[Robby Krieger] How to Recreate the The Doors Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Robby Krieger, the guitarist of The Doors, is renowned for his unique sound that blends psychedelic and blues elements, creating a distinct atmosphere. His playing style incorporates elements of rock, flamenco, and jazz, resulting in an approach that is truly one-of-a-kind.

The sound heard in iconic tracks like “Light My Fire” and “Spanish Caravan” showcases his aesthetic of clean tones and slide playing, emphasizing the texture of the guitar itself. Within the band’s arrangement, which centers around Jim Morrison’s vocals and Ray Manzarek’s organ, Krieger plays a crucial role without overshadowing the others, helping to define the overall color of the band’s sound.

A key aspect of his sound design is the minimal use of flashy effects. Unlike many guitarists of the late ’60s and ’70s, he maintained a style that emphasized the natural sound of P-90s and humbuckers, often going straight into the amp. This allowed his tone to blend seamlessly with the organ-driven sound of the band while still maintaining a distinct presence.

However, in live performances and certain tracks, he would occasionally use fuzz and wah effects to create the psychedelic atmosphere characteristic of his music. Notably, in longer compositions like “When the Music’s Over,” he was known to use improvisational effects to lead audiences into a trance-like state.

Krieger’s sound focuses not on the “flashiness of the guitar alone” but rather on its “presence as part of the ensemble.” This philosophy resonates with many modern guitarists and serves as a significant hint on how to expand musical breadth with a simple setup.

Understanding Krieger’s approach to sound design is essential to grasping the overall sound philosophy of The Doors. The information on the amplifiers, guitars, and effects that will be introduced can help you experiment and get closer to his sound in your own environment.

▶ Search official YouTube videos of The Doors

List of Amplifiers and Features

Robby Krieger’s amplifier history has significantly influenced the sound of The Doors. He preferred to highlight the natural tone of the guitar rather than opting for flashy amp sounds, using various amplifiers that suited different eras and environments. By organizing these characteristics by period, we can get closer to the core of his sound.

In the early years (1966-1967), his primary amplifier was the Magnatone 2×12” combo amp. Known for its warm and dimensional vibrato circuit, Magnatone created a soft sound that blended well with the organ during The Doors’ early club and theater performances. This characteristic supported Krieger’s natural clean tone.

During the recording of the iconic track “Light My Fire,” he rented and used a Fender Twin Reverb, as he himself has stated. The Twin Reverb is a staple of American rock, known for its wide clean headroom, especially in models equipped with JBL speakers, which provide a sharp and clear tone. In the studio, he contributed to The Doors’ transparent sound by utilizing the clean tone of the Twin Reverb without any effects.

After 1968, due to a sponsorship deal, he introduced the Acoustic Control 260 head with 261 cabinet (2×15”). However, the large, solid-state sound was reportedly not well-received by the band or Krieger himself, as it did not fit The Doors’ musical style. This led him to return to the Fender Twin Reverb and other tube amps, indicating that he sought a “natural and warm clean” sound.

In 1969, he briefly used a massive solid-state rig called the “Monolith,” designed by the band’s sound engineer Vince Treanor, but this was also short-lived, and he ultimately returned to more compact Fender amps.

In recent years, he has commonly used the Fender Hot Rod DeVille (2×12” or 4×10”), which provides stable output and clean headroom for modern stages. His consistent choice reflects a preference for amps that deliver a straightforward tone without unnecessary coloration, complementing his jazz and blues-influenced phrases.

In summary, Krieger’s amplifier selection consistently emphasizes “natural clean tones from tube amps,” with changes over time primarily driven by sponsorship and environmental factors. Therefore, to replicate his sound, it is assumed that amplifiers like the Fender Twin Reverb or Hot Rod series, known for their wide headroom, would be optimal.

Types of Guitars Used and Features

When discussing Robby Krieger’s sound, his diverse guitar collection is indispensable. From the time of The Doors to recent years, he has primarily centered his work around the Gibson SG while also incorporating classical guitars, ES models, and even the distinctive National guitars. This selection strongly reflects his musical background, influenced by flamenco and jazz.

