our fans are loving it.
James “Munky” Shaffer has played Ibanez 7-strings since Korn’s beginning in the 1990s. Here he’s playing one of his APEX200 signature models. Photo by Annie Atlasman
Why do you think your sound has resonated with so many people for so long?
Munky: I think as we all got older and started to write heavier music, then Jonathan started to dig deep and find his voice. It’s very real, and it resonates with people. It helps them through hard, difficult times and makes them feel like they’re not alone.
Head: Korn is therapy to Jonathan, and I think it’s therapy for a lot of our fans.
Munky: We didn’t know we were doing this, and that’s the beauty of it. I think that’s why it’s lasted so long. It’s only now that we realized that we’ve helped so many people through music.
Korn really represents one of the last evolutions in heavy rock in popular culture. Do you think that heavy, guitar-driven rock is going to come back?
Munky: I think history always repeats itself. I don’t think you can remove the instrument out of popular music. You can’t escape that feeling that playing gives somebody. It’s just a powerful instrument for some reason. That’s why the instrument’s been around forever. It’s one of those universal things that anybody can pick up and play no matter where they are.
Massive riffs, danceable grooves, slap bass, twisted melodies, and aerial dance. It’s all there in this official live video of The Nothing’s latest single, “Cold.”
The Melvins' Buzz Osborne joins the party to talk about how he helped Kurt Cobain find the right sounds.
Growing up in the small town of Montesano, Washington, Kurt Cobain turned to his older pal Buzz Osborne for musical direction. So on this episode, we’re talking with the Melvins leader about their friendship, from taking Cobain to see Black Flag in ’84 to their shared guitar journey and how they both thought about gear. And in case you’ve heard otherwise, Kurt was never a Melvins roadie!
Osborne’s latest project is Thunderball from Melvins 1983, something of a side trajectory for the band, which harkens back to this time in Osborne’s life. We dig into that and how it all relates and much more.
Intermediate
Intermediate
How David Gilmour masterully employs target notes to make his solos sing.
When I was an undergraduate jazz performance major struggling to get a handle on bebop improvisation, I remember my professor Dave LaLama admonishing me, “If you think playing over the fast tunes is hard, wait until you try playing over the ballads. What Dr. Lalama was trying to impart was that playing fast scales over fast changes could get you by, but playing melodically over slow tempos, when your note choices are much more exposed, would really test how well you could create meaningful phrases.
Although getting past the “this scale works over these chords” approach to improvisation generally requires hours of shedding, aiming for particular target notes (specific notes over specific chords) is an optimum strategy to maximize your practice time. In the realm of rock guitar, I can think of no greater master of the melodic target note technique while playing ballads than David Gilmour.
For the unfamiliar few, Gilmour was first enlisted by fledgling psychedelic rockers Pink Floyd in 1967, when original guitarist/vocalist Syd Barrett began having drug-induced struggles with mental health. The band experimented with various artistic approaches for several years before refining them into a cohesive “art rock” sound by the early ’70s. The result was an unbroken streak of classic, genre-defining conceptual albums that included Meddle, The Dark Side of the Moon, Wish You Were Here, Animals, and The Wall. Although bassist/vocalist Roger Waters assumed the role of de facto bandleader and primary songwriter, Gilmour was a significant contributor who was praised for his soulful singing and expertly phrased lead playing that seemed to magically rework pedestrian blues phrases into sublimely evocative melodies. His focus on musicality over excessive displays of technique made him a musician’s musician of sorts and earned him a stellar reputation in guitar circles. When Roger Waters left Pink Floyd in the mid ’80s, Gilmour surprised many by calmly assuming the leadership mantle, leading the band through another decade of chart-topping albums and stadium tours. Although Pink Floyd are not officially broken up (keyboardist and founding member Richard Wright died in 2008 while Gilmour and drummer Nick Mason joined forces with Ukrainian singer Andriy Khlyvnyuk on the one-off single “Hey Hey Rise Up” in 2022), Gilmour has mostly spent the last few decades concentrating on his solo career. His latest release, Luck and Strange, features his wife, novelist Polly Sampson, as primary lyricist and daughter Romany Gilmour as vocalist on several tracks. His recent tour filled arenas around the world.
