The dark and moody tones of two iconic albums find new life in the second installment of the limited TONEX Brown Sound series.
Titled Brown Sound 80/81, this collection captures the darker swagger and heavier edge that defined a critical turning point in the guitarist’s evolution. Designed to nail the recorded tones of two legendary early-’80s albums, it delivers 73 meticulously crafted Tone Models, including several amp-only captures that slot perfectly into your favorite IRs or roar through a real cab on stage.
This wasn’t about just chasing tone. It was about exploring every possibility, from faithful recreations to thoughtful variations that reflect the many myths and studio theories surrounding those tracks. From raw, roaring rhythm crunch to molten lead tones, the models recreate the sound that redefined guitar and continues to inspire generations.
At the heart of Brown Sound 80/81 is a hot-rodded ’68 Marshall Super Lead, built to match the exact specs of the legendary serial number #12301. The collection spans multiple 1960 Marshall cabs with different speakers, amp-only captures, various Variac settings, and a period-accurate signal path for an unmistakably vintage vibe. Every Tone Model was created with AI Machine Modeling, compatible with all versions of TONEX, and ready to load directly into TONEX pedals for the stage.
On the 1980 album, the tones hit harder, thicker, and drier than before, dripping with raw aggression and a midrange punch that pushed rock and metal toward a new sonic future.
The Ibanez Destroyer, paired with a Super 70 pickup, brought a brighter bite than the darker tones of the Super Strat, while the Echoplex delay and preamp remained key pieces of the puzzle. With 20-watt Greenbacks and 25-watt Blackbacks pushing air, the result was stripped-down ferocity – punchy, immediate, and gloriously unrefined.
By 1981, the sound evolved into something tighter, darker, and more controlled. Gone was the wide-open airiness, replaced with a claustrophobic intensity. Low-mids surged, the gain crept higher, and the tone became brooding, polished, yet unmistakably dangerous.
The switch to a 1960B cab loaded with G12-65s, experiments with lower Variac voltages, Sylvania 6CA7 tubes, and Franky’s hotter pickup all contributed to a darker, more saturated roar. Rumors of a primitive switching system to clean up the signal path only add to the legend. The Tone Models from this era pack that thick, harmonically rich, emotionally charged sound.
At the core of it all is “The ONE,” a Marshall-style monster built to the exacting detail of the famous 12301. It’s loaded with the Fat Cap mod for extra chew, a 50K mid pot for aggressive vocal mids, and a 100K negative feedback resistor for bold distortion. Heyboer transformers, carefully recreating the old Dagnall iron, bring the correct dynamics and harmonic complexity.
The capture process was as obsessive as the tones themselves. Cabinets were miked with dual setups – SM57s and a vintage U67 – angled just as in the original mixes. Tube shootouts included EL34s, 6550s, and 6CA7s before settling on the latter for their voicing.
Variac voltages ranged from 89V down to 68V to dial in sag, saturation, and feel. Effects like the Echoplex, phaser, and flanger were included in bypass to color the chain just as they did in the studio. The result? Album-voiced, raw, and room variants in Standard, HOT, and Extra-HOT flavors—ready to pair with your own guitar and pickup combo.
Get the Brown Sound 80/81 collection here for $99.99 and check out all our IK Multimedia coverage right here!
