[Paul Kossoff] How to Recreate the Free Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Paul Kossoff is renowned as the guitarist of the iconic British rock band Free, which rose to prominence in the 1970s. His playing style is characterized not by flashy techniques or rapid-fire solos, but by a deep emotional resonance and sustain that has earned him the title of “crying guitar.” The rich lead sound heard in the classic “All Right Now” showcases a simplicity that resonates profoundly with listeners.

The allure of Kossoff’s sound lies in his combination of a Les Paul guitar and Marshall amplifiers, a golden pairing that forms the foundation of his tone. His choice of string gauge, the drive characteristics of his amplifiers, and the occasional use of spatial effects create a delicate balance that enhances his musical expression. He frequently employed subtle vibrato, producing a sensation that the notes themselves were singing, making him a revered figure among guitarists.

Live performances and studio recordings reveal that Kossoff often utilized a minimalist approach, allowing the weight and passion of each note to shine through. This ability to create space and the persuasive quality of his tone are what make it difficult for modern guitarists to replicate his sound. Understanding his gear choices is not merely about acquiring the same guitar or amplifier; it requires an appreciation of his playing style and sound philosophy.

In the following sections, we will thoroughly explore the amplifiers, guitars, and effects used by Paul Kossoff, uncovering the secrets behind his unique sound.

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List of Amplifiers and Features

When discussing Paul Kossoff’s sound, one cannot overlook his beloved Marshall amplifiers. The most notable among them is the “Marshall 100W Super Lead,” which he frequently used during Free’s live performances and recordings. This amplifier truly shines when played at high volumes, capable of producing a thick, expansive clean tone as well as powerful overdrive. Kossoff’s sustain-rich lead tone can largely be attributed to this amp.

In the early days of Free, he was known to use the “Marshall 1959 Super Lead ‘Black Flag’ / JTM100 (1967 model).” This model is characterized by its moderate gain and warm sound, making it an ideal amplifier to support his bluesy phrases. Notably, he also repurposed the “Marshall Super Bass (1967 model / 100W)” for guitar use, achieving a thicker tone with a focus on lower frequencies. By pairing it with a bass speaker cabinet, he emphasized a rounded sound and lush sustain.

There are indications that he may have used a “Selmer Amp” during certain sessions, such as in the intro of “All Right Now,” as seen in footage from Beat Club. Compared to Marshall, this amp produced a lighter sound with a pronounced attack, suggesting that he varied his equipment based on the song’s requirements. In later years, he also experimented with “Hiwatt” amplifiers, which aimed for a cleaner, tighter sound.

The choice of amplifiers likely stemmed from the size of the venues, the PA environment, and the sound character required for each song. Kossoff preferred a straightforward setup, connecting directly to the amp, allowing the nuances of his playing and string selection to shape his tone. This means that the personality of the amplifier was directly reflected in his sound.

In summary, while Kossoff’s amplifier setup was primarily centered around Marshall, he also incorporated other brands like Selmer and Hiwatt at different times. Although it is challenging to confirm every detail through photographs and interviews, it is generally assumed that this was the nature of his equipment choices.

Types of Guitars Used and Features

When it comes to Paul Kossoff’s guitars, the first that comes to mind is the “1959 Gibson Les Paul Standard (Burst).” This guitar is his most famous instrument and was iconic in producing his rich lead tone. After his passing, it was sold but later repurchased by his father, indicating its significance beyond just being a musical instrument. This Burst model is the backbone of his crying guitar style, heard in performances of “All Right Now” and “Mr. Big.”

Another important guitar in his collection was the “1955 Gibson Les Paul Custom ‘Black Beauty.'” This custom model is known for its depth and lush sound, showing signs of use on stage and in recordings. Additionally, in his later years, he reportedly used several vintage and reissue Les Pauls, suggesting that he would switch between them depending on the situation.

There are also instances of him using semi-acoustic guitars, notably the “Gibson ES-335.” While detailed usage scenarios are limited, it is confirmed that he owned this model. Furthermore, a 1971 semi-acoustic guitar may have been used in the intro of “All Right Now” alongside the Selmer amp, based on audio and visual evidence. These semi-acoustics likely provided a lighter tone, adding different nuances to his music.

