[Ronnie Wood] How to Recreate the The Faces Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Ronnie Wood is renowned as the guitarist for The Faces, known for creating a raw yet groovy guitar sound. His guitar tone during this period differs significantly from his time with The Rolling Stones, characterized by a looser, bluesy feel with a heavy use of slide guitar.

In their iconic song “Stay with Me,” Wood utilizes a cranked-up distorted amp, unleashing slide phrases that take advantage of unique open tunings. His sound is not overly processed; instead, it embodies the classic rock guitarist’s style, connecting the guitar directly to the amp and controlling the sound through volume and finger nuances.

During his time with The Faces, Ronnie employed custom Zemaitis models and massive Ampeg amps, creating a powerful sound that seamlessly blended with the band. Despite the simplicity of his setup, his guitar tone was unique and has influenced many rock guitarists.

Moreover, Ronnie’s playing style is captivating. He often breaks chords while maintaining rhythm, inserting sharp slide phrases when necessary, enhancing Rod Stewart’s vocals and the band’s raw sound.

For these reasons, Ronnie Wood’s sound crafting during The Faces era remains a subject of study, representing the profound essence of rock guitar.

▶ Search official YouTube videos of The Faces

List of Amplifiers and Features

During his time with The Faces, Ronnie Wood favored amplifiers that epitomized the loud rock sound of the era. His style primarily involved connecting the guitar directly to the amp, utilizing the natural drive achieved by cranking the amp to full volume. This approach, which minimizes the use of external effects, embodies the essence of classic rock.

Notably, large amps like the Ampeg V-4 and SVT played a crucial role. The V-4 is a 100W head that delivers powerful sound with a punchy midrange. The SVT, while primarily known for bass, was also used for guitar during The Faces era, providing overwhelming low-end and power on stage. Combo amps like the VT-22 and VT-40 from Ampeg were also confirmed, likely used in studio recordings and smaller venues.

Additionally, during recording sessions in the UK, he is known to have used the Hiwatt DR103 (1969) paired with an SE4122 cabinet, which played a significant role in the recording of “Stay with Me.” Hiwatt amps are characterized by their clean yet punchy attack, effectively highlighting the nuances of slide guitar.

Fender amps were also part of his arsenal, particularly small combo models like the Champ, Princeton, and Deluxe Reverb from the Silverface era. These amps are known for their warmth and crunch when pushed, making them a good match for the rough, bluesy sound of The Faces. The Fender Twin was reportedly used in combination with Lap Steel, and the Vox AC30 likely appeared during UK recording sessions.

Overall, Ronnie Wood’s approach of “cranking up loud amps and controlling sound with the guitar’s volume” is a vital point for modern guitarists to emulate. This varied use of amps allowed him to express different tones in live and studio settings.

Types of Guitars Used and Features

When discussing the sound of Ronnie Wood during The Faces era, it’s essential to highlight his beloved guitars. Ronnie primarily played in a “simple direct connection style,” but he drew a wide range of tones by varying the types of guitars and tunings he employed. Central to his sound were custom models from Zemaitis.

One of the most famous is the Zemaitis Disc Front Model (1972), equipped with three Gibson PAF humbuckers and an aluminum pickguard that housed a treble booster. This guitar was often set to open E tuning, frequently used for slide guitar. The booster allowed him to push the amp further, achieving a sharp sound.

Additionally, the Zemaitis Metal Front Model (1971) was also used on stage, supporting the band with its striking appearance and powerful midrange. Zemaitis guitars became synonymous with Ronnie and laid the foundation for his sound throughout his career.

The Ampeg Dan Armstrong Lucite, known for its transparent body, was also utilized, excelling in slide play with open tunings. The unique sustain and brilliance of the acrylic body made it a standout during Faces performances.

Furthermore, Ronnie owned 1955 and 1956 Fender Stratocasters, with the 1955 model being a gift from Warner Bros., treasured as his “#1 guitar.” This model, without a tremolo, provided stable tuning and clear attack. He also used a 1953 Fender Esquire and a Lap Steel in live performances and recordings, contributing to a diverse range of tones.

