To achieve the Allan Holdsworth tone—often described as “the impossible lead sound”—you have to throw out standard rock guitar rules. Holdsworth didn’t want his guitar to sound like a guitar; he wanted it to sound like a violin or a saxophone. He sought a “liquid” gain that had zero “fizz” and a massive, blooming stereo image.
Using the Audio Assault Amp Locker plugin ecosystem, we can replicate his complex, high-headroom-yet-highly-saturated signal chain. Here is your recipe for the “Legato Legend” tone. 🔥🎸
1. The Foundation: The “Liquid Lead” Amp
Allan famously used everything from the solid-state Lab Series L5 to Pearce amps and eventually the Hughes & Kettner Switchblade. The key is a boutique, high-gain response that feels “squishy” and compressed under the fingers.
- The Audio Assault Choice: Piares (Modelled after the PRS Archon).
- Alternative: Deimos (Boutique High Gain).
- Why: The Piares is perfect for this because the real Archon is legendary for its “liquid” lead channel. It provides immense sustain without the jagged, harmonic “grit” found in Marshalls or Mesas. It feels smooth, which is essential for Holdsworth’s light-touch legato.
The “Violin-Voice” EQ Settings
| Control | Setting | The Logic |
| Gain | 7.0 | High enough to sustain forever, but not so high that it “buzzes.” |
| Bass | 5.5 | Needs some “girth,” but keep it controlled. |
| Middle | 8.0 | The Core. Holdsworth’s tone is all about a thick, “honky” midrange. |
| Treble | 3.5 | Crucial. Turn this DOWN. You want to kill the “fizz” and “bite.” |
| Presence | 2.0 | Keep this very low to maintain that dark, horn-like quality. |
| Master | 6.0 | Use this to find the sweet spot of compression. |
2. The Pedal Chain: Softening the Attack
Holdsworth hated the sound of a pick hitting a string. He used specific boosters and “UD-Stomp” style delays to smear the initial attack of the note.
- The Boost: The Klone (Modelled after the Klon Centaur).
- Gain: 1.0 (Almost off).
- Level: 7.0.
- Treble: 4.0.
- Why: Use this to hit the front of the Piares amp harder. It adds a “mid-hump” that rounds off the notes.
- The “Secret” Delay: Digital Delay (Pre-Amp).
- If your DAW allows, put a very short delay (20ms–40ms) with 0 feedback before the amp. This “doubles” the note slightly and softens the pick attack, making your playing sound more fluid.
3. The Atmosphere: Massive Stereo Width
Holdsworth’s tone is famous for its “chorus” sound, but he actually achieved it using multiple delays with slight pitch shifts.
- The Modulation: Korus (Modelled after the Boss CE-2).
- Rate: 1.5 (Very slow).
- Depth: 6.0 (Relatively deep).
- Placement: In the FX Loop (Post-Amp). This creates that “shimmering” wide landscape.
- The “Diffused” Delay: Digital Delay (Post-Amp).
- Time: 300ms.
- Feedback: 3.0.
- Mix: 20%.
- Tip: Use a “multi-tap” delay if possible to create a wash of sound rather than a rhythmic echo.
4. The Voice: 2×12 Clarity
Holdsworth preferred 2×12 cabinets because they offered a faster response and more “hi-fi” clarity than a traditional 4×12.
- Audio Assault Choice: ARCHON212 (Matches the Piares model) or HNK_TM212 (Based on the H&K Tubemeister 2×12).
- Mic Setup:
- Mic 1: Condenser 87. Place it 3 inches back from the center. This captures the “full-range” hi-fi sound Allan loved.
- Mic 2: Ribbon 121. Blend this in (around 30%) to add warmth and further roll off any remaining high-end “fizz.”
5. The Final Polish: Technique & Gear
- The Guitar: This recipe works best with a bridge humbucker that is medium-output and very clear (like his signature Kiesel/Carvin pickups).
- The “Legato” Touch: To truly sound like Holdsworth, you must play with a very light touch. His settings are designed to reward “hammer-ons from nowhere.”
- The “Dropped” Pedal: Allan often played in standard tuning, but he explored baritone sounds. Use the Dropped pedal in Amp Locker to experiment with lower registers while keeping the same “liquid” lead settings.
The “Holdsworth Recipe” Summary:
- Amp: Piares (Archon) — Mids up, Treble way down.
- Pedal: The Clone (Klon) — Clean boost to round the notes.
- Modulation: Korus — Slow and deep for width.
- Cab: 2×12 with a Condenser mic for a “studio” feel.
The “Fusion Dreams” Recipe Table
| Parameter | Setting | The “Holdsworth” Logic |
| Amp Model | Modern High-Gain (Smooth/Liquid) | Prioritize models known for smooth saturation and excellent note definition. |
| Gain | 6.0 – 7.0 | High enough for infinite sustain, but not so much that it compresses dynamics. |
| Bass | 4.0 | Keep it tight and articulate. Holdsworth’s tone wasn’t muddy. |
| Mids | 7.5 – 8.5 | The Core. Essential for that vocal, saxophone-like quality. |
| Treble | 5.0 | Smooth is key. Avoid harshness to keep the “liquid” feel. |
| Presence | 4.0 | Low presence to soften the attack and enhance the smooth legato. |
The “Synth Axe” Secret: Stereo Width & Compression
Holdsworth’s tone was always massive and ambient.
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Stereo Widener: Place a Stereo Widener or Doubler effect after the amp/cab section to spread the sound far left and right.
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Compressor: Use a Compressor before the amp to even out dynamics and enhance sustain. Holdsworth often used multiple compressors.
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Noise Gate: A Noise Gate is critical due to the high gain and sustain; keep it tight to prevent unwanted hum.
Post-Amp Magic: Reverb & Delay
Holdsworth’s sound was drenched in high-quality time-based effects.
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Stereo Reverb: A large, lush Stereo Reverb with a long decay to create space.
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Stereo Delay: A Stereo Delay with a medium delay time (around 300-450ms) and moderate feedback to create rhythmic echoes and deepen the sense of space. Experiment with modulated delays for swirl.