His early representative guitar was the Gibson SG Special (1964/P-90/red). It has been confirmed that he used this model during the recording and live performances of early tracks, including “Light My Fire.” The thick and warm sound of the P-90 pickups blended softly with the organ-driven band sound. This particular guitar was reportedly stolen, leading him to regularly use the Gibson SG Standard (1967 with Maestro Vibrola). This 1967 model later became the basis for his official signature model.

From around 1968, he began using the Gibson SG Standard (1968) and Gibson SG Special (1967) on stage, establishing a style centered around the SG. He also testified to using the Gibson Les Paul Custom “Black Beauty” (1954) for slide playing, showcasing a bluesy and sticky tone.

For jazz-influenced expressions, he occasionally used the Gibson ES-355 (1964/1967). The sweet and expansive tone typical of semi-hollow guitars shone in tracks like “Love Me Two Times,” supporting the overall depth of the band’s sound. Additionally, he used the National ‘Town & Country’ (1958) in the early days, which can be seen in the promotional video for “Break On Through.” Its unique design and sharp sound exemplified his experimental side at the time.

Notably, the José Ramírez Classical/Flamenco (1963) guitar is significant, as it serves as the foundation for the Spanish guitar sound heard in “Spanish Caravan.” He continued to use nylon-string guitars, adapting to modern stage requirements with the Rick Turner Renaissance (nylon) for live performances of the same song.

There are also anecdotes of him using the Gibson Barney Kessel (1968), likely emphasizing jazz-inflected chord work. By the mid-1970s, he added the Gibson SG Special (1975) to his collection, using multiple guitars as the era demanded. In 2009, a signature model based on his 1967 SG was released, and he has been seen using this signature model in recent performances.

Krieger’s guitar history consistently revolves around “using the SG as a core while expanding the color of the songs with diverse guitars.” By blending the powerful midrange of the SG with the softness of classical guitars, he helped shape The Doors’ unique sound.

Effects and Pedalboard Setup

Robby Krieger is known for his “direct to amp” approach to sound design. Many of The Doors’ tracks rely on the tone of the guitar and the clean drive of the amp, without the use of flashy effects. However, given the psychedelic rock genre, he occasionally employed fuzz and wah effects to showcase an experimental approach. Particularly in live performances and recordings from the late ’60s, he emphasized extracting maximum effect with minimal effects.

A notable example is the use of the Maestro Fuzz-Tone (by Gibson) during the 1967 track “When the Music’s Over.” This early fuzz pedal, famous from The Rolling Stones’ “Satisfaction,” added a raw yet intense texture to the guitar. At that time, Krieger mixed this fuzz moderately to build a psychedelic wall of sound.

Additionally, he recalled using wah pedals (Cry Baby or Vox) occasionally from the late ’60s to early ’70s. Rather than heavily engaging the wah, he would lightly apply it to add nuance to lead lines. In recent performances, he has consistently incorporated the Dunlop Mini Cry Baby into his board, which effectively reproduces the wah sound in a compact form.

While Krieger is known for his minimalist approach, he has built a more practical pedalboard in recent years. Specifically, he starts with the tuner Boss TU-2, followed by the wah, and then uses the Boss CE-B (bass chorus) to achieve chorus effects in “Love Her Madly.” For tremolo effects, he incorporates the Boss TR-2, creating unique fluctuations in tracks like “Riders on the Storm” and “Strange Days.”

For distortion, he uses the Ibanez TS-808 Tube Screamer (both original and reissue), providing light boost and sustain for bluesy solos and leads. To add attack to clean tones, he employs the Xotic SP Compressor, and for delay, he combines the TC Electronic Flashback Delay and Boss DD-7 to create a spatial effect. Notably, the DD-7 is set up to allow variable mix levels with an expression pedal.

