[Taylor York] How to Recreate the Paramore Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Taylor York, the guitarist of Paramore, is renowned for his unique sound design in modern alternative rock. His guitar tones are characterized by energetic cutting riffs, post-punk influences, ambient clean tones, and thick, wall-like distortion. This versatility allows him to navigate a wide range of sounds effortlessly.

In iconic tracks like “Misery Business” and “Ignorance,” his heavy riffs are supported by a low-end tone that stands out. Conversely, in pop-oriented songs such as “Still Into You” and “Hard Times,” he skillfully employs chorus and tremolo effects to create colorful and bouncy soundscapes. In recent albums, he has actively incorporated synth-like textures and ambient guitar layers, reflecting the band’s evolution alongside their sound.

The reason Taylor York’s sound design garners attention is due to the balance of diversity and consistency. He adeptly handles everything from simple chord strumming to complex effects work, ensuring that it fits seamlessly within Paramore’s emotional band sound. His individuality as a guitarist goes beyond merely adjusting distortion levels or achieving beautiful cleans; it lies in his ability to create an “atmosphere” that dominates the entire song through clever use of spatial effects and EQ adjustments.

In the following sections, we will delve into the amplifiers, guitars, and effects that Taylor York uses, providing detailed insights and tips for recreating a Paramore-like sound.

▶ Search official YouTube videos of Paramore

List of Amplifiers and Features

Taylor York’s choice of amplifiers symbolizes the diversity of Paramore’s sound. To switch between thick distortion and transparent cleans during live performances, he employs a combination of multiple amplifiers. For clean tones, he often opts for bright and clear amps like the “Fender ’65 Deluxe Reverb” and “Divided By 13 RSA 23,” which, when paired with spatial effects, create a three-dimensional tone.

In situations where he seeks a robust midrange and quick response, the “Matchless C-30 / DC-30” is frequently used, particularly Channel 1. This amp can handle a wide range from clean to crunch, making it well-suited for Taylor’s playing style. Additionally, he has been seen using two “Supro Statesman” amplifiers side by side, designating one for clean tones and the other for mid-gain, allowing for instant tonal variations for different songs.

For heavy riffs and hard sounds, he incorporates high-gain amps like the “Marshall JCM2000 DSL100” and “Mesa/Boogie Dual Rectifier Solo Head.” The JCM2000 is said to be a modified version, supporting a thick and aggressive sound. The “Tophat Plexi Dwarf” is often chosen for high-gain scenarios, particularly for rhythm guitar in fast-paced tracks.

On the clean side, he also utilizes dedicated clean amps like the “Roland JC-120” and “Watkins Dominator,” aiming for a bright sound that complements modulation effects. Furthermore, he owns modified “Supro Cabinets” with open-back designs, showcasing his pursuit of an ideal sound rather than sticking to off-the-shelf products.

These amplifier choices are flexibly utilized according to the arrangement of each song, significantly supporting the breadth of Paramore’s musicality. While not all gear is used simultaneously, the settings vary by time period and tour, with these amplifiers assumed to be central to Taylor York’s sound design.

Types of Guitars Used and Features

Taylor York’s rich collection of guitars plays an essential role in shaping his sound. Paramore’s songs vary significantly in sound color from album to album, and this diversity is supported by a wide array of guitars. His main live guitar is often a modified Fender Jazzmaster or models equipped with custom humbuckers, particularly favored for their compatibility with distortion effects.

York is also known for his affinity for BILT Guitars, using several models with unique body shapes, including the Volare, Zaftig (two of each), Relevator LS (two), and Corvear. Additionally, he has custom BILT models inspired by Gibson Midtown and Jazzmaster styles, tailored to fit his sound, which have been integral to Paramore’s experimental sound in recent years.

In the studio, he employs distinctive guitars such as the “Fender Starcaster (’75),” “Fender Jaguar Baritone,” “Epiphone Casino,” and “Rickenbacker 360.” The active use of baritone guitars adds a heaviness and range that standard guitars cannot achieve. For acoustic arrangements and live performances, he utilizes the “Martin 000-18 Golden Era” and “Gibson Songwriter Acoustic,” showcasing Paramore’s expressive capabilities even without amplification.

Moreover, models like the “Epiphone Sheraton (’89, equipped with Arcane Ultratron PU)” and “Gibson Les Paul Midtown Custom (featuring Bare Knuckle Mississippi Queen P90)” have undergone pickup swaps and unique modifications, reflecting his quest for sound. By integrating pickups like the Bear Knuckles P90 and Lollar Imperial, he adds new character to existing guitar sounds.

These guitars are clearly differentiated for use across songs and albums, with live and studio setups varying accordingly. Hence, there is no definitive answer to which guitar is the main one; rather, the diversity itself is a hallmark of Taylor York’s individuality. It is assumed that these guitars deeply influence his sound.

