While the band pieced together the song "The Little Things Give You Away," Delson experimented with an E-Bow, creating a song called "Ebow Idea," which would afterwards become "No More Sorrow". It also meant he needed to push aside his disinclination for guitar solos, which are featured in the tracks " What I've Done", "In Pieces" and "The Little Things Give You Away". For Delson, this meant experimenting with different guitars and amps, both new and vintage. For this album, the band strayed away from the nu metal style they had perfected in Hybrid Theory and Meteora, and developed an entirely new sound. Linkin Park released their third studio album Minutes to Midnight on in the United States. Over the next year, Delson helped produce the remix album Reanimation (2002), and added his own creative insight into the remixed interpretation of "Pushing Me Away" ("P5hng Me A*wy").Īfter Reanimation, Delson played a key role in the production of Linkin Park's second studio album, Meteora (2003), which featured heavier guitar riffs than ones in Hybrid Theory. On October 24, 2000, Linkin Park released the overwhelmingly successful Hybrid Theory. By 2000, after one more band name change, Linkin Park was signed by Warner Bros. Before long, Delson, along with Shinoda, had produced the six-track EP of the same name as the band, distributing it to various websites online and earning the band its own cult following. In 1999, Delson's band, Xero, replaced former lead vocalist Mark Wakefield with Arizona native Chester Bennington and renamed themselves Hybrid Theory. Blue later introduced Chester Bennington, who would become the lead vocalist of Linkin Park, to the rest of the band.Īfter graduating summa cum laude and Phi Beta Kappa from UCLA in 1999, Delson decided to forgo law school in order to pursue a musical career with Linkin Park. Records, who offered constructive criticism on Xero's demos, which were from the 4-track sampler tape Xero, which was released in 1996. Delson also had the opportunity to intern with a member of the music industry as part of his studies and ended up working for Jeff Blue, an A&R representative at Warner Bros. He shared a dorm room with future Linkin Park bandmate Dave Farrell for three out of his four years at school. Relative Degree's goal was simply to play a show and after achieving that goal, they disbanded.Īfter graduating in 1995, Delson, Shinoda and Bourdon formed Xero, which would eventually become the starting point for Linkin Park.ĭelson entered UCLA in 1995 as a Regents' Scholar working toward a Bachelor of Arts degree in Communication Studies with a specialization in Business and Administration. He played in various bands throughout his high school career, the most notable being Relative Degree, in which he met and teamed up with drummer Rob Bourdon. If you don’t have the MD-2 you can usually transplant these settings rather easily, as most distortion pedals are setup with similar controls.Brad Delson attended Agoura High School in Agoura Hills, an affluent suburb of Los Angeles, with childhood friend and Linkin Park bandmate Mike Shinoda. Level: 5 / Tone: 4 / Bottom: 8 / Distortion: 8 / Gain Boost: 6 Here are the rest of the settings I used with the MD-2:
With thicker distortion, the low B notes fill out the progression nicely while the harmonic at the third fret rings with plenty of sustain. Here’s the tab with a 6-string baritone guitar tuning, if you want to take a shot at the riff: The song is played on a 7-String guitar in standard tuning (low string is open B), which also helps with achieving so much low-end. It’s a punishing riff if you can get the tone right. The “Bottom” knob on the MD-2 is particularly helpful for modern tones because it lets you dial in the low-hanging thud that you here in Delson’s palm mutes.įor example, listen to the intro progression for “With You:”
On the MD-2 I had the following knobs to work with: You’ll at least have the following controls: Most distortion pedals come with their own EQ. What if I have to use the distortion pedal? If the distortion from your amp sounds weak and not heavy enough, you might have to use a pedal as your distortion source.
The same would go for most Marshall and Mesa Boogie amplifiers. This should give you a heavily-saturated, modern overdrive. If you’re using your amplifier’s onboard distortion (like I did with my Line 6 Spider), start with the gain all the way up.
The gain and EQ are the same, except we’ve cut the treble back to lower the intensity of the output and smooth things out.
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