How MetalHead Electronics Started

MetalHead Electronics history goes back to the late 1980s and early 1990s, when my brother Remmie and I operated MetalHead Electronics in North Hollywood, California.

My name is Elan Memran. I’m an electronics engineer, guitarist, and tube amplifier designer.

We specialized in modifying Marshall tube amplifiers for guitar players who wanted more gain, better sustain, and a tighter sound.

At that time, many guitarists were using distortion pedals to get heavier sounds from their amplifiers. I wanted to get that sound directly from the amplifier itself.

That was the idea behind my original MetalHead high-gain modifications.

Getting High Gain Without Distortion Pedals

Back in the 1980s, guitar players commonly used pedals such as the Pro Co RAT and Ibanez Tube Screamer to push their amplifiers into heavier distortion.

There was nothing wrong with using pedals, but I wasn’t always happy with the results.

Sometimes the sound became muddy, especially when playing fast rhythm parts. I wanted more distortion without losing the clarity and punch of the guitar.

My approach was to modify the amplifier’s internal tube circuitry instead of relying on external distortion pedals.

The goal was simple: more gain, longer sustain, and a tight response while keeping the guitar notes clear.

The Original MetalHead Marshall Modifications

One of the amplifiers I worked with was the Marshall JCM800 2203.

It was a great starting point, but I wanted to take its high-gain capabilities much further.

I developed modifications to the tube preamp circuitry that allowed the amplifier to produce much more distortion directly from the amp.

The important part wasn’t simply adding more gain. I also wanted the low end to stay tight and the individual notes to remain clear.

That became the sound people associated with MetalHead Electronics.

Guitarists could get heavy distortion and long sustain without needing a distortion pedal in front of the amplifier.

These modifications became particularly popular with players looking for heavier metal guitar tones.

MetalHead Electronics History and the Musicians

Over the years, MetalHead Electronics worked with guitarists from different styles of music, including hard rock, heavy metal, and industrial metal.

Some of the musicians who used our amplifier modifications included:

• Dino Cazares (Fear Factory)
• Tom Morello (Rage Against the Machine)
• Randy Piper (W.A.S.P.)
• Tracii Guns (L.A. Guns)
• Ernie C (Body Count)
• The Warriors

Different players wanted different sounds. Some wanted more sustain for solos, while others wanted a very tight rhythm sound with plenty of distortion.

My job was to understand what each guitarist wanted and make the amplifier respond the way they needed.

Dino Cazares, Fear Factory, and Industrial Metal Guitar Tone

One of the guitarists who used my Marshall modifications was Dino Cazares of Fear Factory.

Dino used a Marshall JCM800 2203 that I had modified at MetalHead Electronics.

That amplifier was part of the high-gain guitar sound heard during Fear Factory’s early years.

Fear Factory became known for very tight, aggressive rhythm guitar playing, and the modified Marshall helped deliver the gain and response Dino was looking for.

I’m proud that my work was part of that sound.

When people talk about the development of industrial metal guitar tone, I believe the work we did at MetalHead Electronics deserves recognition.

A Short MetalHead Electronics History Timeline

Early 1980s: High-gain guitar amplifiers such as the Marshall JCM800 became popular with rock and metal guitarists.

Late 1980s: I continued developing my own Marshall amplifier modifications, concentrating on higher gain, better sustain, and tighter response.

Late 1980s and early 1990s: MetalHead Electronics operated in North Hollywood, California, modifying amplifiers for professional and local musicians.

Early 1990s: The MetalHead high-gain sound became associated with guitarists playing heavier styles of music, including industrial metal.

Today: I continue designing tube amplifiers and bringing the original MetalHead sound into new products.

From MetalHead Electronics to the SABRE Signature 50

After all these years, I still enjoy designing tube amplifiers.

The SABRE Signature 50 is a 50-watt all-tube guitar amplifier that brings together my original MetalHead high-gain sound and a separate clean channel.

It has two overdrive modes, a built-in reactive loadbox, speaker mute, and a balanced XLR output for recording or live performance.

My goal was to build an amplifier that could handle everything from clear clean tones to heavy industrial metal distortion.

It’s a continuation of the work I started many years ago, with additional features that make the amplifier more useful for today’s guitar players.

Learn More About the SABRE Signature 50 Guitar Head

Original Marshall Modifications Are Back

I’m also bringing back the original MetalHead Marshall amplifier modifications that I developed years ago.

These are the modifications that helped establish the MetalHead sound.

If you’re interested in the original MetalHead high-gain modifications, you can learn more here:

MetalHead Electronics | Original Marshall Amplifier Modifications

Still Designing, Still Building

I’ve spent many years working with electronics and tube amplifiers, and I still enjoy it as much as I did when I started.

For me, designing an amplifier isn’t about adding the most features or making the biggest claims.

It’s about building something that sounds good, responds properly to the guitarist, and does what it’s supposed to do.

That’s how I approached my original Marshall modifications, and that’s how I approach my amplifier designs today.

Elan Memran
Founder, MetalHead Electronics
Electronics Engineer and Tube Amplifier Designer