[Jonny Buckland] How to Recreate the Coldplay Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

When discussing the sound of Coldplay, one cannot overlook the significant role played by guitarist Jonny Buckland. His guitar work is characterized not by flashy solos or rapid-fire riffs, but by a simple yet atmospheric “ambient guitar sound” that enhances the band’s overall sonic landscape.

In iconic tracks like “Yellow,” “Clocks,” “Fix You,” and “Viva La Vida,” Buckland’s arpeggios and spatial effects shape the entire mood of the songs, providing a beautiful backdrop for Chris Martin’s vocals that captivates listeners.

Influenced by U2’s The Edge and Radiohead’s Jonny Greenwood, Buckland embodies the role of expressing Coldplay’s unique “grand and emotional sound” through his guitar. His style, which utilizes delay and reverb to create a “guitar that dominates the space,” is consistently present in both live performances and studio recordings, showcasing the meticulousness of his sound design.

He primarily employs guitars like the Fender Telecaster Thinline and Jazzmaster, pursuing a clean yet three-dimensional tone. This approach allows Coldplay to create a grand atmosphere even with simple chord progressions.

When attempting to cover or replicate Coldplay’s sound, it’s crucial to focus on the “resonance of sound” and the “intricacy within simplicity.” This article will thoroughly explore Jonny Buckland’s guitar, amplifier, and effects setup, including practical examples of his settings and affordable alternatives that beginners can use.

▶ Search official YouTube videos of Coldplay

List of Amplifiers and Features

Jonny Buckland’s amplifier selection is as straightforward as his guitar choices, focusing on creating expansive sounds that dominate the sonic space. He primarily uses Fender amps, which are known for their clean and wide-ranging tones.

A standout model is the “Fender Hot Rod DeVille.” This amp covers a wide range from clean to crunch, serving as a cornerstone for recreating Coldplay’s transparent sound in live settings. Buckland also frequently employs the Fender Twin Reverb, particularly during the recording of their debut album, “Parachutes,” where he used two units—one for dry sound and another specifically for delay.

Additionally, he uses the unique “Silvertone 1484 Twin Twelve,” which offers a vintage sound reminiscent of The Edge, providing a light distortion and warm midrange that adds a distinct texture to Coldplay’s early tracks. In recent tours, the “Audio Kitchen 2×12 cabinet” has also been spotted on stage, indicating his commitment to reproducing studio-quality sound in live performances.

For fun, Buckland has been known to use smaller amps like the “Fender Mini Deluxe” for rehearsals and recording, which aids in generating song ideas and experimenting with tones. In some performances, he has also incorporated the “Marshall Plexi” to add a more rock-oriented presence.

Coldplay’s musical style has evolved with each album, but Buckland’s amplifier choices consistently prioritize a “clean and expansive tone.” By layering spatial effects on top, he achieves a unique ethereal guitar tone. The shimmering arpeggios heard in tracks like “Clocks” and “Speed of Sound” are made possible by the ample headroom characteristic of Fender amps.

In summary, Jonny Buckland’s amplifier setup can be described as “based on Fender, supplemented by vintage or Marshall amps as needed for specific scenes.”

As outlined, Jonny Buckland’s amplifier configuration is fundamentally based on “clean and expansive,” serving as a crucial element supporting Coldplay’s soundscape.

Types of Guitars Used and Features

When discussing Jonny Buckland and the Coldplay sound, his choice of guitars is indispensable. A particularly iconic model is the Fender 1972 Telecaster Thinline, affectionately known as “Blacky.” This guitar was frequently used during the “X&Y” and “Viva La Vida” eras, producing a soft and deep tone characteristic of its semi-hollow structure.

This specific guitar gained attention when it was auctioned for charity, solidifying the image of Jonny as the Thinline Telecaster player.

Moreover, he has been known to use multiple Thinline Telecasters over the years, including a 1974 Sunburst model and a 1977 Black model, as well as Walnut and Natural finishes. By selecting different individual guitars of the same model, he alters the atmosphere of Coldplay’s songs. Recently, he has also incorporated the Nash T72TL as a primary alternative to vintage Telecasters on stage.

On the other hand, Buckland emphasizes clarity with single-coil guitars like the vintage Fender Jazzmaster and the Nash JM63 (white), along with the Fender Jaguar. These guitars are particularly utilized in songs that aim for an ambient feel, adding unique coloring to arpeggios and riffs.

During the “A Rush of Blood to the Head” era, he frequently used the Gibson ES-335, which provided a warm tone typical of semi-hollow guitars, enriching tracks like “In My Place” and “God Put a Smile upon Your Face.”

In the “Mylo Xyloto” era, he employed a colorful custom-painted Fender Stratocaster, which shone in tracks that incorporated electronic elements. This particular guitar later became known for being sold on Reverb. Additionally, he has used a Jerry Donahue Tele, Rickenbacker, Martin 000C-15E, and custom Gibson Les Paul for specific recordings, showcasing his versatility in seeking diverse tones.