Interestingly, he mentioned in an interview that he once used the Boss ME-10, a multi-effects unit. Although it is no longer in production, he utilized its multifunctionality while keeping the settings minimal. In the early albums of The Doors, he famously relied on the studio’s Sunset Sound echo chamber instead of pedals, adding a dreamy reverb to the guitar sound.

In summary, Krieger’s use of effects is “limited yet effective,” introducing them only in specific contexts to support the band’s overall psychedelic atmosphere. Therefore, to replicate his pedalboard setup, it is assumed that having a wah, light overdrive, tremolo, chorus, and minimal delay would be the best approach.

Tone Settings, EQ, and Mixing Approaches

Robby Krieger’s sound design is characterized by a focus on “how to expand breadth with a simple setup” rather than complex configurations. He consistently avoided relying on excessive distortion or effects, instead creating expression through the nuances of his guitar and amp touch. Therefore, EQ and amp settings were adjusted slightly for each song to maximize musical nuance.

Amp EQ Settings
For the Magnatone and Fender Twin Reverb used in the early years of The Doors, it is assumed that the EQ settings were often set to Bass at 5-6, Middle around 5, and Treble at 6-7 to take advantage of the clean headroom. Notably, boosting the Treble slightly helped the guitar’s attack stand out without getting buried in the organ’s midrange. The reverb circuit of the Twin Reverb was used sparingly, with the studio’s echo chamber adding depth instead.

Song-Specific Adjustments
In “Light My Fire,” he used a completely clean tone, achieving a unique soft attack by plucking with his fingers rather than using a pick. This highlighted his unique phrases influenced by flamenco and jazz.

In “Spanish Caravan,” he utilized a nylon-string classical guitar to express a pure sound without amplification, creating a Spanish atmosphere. In longer tracks like “When the Music’s Over” and “The End,” he employed fuzz and light boosts to emphasize a midrange tone, constructing a trance-like sound.

Slide Playing Techniques
Krieger actively incorporated slide guitar, choosing responsive SGs or Les Pauls for this purpose. He adjusted the amp’s Treble to a lower setting to avoid harshness on the ears. Additionally, he used compressors and light overdrives to ensure sustain. During recordings, he likely experimented with mic placement, positioning it slightly off-center from the cabinet to achieve a smoother tone.

Mixing Techniques
In The Doors’ recordings, they actively utilized the studio’s Sunset Sound echo chamber. Particularly in “Riders on the Storm,” the guitar received a natural room reverb, enhancing the overall psychedelic atmosphere. From a PA or engineer’s perspective, Krieger’s guitar was positioned to blend seamlessly into the midrange of the band, ensuring it did not interfere with the organ or vocals.

Live Adjustments
During tours after 1968, as venues expanded, he had to increase amp output, experimenting with solid-state amps like the Acoustic 260. However, this was met with criticism for being “too hard,” leading to potential EQ adjustments to lower the midrange while boosting lows and highs. Ultimately, his return to Fender amps prioritized natural clean tones and warmth.

Reproduction Points
To replicate Krieger’s sound in a modern context, it is assumed that selecting a Fender-type amp and adjusting EQ to Bass 5, Middle 4-5, Treble 6-7 would be the best approach. Adding light compression and subtle tremolo/chorus can recreate the dreamy fluctuations found in “Riders on the Storm.” Delay should be kept minimal, with 1-2 repeats to capture his atmospheric essence.

In essence, the core of Robby Krieger’s sound design revolves around “a simple foundation reliant on amp and touch, with minimal effects and spatial processing.” His sound is not a result of excessive embellishment but rather an extension of the guitar and playing style, and understanding this is the first step toward replication.

Affordable Alternatives to Recreate the Tone

To fully replicate Robby Krieger’s sound, one would typically require expensive gear like vintage Gibson SGs or Fender Twin Reverbs, which can often cost tens of thousands to hundreds of thousands of yen. This is often impractical for beginners or hobbyists looking to recreate his tone. Therefore, we will introduce alternative gear that is relatively affordable and can help achieve a similar sound, targeting a price range of approximately 10,000 to 50,000 yen.