For acoustic work, the Gibson Super has been confirmed, used in ballads and session settings. Overall, guitars equipped with humbuckers were crucial in producing the thick, core distortion characteristic of The Faces sound.

The choice of these guitars ensured that even in loud live environments, the sound would not get buried, while effectively conveying the nuances of slide and rhythm. In summary, the diverse range of guitars centered around Zemaitis contributed to the unique Faces sound created by Ronnie Wood.

Effects and Pedalboard Setup

During his time with The Faces, Ronnie Wood’s sound relied very little on effects. This was not uncommon for rock guitarists of the era; instead, he focused on achieving natural distortion by cranking up the amp and controlling the sound through the guitar’s tone and volume. Thus, he did not construct a complex pedalboard, with the core of his sound centered around “guitar + amp.”

However, an exception is the germanium transistor-based treble booster built into his Zemaitis guitars. This allowed him to push the amp’s input, achieving sharper attack and sustain. Particularly during slide play in open E tuning, this built-in booster played a significant role in creating the sharp yet sticky tone characteristic of The Faces.

There is almost no clear evidence of external pedals being used during the Faces period, so it would be accurate to say, “he used nothing but a booster.” However, later on, the BSM RW-F Treble Booster was developed to recreate his sound. This pedal was designed for fans and guitarists seeking the tone of the Faces era, replicating the characteristics of the built-in booster. When trying to recreate the Faces sound live, this pedal is arguably the most effective.

In essence, Ronnie Wood’s pedalboard during The Faces era was “almost non-existent,” emphasizing a primitive yet essential approach to rock guitar sound crafting. For modern guitarists looking to replicate his tone, a simple setup with just a booster would suffice.

Tone Settings, EQ, and Mixing Approaches

The essence of Ronnie Wood’s sound crafting during The Faces era lies in “direct amp connection + cranked volume.” As he rarely used effects, the tone was primarily determined by the guitar and amp, along with the mic placement during PA or recording sessions. Therefore, for guitarists aiming to replicate his sound, mastering amp settings and EQ, as well as how to make the sound cut through the band ensemble, is crucial.

Starting with amp settings, large amps like the Ampeg V-4 and SVT typically achieved natural drive by cranking the volume to the max. The tone controls were often left largely untouched, with a slight emphasis on mids for presence. When using the Hiwatt DR103, a similar approach was taken, where the clean, hard sound of the amp combined with its distortion created the bold and cutting tone heard in “Stay with Me.”

Another important aspect of EQ was his constant adjustment of the guitar’s volume and tone at his fingertips. He would play intense riffs at full volume, then lower the volume for vocal parts to achieve a lightly distorted crunch, controlling dynamics through finger movements rather than adjusting the amp. This dynamic approach is the secret behind the three-dimensional sound, despite a simple gear setup.

He had clear distinctions in his approach for different songs; for example, in “Stay with Me,” he used the Hiwatt with slide for a sharp tone, while in “Miss Judy’s Farm,” he utilized the thick mids of the Ampeg and Zemaitis humbuckers for powerful riffs. Acoustic tracks featured the Gibson Super, providing warm backing for Rod Stewart’s vocals.

In recording, mic placement was also crucial. To capture the loud sounds of Ampeg and Hiwatt amps, techniques likely involved placing a standard mic like the Shure SM57 close to the cabinet while using room mics to capture the ambiance. Listening to Faces albums reveals a unique airiness in the guitar sound, attributed to the analog recording environment and clever mic placement.

During mixing, Ronnie’s guitar sometimes spread across the stereo field or was panned close to Rod’s vocals. Particularly in live recordings, the priority was on blending the guitar with the band, often avoiding excessive EQ or compression. This “roughness” paradoxically adds charm, allowing modern listeners to feel the rawness.