Overall, Jonny Buckland’s guitar selection prioritizes “the atmosphere of the song.” The shimmering clarity of the Telecaster and Jazzmaster, the warmth of the ES-335, and the vibrancy of the Stratocaster have all expanded alongside Coldplay’s evolution. While confirmed information varies by period, the guitars mentioned above are assumed to be central to his sound design.

In summary, Jonny Buckland’s guitar choices revolve around the Telecaster while also incorporating the Jazzmaster, ES-335, and Stratocaster to create Coldplay’s unique sonic atmosphere.

Effects and Pedalboard Setup

The core of Jonny Buckland’s sound design lies in his use of effects. He extensively employs delay and reverb, transforming simple phrases into grand, three-dimensional sounds. His pedalboard features delay units like the Line 6 DL4, TC Electronic 2290, Eventide TimeFactor, and Strymon TimeLine, each used with different settings according to the song. For instance, in “Yellow” and “Clocks,” he layers delay over simple arpeggios, adding depth to the sound.

For reverb, he primarily uses the BOSS RV-3 and Strymon BigSky. The BigSky, in particular, is capable of creating overwhelming depth, supporting Coldplay’s grand soundscapes even in stadium-sized performances. In terms of distortion and boost, he utilizes Fulltone OCD, Ibanez TS9 Tube Screamer, and Pro Co RAT. Generally, he maintains a clean foundation but adds distortion when a stronger presence is needed, giving the songs more character.

In the modulation category, he employs MXR Phase 90 and BOSS TR-2 Tremolo, adding fluctuation and depth to the sound. The Electro-Harmonix Micro POG is used for octave sounds, and the EBow is a distinctive technique of Jonny’s, allowing for infinite sustain. This contributes to Coldplay’s unique sound world, where the guitar resonates like a synthesizer.

Additionally, he has two BOSS TU-2 tuners on his board and uses an Ernie Ball volume pedal. The Voodoo Lab Ground Control manages a complex signal chain, and he incorporates professional-grade equipment like the Eventide H7600 and Lexicon MPX-R1 in his rack. These are not merely effects but function as an “acoustic system” integrated into the overall sound design of live performances.

In summary, Jonny Buckland’s pedalboard is structured around the “three pillars of spatial effects, boost effects, and modulation.” His sound emerges not from technique but from “the design of space,” making the selection and combination of effects crucial to the Coldplay sound.

In conclusion, Jonny Buckland’s pedalboard is characterized by a focus on “spatial design” centered around delay and reverb, which are key to creating the Coldplay sound world.

Tone Settings, EQ, and Mixing Approaches

Jonny Buckland’s sound-making process goes beyond mere equipment selection; it centers on “EQ and spatial design.” His guitar work is never flashy, instead adjusted to avoid interfering with the vocals and synths in Coldplay’s overall ensemble. For example, in his amp settings, he emphasizes the clean channel while slightly boosting the treble and keeping the bass lower, achieving brilliance while ensuring he supports the band as a whole.

In the iconic track “Yellow,” the combination of the Fender Telecaster Thinline and Fender Hot Rod DeVille, along with delay, creates an effective EQ setting with boosted treble and subdued mids. The clean tone, combined with the delay’s repetitions, fills the sonic gaps, allowing for a grand sound even with fewer notes.

Conversely, in “Clocks,” where the piano takes center stage, the guitar’s midrange is further reduced, utilizing arpeggios with tremolo and delay to fulfill a “rhythmic instrument role.” This design ensures that the sound does not overpower, allowing the dynamics of the entire band to shine.

In live settings, it has been noted that he often uses two amps, separating “dry” and “effect wet” signals. The Fender Twin Reverb is used specifically for delay, while a clean amp serves for dry sounds, allowing for greater freedom in sound design during mixing. This technique is reminiscent of U2’s The Edge, but Buckland applies it with a focus on Coldplay’s overall “space.”

The use of effects is clearly defined for each song.

• “Fix You”: The arpeggios are set with deep reverb, allowing the resonance to expand behind the vocals.

• “Viva La Vida”: The rhythm guitar remains clean, with boosted mids to blend with the orchestra.

• “Paradise”: Delay and phaser are applied to the Stratocaster, achieving a texture that merges with the synth.

These specific applications create distinct soundscapes for each Coldplay song.

In studio recordings, he frequently employs rack-mounted effects (like the TC Electronic 2290 and Eventide H7600) to meticulously control phase management and spatial expansion. When PA engineers pan the guitar left and right, they separate the delay and dry sounds to create a “surrounding” stereo effect. This processing is particularly effective in arena-level performances, where the guitar can feel like a “wall” of sound.

On the EQ front, it is crucial not to cut too much low end. Clean guitars can easily overlap with bass and kick, so while cutting frequencies below 100Hz, he retains a bit of warmth in the 200-400Hz range. High frequencies are boosted around 4kHz to enhance attack, finely adjusted to avoid overlapping with the harmonics of synths and vocals.