Notably, Kossoff also incorporated a classical guitar into his setup. It briefly appears in “Over The Green Hills (Pt 1),” showcasing an acoustic texture that expands Free’s musicality. Thus, while his foundation was the Les Paul, he effectively integrated semi-acoustics and classical guitars to broaden his tonal palette.

Regarding strings, he favored heavier gauges (0.011–0.012), which enhanced the thickness and sustain of his tone, making each note stand out. Understanding why he made these choices is crucial for anyone looking to replicate his sound.

In summary, Paul Kossoff’s guitar arsenal revolved around the 1959 Les Paul Standard, complemented by the Black Beauty, semi-acoustics, and classical guitars, all utilized to adapt to various musical contexts.

Effects and Pedalboard Setup

Paul Kossoff was known for his very simple gear setup as a guitarist. He typically connected his guitar directly to the amplifier, controlling his tone through the vibration of the strings and the nuances of his playing. This means that the use of pedals for sound processing was minimal, yet he effectively used them when necessary.

The most famous effect in his arsenal was the wah pedal. He would occasionally use a Cry Baby wah during solo parts or bluesy phrases, adding a unique swell that emphasized emotional expression. Although not frequently used, its presence in live footage and some recordings indicates its role in his sound variations.

Additionally, there are records of him using a Leslie rotary speaker to create spatial depth. Typically known for organ use, this rotating speaker could add a unique wobble and depth when applied to guitar, particularly effective in studio work. Kossoff likely used this as a supplementary effect to introduce a moment of ethereal quality to his tracks.

There are also indications that he experimented with a phaser, combining it with his Marshall stack to add a distinct swirl to his sound. In the early 70s, phasers were still a relatively new effect, making this an intriguing example of his experimental approach to sound design.

These effects were not used constantly but were introduced selectively based on the mood of the song, with the core sound remaining rooted in the Les Paul and Marshall connection. Therefore, to recreate Paul Kossoff’s sound, one should first establish the amp and guitar settings, then minimally add a wah or phaser for the closest approximation.

In summary, Paul Kossoff’s effects board was not a modern, extensive setup but rather consisted of only the essential items.

Tone Settings, EQ, and Mixing Approaches

Analyzing Paul Kossoff’s sound creation reveals the importance of how he drew out rich tones from a simple gear setup. He relied less on numerous effects and instead utilized the nuances of his guitar’s volume and picking technique to control his tone. Thus, the amplifier settings, string choice, EQ adjustments, and mixing techniques were key to his sound.

Regarding amplifier settings, he primarily used the Marshall 100W Super Lead and Super Bass, often cranking the volume to around 7-8 to achieve natural amp distortion. The tone controls were typically set with Treble at 5-6, Middle at 7-8, and Bass at 4-5, favoring a setting that pushed the midrange forward. This emphasis on midrange formed the backbone of his crying guitar lead sound.

From an EQ perspective, he tended to avoid excessive compression during mixing, allowing the natural sustain of the guitar to shine through. In studio recordings, it is believed that he positioned the microphone slightly off-center from the speaker cone to capture a rounded and deep sound. During live performances, he emphasized the loudness of the direct amp while the PA engineer carefully handled the midrange to blend into the overall mix.

There are interesting points regarding his approach to different songs. In “All Right Now,” he utilized a slightly cleaner sound in the intro, allowing the chord strumming and riffs to be clearly heard. Conversely, during solo sections, he brought the natural drive of the amp to the forefront, achieving a thick tone. For songs like “Mr. Big” and “Fire and Water,” he aimed for a fuller sound by using the Les Paul with the Super Bass, focusing on enhancing the low end.

Moreover, the manipulation of the guitar’s volume pot was a significant aspect of Kossoff’s sound creation. Lowering the volume would return the sound to a clean state, while raising it would transition to a lead tone. This simple technique was the secret behind the diverse variations of his direct amp sound. Modern guitarists looking to emulate his style should first focus on “right-hand touch” and “volume control.”