In summary, Ronnie Wood’s sound crafting during The Faces era was not about building tones through EQ or effects but rather about cranking the amp and controlling sound through the nuances of guitar playing. Recording and mixing emphasized simple techniques to highlight the band’s overall energy.

Affordable Alternatives to Recreate the Tone

To fully replicate Ronnie Wood’s sound from The Faces era, high-end and rare gear like Zemaitis custom models or Ampeg V-4 would be necessary. However, modern guitarists can achieve similar nuances with more accessible and affordable alternative gear. Here, we introduce beginner to intermediate-friendly models and explain why they approximate the tone.

Starting with guitars, the sound defined by Ronnie’s use of humbucker-equipped Zemaitis and the clear attack of Strat-style guitars can be replicated with entry-level Les Paul types (like the Epiphone Les Paul Standard). This provides a thick midrange and rich sustain, bringing you closer to The Faces’ characteristic sticky crunch. Additionally, using affordable Stratocasters like the Fender Player Stratocaster series allows for a sound that balances Ronnie’s use of both Strat and humbucker guitars.

Regarding amps, since the Ampeg V-4 and Hiwatt DR103 are realistically expensive and loud, a good modern alternative would be smaller combo amps. Specifically, the Fender Blues Junior or Boss Katana series are excellent candidates. The former delivers the warm crunch typical of Fender, while the latter can simulate sounds from Hiwatt and Ampeg models through its modeling features. The Boss Katana, in particular, is appealing due to its reasonable price and versatility for home practice and live performance.

For effects, since Ronnie primarily used a booster, affordable treble boosters or overdrives can serve as substitutes. For instance, lightly applying the BOSS SD-1 Super OverDrive can recreate the effect of pushing the amp. Similarly, a pedal like the TC Electronic Spark Booster is suitable for producing a transparent push sound. This allows for that extra push when connecting the guitar and amp, getting you closer to the raw tone of The Faces era.

Overall, the optimal setup for recreating Ronnie Wood’s sound in a modern and budget-friendly way would be “humbucker-equipped guitar + small combo amp + simple booster.” There is no need for a complex effects board; rather, simplicity is the key to replicating his sound. By combining these pieces of gear, even beginners can reasonably approach the sound of The Faces.

Summary and Conclusion

Reflecting on Ronnie Wood’s sound crafting during The Faces era, the essence can be distilled into “simplicity” and “dynamic control through loudness.” While custom Zemaitis guitars and massive Ampeg/Hiwatt amps are indeed rare and special, what is more important is the approach of “connecting the guitar directly to the amp and manipulating sound through hand controls.”

As exemplified in the iconic song “Stay with Me,” cranking the amp and unleashing slide guitar in open tunings results in a raw yet compelling sound. This balance of “roughness” and “nuance control” is Ronnie’s hallmark, a crucial element for modern guitarists aiming to replicate his style.

Moreover, the overall sound of The Faces, characterized by a “loose yet energetic groove,” was centered around Ronnie’s guitar. He played not just as a lead guitarist but also oscillated between rhythm guitar and slide, supporting the entire band. His choices in amps and guitars were flexible, leading to a diverse range of tones in albums and live performances.

For readers pursuing Ronnie Wood’s sound, it is essential to focus on “not gathering expensive gear” but rather “creating loud sounds with simple gear and crafting expression through performance.” Adjusting the guitar’s volume for crunch or boldly incorporating open strings in slides directly connects the playing style to the sound.

In today’s environment, using home amps and affordable boosters can effectively bring you closer to that vibe, and keeping “sound crafting simple” is the quickest route to understanding his style. Rather than relying on complex effects or intricate settings, trusting the guitar and amp and creating sound through the musician’s own sensibilities is the philosophy of Ronnie Wood during The Faces era, a stance that many guitarists still learn from today.

In conclusion, the essence of Ronnie Wood’s sound crafting is “guitar + amp = the essence of rock.” By thoroughly embracing a simple setup and focusing on the performance itself, anyone can take a step closer to the vibrant sound of The Faces.