Overall, Jonny Buckland’s settings prioritize “not just the perfection of the guitar alone,” but “how it resonates within the entire band.” His guitar can take the lead or function as “ambient sound” supporting the piano and synth, and this flexibility is assumed to be fundamental to the Coldplay sound.

Affordable Alternatives to Recreate the Tone

While Jonny Buckland’s sound design utilizes expensive vintage gear and professional-grade racks, it is possible for beginners and intermediate players to approximate the “Coldplay sound” with relatively affordable equipment. Here, we will introduce alternative gear that can be obtained within the range of $100 to $1,000, focusing on high reproducibility.

First, regarding guitars, since the originals like the Fender Telecaster Thinline and Jazzmaster are costly, we recommend the Squier Classic Vibe Telecaster Thinline and Squier Jazzmaster as alternatives. Both are produced by Squier, a direct Fender brand, allowing players to achieve the sound ideal for Jonny’s clean arpeggios at a lower price. The semi-hollow Telecaster, in particular, easily produces the soft tones heard in Coldplay’s “Yellow” and “In My Place.”

For amplifiers, since the Fender Hot Rod DeVille and Twin Reverb are pricey, alternatives like the Fender Champion 40 and BOSS Katana-50 MkII are excellent choices. The Katana, in particular, features a wealth of built-in effects, allowing for simultaneous use of delay and reverb, making it a reliable companion for beginners aiming to craft Jonny’s sound.

In terms of effects, delay and reverb are paramount. While the Line 6 DL4 and Strymon BigSky are expensive, alternatives like the BOSS DD-8 Digital Delay and BOSS RV-6 Reverb are recommended. The DD-8 offers a variety of delay modes, providing ample depth for arpeggios. The RV-6 includes ambient reverb, making it possible to recreate expansive sounds like those in “Fix You” or “Paradise” affordably.

For distortion, a modest approach is sufficient. The BOSS SD-1 Super OverDrive serves as a great substitute for Fulltone OCD or Pro Co RAT, providing the “thickness” needed for a clean-oriented Coldplay sound. Additionally, the TC Electronic Hall of Fame 2 Reverb and TC Electronic Flashback 2 Delay are affordably priced and boast high reproducibility.

Furthermore, as an alternative to the EBow, combining an affordable volume pedal with reverb can achieve a similar sustain effect. While the Ernie Ball volume pedal is somewhat pricey, smaller models like the Mooer Leveline can serve as effective substitutes.

In summary, the key to getting closer to the Coldplay sound affordably lies in selecting semi-hollow or single-coil-equipped guitars, clean-oriented Fender-style amplifiers, and focusing on delay and reverb effects. This approach allows players to experience a spatial sound reminiscent of Jonny Buckland’s work, even within a budget of $1,000.

By combining affordable guitars, amplifiers, and effects, one can get remarkably close to Coldplay’s grand and beautiful sound. The key is not to focus on acquiring expensive gear but to learn an approach that leverages spatial effects in performance.

Summary and Conclusion

In summarizing Jonny Buckland’s sound design, its essence lies in “transforming simple phrases into grand soundscapes.” He does not rely on fast playing or technical prowess but instead employs spatial effects like delay and reverb to create a beautiful backdrop that supports Coldplay’s songs.

This style, influenced by U2’s The Edge, merges Coldplay’s unique lyricism with a universal pop sensibility. Sounds that may feel insufficient when isolated come alive when integrated into the band, creating an overwhelming presence.

On the equipment front, Buckland’s setup revolves around single-coil guitars like the Fender Telecaster Thinline and Jazzmaster, with clean amps like the Fender Hot Rod DeVille and Twin Reverb at the core. Layering multiple delays and reverbs allows him to achieve the ethereal arpeggio sounds represented in tracks like “Yellow” and “Clocks.” Furthermore, incorporating EBow and octave effects showcases his innovative approach to making the guitar resonate like a synthesizer.

Importantly, Jonny’s sound design emphasizes “not the perfection of the guitar alone,” but “how it functions within the ensemble of Coldplay.” The EQ is adjusted to allow the guitar to blend into the spaces between vocals and piano, while the amps are separated into dry and wet signals to create stereo width. This ensures that the guitar neither overpowers nor dominates, but rather supports the overall sound.

For readers attempting to recreate the Coldplay sound, the key is not merely to copy the gear but to “be mindful of the space.” Expanding the resonance of fewer notes and fulfilling roles within the ensemble is the essence of Jonny Buckland’s sound design.

Even with affordable equipment, setting delay and reverb appropriately can yield surprisingly close results. The focus should be on “expanding the sound” rather than “adding more notes.”

Ultimately, Jonny Buckland’s sound design embodies “sound design over technique” and “band harmony over individual expression.” His guitar consistently colors Coldplay’s worldview, transforming simple phrases into profound emotional experiences.