In terms of studio spatial processing, he avoided emphasizing reverb or room ambiance, aiming instead for the guitar to resonate naturally within the band context. This aligns with his style of “reducing the number of notes and pouring soul into each one,” and it is believed that the engineers understood this philosophy while contributing to the sound design.

Overall, Paul Kossoff’s settings were constructed around the natural drive of the amp, a midrange-focused EQ, careful volume manipulation, and the preservation of natural dynamics in the mix.

Affordable Alternatives to Recreate the Tone

Paul Kossoff’s sound was supported by high-end vintage gear, such as the 1959 Les Paul and Marshall Super Lead. However, it can be quite challenging for modern guitarists to acquire the same equipment. Therefore, we will introduce some commercially available models that are relatively affordable and can help approximate his tone.

Starting with guitars, Gibson’s Les Paul models are expensive, making the Epiphone Les Paul Standard or Epiphone Les Paul Custom viable alternatives. These can be purchased for a few hundred dollars and are designed to produce a thick, sustaining tone. Particularly, the humbucker pickups help achieve a midrange-forward tone similar to Kossoff’s crying sound. Additionally, switching to heavier gauge strings (0.011 or higher) will further enhance the thickness of the tone.

For amplifiers, among Marshall’s current models, the “Marshall DSL20” and “Marshall Origin 20” are relatively affordable options. While they have lower wattage compared to vintage Super Leads, they are versatile enough for home practice and small gigs, effectively recreating the crunch and drive sound reminiscent of Kossoff. If you want to enhance the low end, using a graphic equalizer like the BOSS EQ-200 can also be effective.

Regarding effects, while Kossoff did not frequently use many, the Cry Baby (Dunlop GCB95) is essential for recreating the wah sound. If you’re looking to add spatial effects, the MXR Phase 90 is a good candidate. It is reasonably priced and allows you to easily achieve a 70s-style phaser sound. For adding spatial depth, consider the BOSS CE-2W (chorus) or NUX’s rotary speaker simulator.

For beginners or those looking for a compact solution, the BOSS GT-1000 Core or Line6 HX Stomp multi-effects units are also recommended. These include Marshall-style amp simulations, wah, phaser, and EQ, allowing you to comprehensively recreate Kossoff’s sound on a budget. Particularly, compact multi-effects units are user-friendly for home recording and studio rehearsals, providing excellent cost performance.

In summary, by acquiring a “humbucker-equipped Les Paul-style guitar,” a “Marshall-style crunch amp,” and a “Cry Baby plus minimal spatial effects,” you can get significantly closer to Paul Kossoff’s sound.

Summary and Conclusion

Reflecting on Paul Kossoff’s sound, it becomes clear that its essence lies not in a complex combination of gear but rather in “simplicity” and “the soul poured into each note.” He produced such expressive sounds with a minimal setup centered around the 1959 Les Paul Standard and Marshall amplifiers, occasionally integrating wah and phaser effects.

To recreate Kossoff’s sound, it is essential to understand that merely gathering the same equipment is insufficient. Paying attention to his choice of heavier strings (0.011–0.012), deep vibrato, and a minimalist playing style is crucial. Controlling the transition from clean to lead tones through the guitar’s volume knob is a fundamental aspect of his sound philosophy.

From a sound engineering perspective, Kossoff’s tone avoided excessive EQ and reverb processing, designed to resonate naturally within the band context. As a result, his guitar always existed as part of the song while emerging powerfully during solos, creating a “persuasive sound.” This is a significant lesson for modern players to learn.

If readers wish to approach Kossoff’s sound, they should start with a “Les Paul-style guitar + Marshall-style amp,” adding wah and simple phaser effects as needed. Most importantly, they should focus on their “playing technique.” The nuances of vibrato, the timing of sustaining notes, and the courage to create space—mastering these elements will allow anyone to produce a sound imbued with the spirit of Paul Kossoff, even without identical gear.

In conclusion, the essence of Paul Kossoff’s sound creation lies in “simple gear + profound expressiveness.” His approach to pursuing individuality as a guitarist remains timeless, continuing to influence countless players today.