Effects and Pedalboard Setup

In Taylor York’s sound design, the presence of effects is crucial. Paramore’s songs span a wide range of genres, from alternative rock to pop-punk and even new wave sounds, necessitating a complex effects board during live performances. Notably, he balances spatial effects like chorus and reverb with distortion effects such as fuzz and overdrive.

For chorus effects, he utilizes pedals like the “Walrus Audio Julia,” “Boss CE-2W,” and “Dimension C.” These add depth to his clean tones, achieving the bouncy guitar sound characteristic of Paramore. For reverb, high-quality pedals like the “Strymon BigSky” and “EarthQuaker Devices Dispatch Master” are employed to emphasize ambient textures. Spatial processing plays a significant role in his sound design, both live and in the studio.

In the overdrive category, he has a diverse selection, including classic models like the “JHS Colour Box,” “ProCo Rat,” and “Crowther Audio Hot Cake,” alongside two “Rockworks Light Overdrives” and “Zvex VSD Super Duper 2-in-1.” This variety allows him to choose the desired texture of distortion based on the song. Additionally, for fuzz, he employs pedals like the “ZVEX Fuzz Factory,” “Dirt Transmitter,” and “The Terminal,” creating aggressive and edgy tones.

For delay, he combines pedals like the “Line 6 DL4,” “Electro-Harmonix Memory Man,” “Korg SDD-3000,” and “Boss DD-20,” covering everything from simple repeats to spatial sounds with modulation. He also incorporates unconventional effects like the “EarthQuaker Devices Rainbow Machine” and “Digitech Whammy,” effectively creating synth-like sounds and unique phrases during live performances. For power and switching, he utilizes the “Voodoo Lab Pedal Power” and “Master Mind MIDI system,” ensuring stable operation.

Overall, Taylor York’s effects board serves not just as a means of sound processing but as a fundamental part of Paramore’s song structures. While minor adjustments in composition can be seen between live and studio setups, these effects are assumed to be central to his sound.

Tone Settings, EQ, and Mixing Approaches

Taylor York’s sound design is characterized not just by simple switches between “distorted” and “clean” tones but by meticulous EQ adjustments and layered effects that support the atmosphere of each song. Paramore’s sound varies significantly from album to album, leading to substantial changes in settings over time. For instance, during the early days of “Riot!” and “Brand New Eyes,” the focus was on distortion and midrange emphasis, highlighting the presence of riffs. However, post-self-titled album, there has been a trend towards foregrounding spatial effects while reducing the number of elements, emphasizing a broader tone.

In amp settings, he bases his sound on the clean channels of the “Matchless C-30” and “Supro Statesman,” slightly boosting the midrange to prevent cutting and arpeggios from getting buried. He likely avoids excessive low-end to prevent overlap with the bass and kick, consciously applying low cuts. Conversely, when using high-gain amps like the Marshall DSL100 or Mesa/Boogie Dual Rectifier, he applies deep distortion and boosts the midrange with overdrives like ProCo Rat or Hot Cake, tightening the overall band sound.

The combination of effects is also highly strategic. For clean tones, he adds depth with choruses like the “Walrus Audio Julia” and “Boss CE-2W,” while creating echoes with “Strymon BigSky” and “Dispatch Master,” achieving a three-dimensional resonance even in single-note phrases. Delay settings often utilize the “Line 6 DL4” and “EHX Memory Man,” focusing on stereo effects to create a dominating sound in rhythm guitar.

Regarding EQ, it is speculated that he often emphasizes the “3-5kHz” range to adjust presence. By slightly boosting this range, he ensures the bright cutting and coexistence of guitars with synths, characteristic of Paramore. Conversely, low-end frequencies below 200Hz are treated subtractively to maintain overall balance. Additionally, applying light compression helps to equalize attack, keeping a stable guitar tone both live and in the studio.

In mixing, the foundation is built on double-tracked rhythm guitars panned left and right, layered with lead or textural guitars. In tracks like “Hard Times” and “Rose-Colored Boy,” where synths are prominent, guitars intentionally take a backseat, with midrange frequencies cut and reverb applied to place them in the background. In contrast, for aggressive songs like “Ignorance” and “Now,” distortion is pushed forward, creating a guitar sound that stands out among other instruments.

During live performances, the “Master Mind MIDI system” allows for instant tonal changes within a single song. For example, the verse might feature clean tones with chorus, the chorus with overdrive and reverb, and the bridge with fuzz and delay, dynamically altering the sound according to the song’s structure. This flexibility is what enables Paramore’s diverse genre expressions to thrive.