Let’s take a page from Gilmour’s hallowed playbook and see how incorporating a few well-chosen target notes can give our playing more melody and structure.
For the sake of simplicity, all the examples use the Gm/Bb major pentatonic scale forms. In my experience as a teacher, I find that most students can get a pretty solid handle on the root-position, Form-I minor pentatonic scale but struggle to incorporate the other four shapes while playing lead. One suggestion I give them is to work on playing the scales from the top notes down and focus on the four highest strings only. I believe this is a more logical and useful approach to incorporating these forms into your vocabulary. Try playing through Ex. 1, Ex. 2, Ex. 3, and Ex. 4, which are based on the top-down approach of the Form I, Form II, Form IV, and Form I (up an octave) shapes respectively.
Ex. 1
Ex. 2
Ex. 3
Ex. 4
Once you’ve gotten a handle on the scales, try playing Ex. 5, which is loosely based on the extended introduction to Pink Floyd’s “Shine On You Crazy Diamond.” We begin by soloing over a static Gm chord for four measures. As target notes, I’ve chosen the root and 5th of the G minor chord ( the notes G and D, respectively). In the first measure, we’re starting in a minor pentatonic Form I with a bend up to the root of the Gm chord. A flurry of notes on beat 4 sets us up for the bend to the D in the second measure. The D note is again targeted in measure three—this time up an octave via a shift into the minor pentatonic Form II shape. Measure four aims for the G tonic up an octave, but ends with a bend that targets a C—the root of the IVm (Cm) chord in the final measure. By focusing on target notes and connecting them with embellishing licks, your lead lines will have a much better sense of direction and melodic narrative. Also, by only targeting the root and 5th of the chord, the target note approach will be easily transferrable to songs in a G blues context (G pentatonic minor over a G major or G dominant tonality).
Ex. 5
A further exploration of this approach, Ex. 6 begins with a two-beat pickup that resolves to the scale tonic G. This time however, the G isn’t serving as the root of the Im chord. Instead, it’s the 5th of Cm—the IVm chord. Employing the root of the pentatonic scale as the fifth of the IVm chord is a textbook Gilmour-ism and you can hear him use it to good effect on the extended intro to “Echoes” from Live in Gdansk. When approaching the C on beat 2 of the second full measure, bend up from the Bb on the 6th fret of the 1st string then slide up to the C on the 8th fret without releasing the bend or picking again. In the final measure, I’ve introduced two Db notes, which serve as the b5 “blue note” of the scale and provide melodically compelling passing tones on the way to the G target note on beat 4.
Ex. 6
Exclusively positioned in the Form-IV G minor pentatonic shape, Ex. 7 is based on a bluesy lick over the I chord in the first and third measures that alternately targets a resolution to the root of the IV chord (C ) and the root of the V chord (D7#9) in the second and fourth measures. Being able to resolve your lead phrases to the roots of the I, IV, and V chords on the fly is an essential skill ace improvisers like Gilmour have mastered.
Ex. 7
Now let’s turn our attention to the Bb major pentatonic scale, which is the relative major of G minor. Play through the Form I and Form II shapes detailed in Ex. 8 and Ex. 9 below. You’ll see I’ve added an Eb to the scale (technically making them hexatonic scales). This allows us a bit more melodic freedom and—most importantly—gives us the root note of the IV chord.
Ex. 8
Ex. 9
Channeling the melodic mojo of Gilmour’s lead jaunts on Pink Floyd’s “Mother” and “Comfortably Numb,” Ex. 10 targets chord tones from the I, IV, and V (Bb, Eb, and F) chords.