For guitars, the Epiphone SG series is highly recommended. The Epiphone SG Standard is significantly more affordable than the Gibson SG, yet it features a mahogany body and double-cutaway design, achieving warm mids and strong sustain. This model can adequately provide the foundation for the tones heard in Krieger’s “Light My Fire” and “When the Music’s Over.” Additionally, opting for a P-90 model (like the Epiphone SG Special P-90) can help replicate the nuances of the original 1964 SG Special.

Regarding amplifiers, Fender-type clean tones are key. For a more budget-friendly alternative to the expensive Twin Reverb, consider the Fender Champion 40 or Boss Katana 50 MkII. The Champion 40 offers Fender-like clean tones at an accessible price, making it perfect for home practice or small gigs. The Boss Katana, while a solid-state amp, delivers warm tones and includes built-in effects for tremolo and reverb.

When it comes to effects, choosing cost-effective pedals based on his usage history is practical. For fuzz, the BOSS FZ-5 is an excellent choice, capable of producing sounds reminiscent of the classic Maestro Fuzz-Tone. The Dunlop Cry Baby Standard is a staple wah pedal, with a mini version also available. For overdrive, the Ibanez TS-9 serves as an ideal budget alternative to the TS-808, providing a bluesy tone. Additionally, incorporating BOSS TR-2 Tremolo and BOSS DD-3T Delay can help recreate the fluctuations found in “Riders on the Storm” and “Strange Days.”

While compressors and boosters are not essential, introducing the BOSS CS-3 Compressor as an alternative to the Xotic SP Compressor can enhance attack sensitivity. This adjustment allows you to get closer to the unique attack produced by Krieger’s fingerstyle playing.

In summary, by combining an Epiphone SG (especially the P-90 model), Fender Champion or Boss Katana amps, and BOSS or Ibanez pedals, you can achieve a sound reminiscent of Krieger’s for under 100,000 yen. The key is to focus on “clean tones with nuances and fluctuations” rather than flashy distortion. By keeping this in mind while selecting gear, recreating the atmosphere of The Doors becomes quite feasible.

Summary and Conclusion

Reflecting on Robby Krieger’s sound design, its essence lies in “maximizing simple and natural tones.” Within the unique arrangement of The Doors—vocals, organ, drums, and guitar—he served as the “colorist,” shaping the overall atmosphere of the songs without overtly asserting himself. Thus, his guitar sound is clean-based, yet he occasionally employed fuzz and wah to impart a psychedelic texture, expanding the songs’ worlds.

His primary guitar was the Gibson SG, but he also incorporated classical guitars, ES series, and even unique models like the National, using different tones for various contexts. Notably, his flamenco-inspired approach in “Spanish Caravan” reflects his classical guitar background, making him a highly unique figure among rock guitarists. He favored amplifiers like the Fender Twin Reverb and Magnatone, ultimately returning to the stance of “natural sound is best.”

Moreover, in terms of EQ and settings, he consistently kept in mind the need to “coexist with the organ.” If the midrange is too strong, it gets buried by the organ; if the highs are weak, presence is lost. He achieved this delicate balance through fine adjustments of Treble and Middle, fingerstyle touch, and the studio’s echo chamber. This insight serves as a significant lesson for modern guitarists.

From a reproduction standpoint, combining an Epiphone SG with Fender-type amps and incorporating minimal effects like wah, light overdrive, tremolo, and delay can help you get closer to Krieger’s sound at a relatively low cost. However, the most crucial aspect is not the gear itself but the playing technique and musicality. By plucking with fingers and being mindful of influences from blues, jazz, and flamenco, you can evoke his unique nuances.

In summary, the essence of Robby Krieger’s sound design is rooted in the “aesthetic of subtraction.” By supplying only the necessary sounds to the band without adding unnecessary elements, he helped create the unique musical world of The Doors. This attitude offers valuable insights for modern guitarists considering their sound design. Before relying on gear, it is essential to think about “how to play” and “how to blend into the music”—this embodies Robby Krieger’s sound philosophy.