In Flames’ Guitar Tone: Mics, Amps & Studio Insights

When you hear an In Flames track, those signature guitar tones hit you hard. They're a massive part of their sound, meticulously crafted yet delivered with raw energy. We got a peek into the studio with engineer Mike Exeter and In Flames' own Björn Gelotte as they tracked guitars for their 14th record, and there are some serious nuggets of wisdom for any metal producer. It's not just about fancy gear; it’s about vision, performance, and a smart workflow.

The Engineer's Role: Capturing In Flames' Vision

Mike Exeter makes it clear: when working with a band like In Flames, especially with a primary songwriter like Björn, the engineer's job is to facilitate the artist's vision. Björn isn't just writing songs; he's crafting a complete record, a piece of art he wants presented in a specific way. Mike's approach is to "not get in his way," but rather to understand Björn's vibe, ensure he's comfortable, and let him essentially dictate the direction. It's about guiding the ship lightly, a stark contrast to sessions where the goal might be to "go for the hit" and the engineer takes a more interventionist role. For In Flames, the sound is already established; Mike is there to capture it faithfully.

It's All In The Hands: The Player Behind the Tone

This can't be stressed enough, and Mike shared a killer anecdote to prove it. Years ago, working with Van Halen on the Balance record with Bruce Fairbairn, they needed to punch in a single guitar chord. Eddie Van Halen wasn't in the room, so they pulled up the documented settings: a small Music Man amp, a cable, his Music Man guitar, through a Marshall. Bruce plugged in, and the tone was night and day different – not even close. Bruce was getting frustrated, insisting the tone was wrong. Then, Eddie walked in, plugged into the exact same setup, hit the chord, and boom – perfect match.

The lesson? So much of the tone comes from the player's hands, their attack, their feel. You can have all the same gear, but how an artist like Björn or Eddie plays the instrument is an enormous part of the sound. While gear is crucial, never underestimate the human element.

Gear Breakdown: Crafting the In Flames Guitar Sound

While the player is paramount, the right gear selection is still key to translating that performance into a killer recording. Here's what Björn and Mike were dialing in:

Amps: The Core of the Crunch

For Björn's rhythm tones, the star of the show was a Wizard Modern Classic 50-watt head. Mike has an impressive amp rack, designed by Jeff Sheen from Bay Seven Studios, allowing for easy switching. The guitar signal comes into a splitter: one line to a DI (essential for re-amping or capturing a clean safety track), one to a tuner, and then outputs to the chosen amp head.

While Mike can run two heads simultaneously, he generally prefers using a single amp. He finds that managing phase issues between multiple heads can be tricky, and he'd rather nail the sound with one well-chosen amp. This is a great takeaway – more isn't always better if it introduces problems.

Cabinets: Adding Vintage Warmth

The Wizard 50-watt was paired with an early 70s Marshall cabinet loaded with vintage Celestion G12M "Blackback" 25-watt speakers. This combination is a deliberate choice. The Wizard amp delivers a modern, articulate sound, while the vintage Marshall cab with those Blackbacks imparts a certain warmth and character that complements the amp beautifully. It's a classic example of blending modern precision with vintage vibe. The studio is wired with speaker tie lines, making it simple to patch any head into any cab just by matching numbers.

Microphones: The Standard Powerhouses

No surprises here for seasoned metal producers. The go-to mic combination was:

• Shure SM57: The undisputed champion for loud guitar amps.
• Sennheiser MD 421: Another industry-standard dynamic mic, often paired with the SM57 for its different frequency response and character.

These two mics together offer a versatile palette for capturing the full spectrum of a distorted guitar tone.

Micing the Metal: Techniques for a Killer Guitar Tone

Speaker Choice & Placement

For the specific Marshall cabinet they were using, Mike prefers micing the bottom speakers. He finds they offer a better low-end response on that particular cab compared to the top speakers. This highlights the importance of knowing your gear – different cabs and speakers can react differently.