The muted-string rake in first measure helps “sting” the F note, which is the 5th of the Bb. Measure two targets a G note which is the 3rd of the Eb. This same chord/target note pairing is repeated in the third and fourth measures, although the G is now down an octave. For the F and Eb chords of measures five and six, I’ve mirrored a favorite Gilmour go-to: bending up to the 3rd of a chord then releasing and resolving to the root (an A resolving to an F for the F chord and a G resolving to an Eb for the Eb chord.) The final measure follows a melodic run down the Bb scale that ultimately resolves on the tonic. Be sure to pay attention to the intonation of all your bends, especially the half-step bend on the first beat of measure seven.
As a takeaway from this lesson, let’s strive to “Be Like Dave” and pay closer attention to target notes when soloing. Identify the roots of all the chords you’re playing over in your scales and aim for them as the beginning and/or ending notes of your phrases. Think of these target notes as support beams that will provide structure to your lead lines and ultimately make them more melodically compelling.
This legendary vintage rack unit will inspire you to think about effects with a new perspective.
When guitarists think of effects, we usually jump straight to stompboxes—they’re part of the culture! And besides, footswitches have real benefits when your hands are otherwise occupied. But real-time toggling isn’t always important. In the recording studio, where we’re often crafting sounds for each section of a song individually, there’s little reason to avoid rack gear and its possibilities. Enter the iconic Eventide H3000 (and its massive creative potential).
When it debuted in 1987, the H3000 was marketed as an “intelligent pitch-changer” that could generate stereo harmonies in a user-specified key. This was heady stuff in the ’80s! But while diatonic harmonizing grabbed the headlines, subtler uses of this pitch-shifter cemented its legacy. Patch 231 MICROPITCHSHIFT, for example, is a big reason the H3000 persists in racks everywhere. It’s essentially a pair of very short, single-repeat delays: The left side is pitched slightly up while the right side is pitched slightly down (default is ±9 cents). The resulting tripling/thickening effect has long been a mix-engineer staple for pop vocals, and it’s also my first call when I want a stereo chorus for guitar.
The second-gen H3000S, introduced the following year, cemented the device’s guitar bona fides. Early-adopter Steve Vai was such a proponent of the first edition that Eventide asked him to contribute 48 signature sounds for the new model (patches 700-747). Still-later revisions like the H3000B and H3000D/SE added even more functionality, but these days it’s not too important which model you have. Comprehensive EPROM chips containing every patch from all generations of H3000 (plus the later H3500) are readily available for a modest cost, and are a fairly straightforward install.
In addition to pitch-shifting, there are excellent modulation effects and reverbs (like patch 211 CANYON), plus presets inspired by other classic Eventide boxes, like the patch 513 INSTANT PHASER. A comprehensive accounting of the H3000’s capabilities would be tedious, but suffice to say that even the stock presets get deliciously far afield. There are pitch-shifting reverbs that sound like fever-dream ancestors of Strymon’s “shimmer” effect. There are backwards-guitar simulators, multiple extraterrestrial voices, peculiar foreshadows of the EarthQuaker Devices Arpanoid and Rainbow Machine (check out patch 208 BIZARRMONIZER), and even button-triggered Foley effects that require no input signal (including a siren, helicopter, tank, submarine, ocean waves, thunder, and wind). If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute. (Spin the big wheel and find out what you’ve won!)
“If you’re ever without your deck of Oblique Strategies cards, the H3000’s singular knob makes a pretty good substitute.”
But there’s another, more pedestrian reason I tend to reach for the H3000 and its rackmount relatives in the studio: I like to do certain types of processing after the mic. It’s easy to overlook, but guitar speakers are signal processors in their own right. They roll off high and low end, they distort when pushed, and the cabinets in which they’re mounted introduce resonances. While this type of de facto processing often flatters the guitar itself, it isn’t always advantageous for effects.