Overall, the essence of Taylor York’s sound design lies in the “balance of subtraction and addition” regarding the band’s overall sound. Instead of making the guitar sound flashy on its own, he adjusts EQ and effects according to the role within the song, stepping forward when needed and receding into the background when not. This flexibility and design capability are assumed to make his sound unique.

Affordable Alternatives to Recreate the Tone

Recreating a sound as diverse as Taylor York’s often gives the impression that one needs to invest in expensive guitars, amplifiers, and professional-grade effects. However, there are many commercially available options that beginners to intermediate players can use to achieve a similar sound at a relatively low cost. Here, we will highlight gear that can be purchased for around $100 to $500, making it easier to approximate a Paramore-like sound.

For guitars, while Fender Jazzmasters and BILT Guitars can be pricey, alternatives like the “Squier Classic Vibe Jazzmaster” or “Squier Affinity Telecaster Deluxe” are recommended. These can be found for around $500 and, when selecting models with humbuckers, can adequately handle Paramore’s heavy riffs and thick cleans. The Telecaster Deluxe, in particular, has a sound character close to the Wide Range HB, making it practical for live use.

Regarding amplifiers, while Matchless and Divided By 13 are quite expensive, more accessible options include the “Boss Katana-50 MkII” and “Fender Champion 50XL.” These feature modeling capabilities, allowing for a wide range of tones from clean to high-gain. With built-in reverb and delay, they can create Paramore-like sounds without needing additional effects.

In the effects department, while “Boss CE-2W” and “Walrus Audio Julia” are well-known professional options, more affordable alternatives like the “Boss CH-1 Super Chorus” and “TC Electronic Corona Chorus” are suitable. Both can be obtained for around $100 to $200 and can replicate the modulation essential to Taylor’s clean sound. For reverb, the “TC Electronic Hall of Fame 2” and “Boss RV-6,” along with the “Boss DD-8” for delay, are user-friendly and recommended.

For distortion, while “ProCo Rat” and “Crowther Hot Cake” are classics, alternatives like “Boss DS-1” and “Boss SD-1 Super OverDrive” are excellent choices. The Rat’s characteristic midrange can also be experienced with budget versions like the “Joyo RAT clone,” while those interested in fuzz sounds can try the “Electro-Harmonix Big Muff Nano,” which offers great cost performance.

Finally, for those looking to enhance their sound design freedom, multi-effects units are also recommended. The “Line 6 HX Stomp” and “Zoom G5n” can be purchased for around $500 to $700, allowing users to recreate the diverse delays, reverbs, and modulations that Taylor York employs, making them effective for both live performances and home recording.

By utilizing these alternative pieces of gear, beginners can more easily craft Paramore-like clean to drive sounds. The key is not to accumulate expensive gear but to experiment with EQ adjustments and effect applications, focusing on “how to present the guitar within the song.” By keeping this in mind, even budget-friendly equipment can bring you closer to Taylor York’s sound.

Summary and Conclusion

Reflecting on Taylor York’s sound design, its essence can be distilled into the balance of “subtraction and addition.” Paramore’s songs range from simple rock riffs to pop sounds with prominent synths, yet in every instance, the guitar is positioned perfectly—neither overshadowed nor overly pronounced. This achievement is not merely a result of high-end gear but stems from his thorough awareness of the overall sound of the band.

In terms of guitar selection, he employs a diverse range of unique models, from Fender Jazzmasters and BILT Guitars to modified Epiphone Sheratons and Les Paul Midtown Customs. The pickups used are not limited to stock options; he actively integrates third-party pickups like Bare Knuckle and Arcane, seeking sounds that transcend existing characters. This approach allows him to achieve a wide tonal palette that responds to Paramore’s broad genre spectrum.

Moreover, his strategic choices in amplifiers and effects revolve around clean-focused amps like Matchless and Supro, while also utilizing high-gain amps like Marshall DSL100 and Mesa/Boogie Dual Rectifier as needed. The effects board is not merely supplementary; it is designed as an integral part of the song arrangements, controlling space with chorus and reverb while providing explosive power with fuzz and distortion, each serving a clear musical role.

While it may be challenging for beginners and intermediates to fully replicate Taylor York’s sound, learning his approach is highly beneficial. The key is to constantly consider “how to present the guitar within the song.” Adjusting EQ to cut unnecessary frequencies, emphasizing only what is needed, and using spatial effects to create depth—these approaches can be practiced without expensive gear. Mimicking his settings is just a starting point; ultimately, understanding the role of the guitar within the overall song is the shortcut to capturing a Paramore-like sound.

In summary, Taylor York’s sound is born from a perspective that goes beyond technical prowess; it is about designing music as a whole. His sound design supports the band’s cohesion, which is one of the reasons Paramore’s songs continue to resonate across generations.