Both the SM57 and MD 421 were aimed right at the center of the speaker cone. Mike uses a flashlight to ensure precise alignment, pointing the mics directly at the middle of the cone. This spot typically delivers the brightest, most direct sound. Experimenting with off-axis placement or moving towards the edge of the cone can yield different flavors, but for this direct, punchy tone, the center was the target.

Layering for Thickness: Doubles, Triples, and Quads

Modern metal guitar often means layers, and In Flames is no exception. Björn typically records:

• Main Rhythm Guitar: The foundational track.
• Double: A second performance of the same part, panned opposite the first.
• Triple & Quad: Often, additional layers playing the same riff or a harmony, further thickening the sound and adding width.

Björn mentions that laying down the first guitar track can feel "lonely" because it lacks the bottom end and edge that comes with the subsequent layers. As soon as the second guitar is added, the sound starts to come alive. These layers are crucial for achieving that wide, powerful modern metal guitar wall.

Mike emphasizes the importance of tightness between these takes. There's a "window" of performance accuracy he's listening for. If a take is too far off, editing it to match will be too difficult and sound unnatural. This is where the player's consistency shines.

And speaking of how guitars sit in a mix, they take up a huge amount of sonic real estate, often from around 500Hz all the way up to 10kHz. When you mute them, you suddenly hear all the space available. The challenge is making everything work together. If you're looking to master how to make guitars sit perfectly without masking other instruments, understanding EQ strategies for mixing modern metal is non-negotiable.

The Studio Flow: Efficiency and Inspiration

One of the standout aspects of the In Flames recording process with Mike is the efficiency. Björn highlights how quickly they can get results – tracking four guitars and bass in just two and a half to three hours, a task that could easily take days in other studio environments. This rapid workflow is vital for keeping energy and inspiration high. Björn can lay down his parts and then head back to continue writing, as the songwriting process for In Flames is often ongoing throughout recording.

This speed is partly due to Björn's preparedness. He comes in with his riffs, solos, and harmonies meticulously written out. His job in the studio is to execute the program he's already created. For Mike, this means his primary role is to capture that performance perfectly.

Feel Over Perfection: The Truth About Editing Metal Guitars

While modern metal production often involves tight editing, the team emphasizes that feel is paramount. They have a great editor in Paul, but his job isn't to manufacture a feel that isn't there. The performances delivered to Paul need to have energy and immediacy, even if they're a bit sloppy, out of time, or pitchy. Those technical aspects can be fixed. What can't be faked is the raw feeling.

As Mike puts it, "We're not selling perfection." Paul is great because he doesn't over-edit, preserving the human element that's so crucial to In Flames' sound. It's about knowing what needs to be tightened for a modern sound and what needs to be left to breathe.

Get the In Flames Edge and Beyond

So, to recap the In Flames approach to guitar recording:

• Prioritize the artist's vision and performance.
• Select gear that complements the player and the song (like the Wizard 50W with a vintage Marshall Blackback cab).
• Use proven micing techniques (SM57 + MD 421, center cone, considering speaker choice).
• Build width and power with tight layers (doubles, triples, quads).
• Foster an efficient workflow to maintain energy and inspiration.
• Focus on capturing feel over sterile perfection; editing enhances, it doesn't create.

These insights from Mike Exeter and Björn Gelotte offer a fantastic window into professional metal production. It’s clear that a great guitar sound is a blend of artistic intent, skilled performance, smart gear choices, and an efficient, supportive recording environment.

Want to see exactly how pros like Mike dial in these tones, tackle challenging mixes, and make every element shine? At Nail The Mix, you get to watch world-class producers mix actual songs from bands like In Flames, Periphery, and Gojira, from start to finish. You get the raw multitracks (including the In Flames "Foregone, Pt. 1" session with Mike and Björn) to practice on and learn every technique firsthand. If you're ready to move beyond presets and truly Unlock Your Sound: Mixing Modern Metal Beyond Presets, seeing these concepts in action is invaluable. Check out the In Flames session with Mike Exeter on Nail The Mix to dive even deeper!