Effects loops allow time-based effects to be placed after preamp distortion, but I like to go one further. By miking the amp first and then sending signal to effects in parallel, I can get full bandwidth from the airy reverbs and radical pitched-up effects the H3000 can offer—and I can get it in stereo, printed to its own track, allowing the wet/dry balance to be revisited later, if needed. If a sound needs to be reproduced live, that’s a problem for later. (Something evocative enough can usually be extracted from a pedal-form descendant like the Eventide H90.)
Like most vintage gear, the H3000 has some endearing quirks. Even as it knowingly preserves glitches from earlier Eventide harmonizers (patch 217 DUAL H910s), it betrays its age with a few idiosyncrasies of its own. Extreme pitch-shifting exhibits a lot of aliasing (think: bit-crusher sounds), and the analog Murata filter modules impart a hint of warmth that many plug-in versions don’t quite capture. (They also have a habit of leaking black goo all over the motherboard!) It’s all part of the charm of the unit, beloved by its adherents. (Well, maybe not the leaking goo!)
In 2025, many guitarists won’t be eager to care for what is essentially an expensive, cranky, decades-old computer. Even the excitement of occasional tantalum capacitor explosions is unlikely to win them over! Fortunately, some great software emulations exist—Eventide’s own plugin even models the behavior of the Murata filters. But hardware offers the full hands-on experience, so next time you spot an old H3000 in a rack somewhere—and you’ve got the time—fire it up, wait for the distinctive “click” of its relays, spin the knob, and start digging.
A live editor and browser for customizing Tone Models and presets.
IK Multimedia is pleased to release the TONEX Editor, a free update for TONEX Pedal and TONEX ONE users, available today through the IK Product Manager. This standalone application organizes the hardware library and enables real-time edits to Tone Models and presets with a connected TONEX pedal.
You can access your complete TONEX library, including Tone Models, presets and ToneNET, quickly load favorites to audition, and save to a designated hardware slot on IK hardware pedals. This easy-to-use application simplifies workflow, providing a streamlined experience for preparing TONEX pedals for the stage.
Fine-tune and organize your pedal presets in real time for playing live. Fully compatible with all your previous TONEX library settings and presets. Complete control over all pedal preset parameters, including Global setups. Access all Tone Models/IRs in the hardware memory, computer library, and ToneNET Export/Import entire libraries at once to back up and prepare for gigs Redesigned GUI with adaptive resize saves time and screen space Instantly audition any computer Tone Model or preset through the pedal.
Studio to Stage
Edit any onboard Tone Model or preset while hearing changes instantly through the pedal. Save new settings directly to the pedal, including global setup and performance modes (TONEX ONE), making it easy to fine-tune and customize your sound. The updated editor features a new floating window design for better screen organization and seamless browsing of Tone Models, amps, cabs, custom IRs and VIR. You can directly access Tone Models and IRs stored in the hardware memory and computer library, streamlining workflow.
A straightforward drop-down menu provides quick access to hardware-stored Tone Models conveniently sorted by type and character. Additionally, the editor offers complete control over all key parameters, including FX, Tone Model Amps, Tone Model Cabs/IR/VIR, and tempo and global setup options, delivering comprehensive, real-time control over all settings.
A Seamless Ecosystem of Tones
TONEX Editor automatically syncs with the entire TONEX user library within the Librarian tab. It provides quick access to all Tone Models, presets and ToneNET, with advanced filtering and folder organization for easy navigation. At the same time, a dedicated auto-load button lets you preview any Tone Model or preset in a designated hardware slot before committing changes.This streamlined workflow ensures quick edits, precise adjustments and the ultimate flexibility in sculpting your tone.
Get Started Today
TONEX Editor is included with TONEX 1.9.0, which was released today. Download or update the TONEX Mac/PC software from the IK Product Manager to install it. Then, launch TONEX Editor from your applications folder or Explorer.
For more information and videos about TONEX Editor, TONEX Pedal, TONEX ONE, and TONEX Cab, visit:
www.ikmultimedia.com/tonexeditor