[Bernard Sumner] How to Recreate the New Order Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Bernard Sumner is the legendary guitarist and vocalist of the band New Order, which emerged from the post-punk era of Joy Division. His guitar sound has been a crucial element in the band’s evolution, transitioning from post-punk to new wave and electronic dance music.

During the Joy Division era, Sumner’s sound was characterized by deep reverb and raw tones, supporting the heavy sound of “Unknown Pleasures.” In New Order, he established a unique sound by utilizing chorus and delay effects, creating a blend of ethereal and dynamic qualities. While his guitar parts are often simple, they intertwine with synthesizers and drum machines to form a distinctive “Sumner sound.”

Iconic tracks include Joy Division’s “Disorder” and “Shadowplay,” as well as New Order’s “Blue Monday,” “Bizarre Love Triangle,” and “Regret.” Common to these songs is a clear sound with spatial depth, avoiding excessive distortion. The guitar rarely takes center stage; instead, it enhances the rhythm and melody within the overall band track.

Sumner’s guitar sound continues to influence modern post-punk revival and synth-pop bands. Notably, the “transparent guitar riffs” created by combining delay and chorus are essential elements for emulating his style.

In the following sections, we will thoroughly explore the amplifiers, guitars, and effects he has used, revealing the secrets behind his sound.

▶ Search official YouTube videos of New Order

List of Amplifiers and Features

Bernard Sumner’s choice of amplifiers showcases a unique experimental approach from the Joy Division era to the early days of New Order. His guitar sound relies heavily on the characteristics and settings of the amplifiers rather than depending solely on effects, balancing rawness with clarity.

One notable amplifier is the Vox UL730, used during the recording of their debut album, “Unknown Pleasures.” This model was favored by The Beatles’ George Harrison and John Lennon, featuring a hybrid design that combines a solid-state preamp with a tube power amp. It provides the sharpness of transistors along with the warmth of tubes, delivering the hardness needed for post-punk. The UL730 was primarily used in the studio, adding a unique midrange punch and sharpness to the guitar sound.

During live performances, the Altair PW-5 Power Attenuator was used in conjunction with the UL730. This attenuator played a crucial role in controlling volume while allowing the UL730 to unleash its potential on stage. It ensured that even in large venues, the overdriven character was preserved while managing the overall volume.

As New Order evolved, the emphasis on electronic elements increased, leading to fewer instances of the guitar being front and center. Consequently, the amplifiers used tended to focus on “clean and manageable tones.” While definitive information is limited, it is highly probable that solid-state or transistor-based clean amplifiers were employed. Some photographs and articles suggest that Fender combo amps or the Roland JC-120 (Jazz Chorus) were also used.

Overall, Sumner’s amplifier choices reflect a direction of “enhancing clarity while utilizing effects,” which considers the ensemble with synthesizers and drum machines. For modern recreations, a hybrid Vox amp or a clean-oriented Roland JC-120 would be the closest optimal choices.

Below is a list of amplifiers that Bernard Sumner has used or is assumed to have used.

In summary, the confirmed equipment centers around the Vox UL730 and Altair PW-5, while it is assumed that the Roland JC-120 and Fender clean amps were used during the New Order period.

Types of Guitars Used and Features

One of the most crucial elements in Bernard Sumner’s sound is the selection of guitars he has used. The transition from Joy Division to New Order is strongly reflected in his choice of guitars. Below, we summarize the guitars he has actually used and their characteristics.

Representing the Joy Division era is the Shergold Masquerader. This British-made guitar had a unique specification for its time. Sumner customized the pickups, featuring a DiMarzio Super Distortion at the bridge and a DiMarzio PAF at the neck. It also retained coil-split and phase-reverse functions, allowing for a wide range of tones. This guitar was central to the recording of the album “Unknown Pleasures,” producing a distinctive hard and thick sound.

Another guitar used during the Joy Division period was the Gibson SG (1960s model). Known for its simple yet sharp tone, it was used interchangeably with the Shergold during live performances and recordings. The SG’s presence is particularly felt in loud, driving riffs like “Disorder” and “Shadowplay.”

Additionally, the Vox Phantom Special VI, inherited from bandmate Ian Curtis, is iconic. This guitar features a unique polygonal body and includes built-in effects such as fuzz, tremolo, and percussion. Sumner utilized this live, adding a distinctive color to Joy Division’s raw live sound.

As New Order progressed, the selection of guitars diversified. In the 1980s, the Gibson ES-335 was introduced, providing a clean and spacious sound. Double-cut guitars, including SG types, were also used, considering their compatibility with more electronic songs. The ES-335 was well-suited for airy phrases in tracks like “Bizarre Love Triangle” and “Temptation,” expanding Sumner’s tonal palette.

Thus, Sumner’s guitar choices reflect the transition from “raw post-punk” to “spatial new wave.” Rather than fixating on a single model, his flexible selection of the most suitable guitar for each song and period is a significant characteristic of his sound. In summary, the Shergold Masquerader and Gibson SG symbolize the Joy Division era, while the ES-335 and various double-cut models played crucial roles during the New Order period.

Effects and Pedalboard Setup

Bernard Sumner’s choice of effects has changed significantly from the Joy Division era to the New Order period. During Joy Division, he used minimal effects, relying on the raw sounds of the amp and guitar to create a rugged tone. However, as New Order evolved, he began to incorporate spatial and modulation effects to blend with synthesizers and drum machines.

One of the most distinctive effects during the Joy Division era was the built-in effects of the Vox Phantom Special VI. Utilizing fuzz, tremolo, and percussion, he created a unique analog sound during live performances. The fuzz, while simple, produced a raw tone that supported the overall dark atmosphere of the music.

As New Order progressed, delay and chorus became central to his sound. The transparent guitar riffs achieved through the combination of delay’s repetition and the chorus’s modulation provided a unique ethereal quality to the songs. This effect is particularly noticeable in tracks like “Bizarre Love Triangle” and “Age of Consent.” By combining reverb, he created expansive soundscapes.

Additionally, there are indications that a flanger may have been used in some songs and live performances. Analyzing certain interviews and recordings suggests that the modulation of the guitar exhibits phase effects typical of flangers, although this cannot be definitively confirmed.

Regarding distortion, Sumner favored solid-state distortion over overdrive. Distortion pedals like the RAT, known for their gritty texture, are considered close to Sumner’s tone and remain a popular choice for guitarists attempting to replicate his sound. He avoided excessive distortion, balancing the effects to ensure the guitar did not get lost in the overall band sound.

In summary, the Joy Division period featured minimal fuzz and tremolo, while the New Order period focused on delay, chorus, and reverb, occasionally supplemented by flanger and distortion effects.

Tone Settings, EQ, and Mixing Approaches

Bernard Sumner’s sound design is heavily influenced by how the guitar is positioned within the overall band ensemble, rather than relying on excessive distortion or flashy solos. Therefore, replicating his settings requires more than just matching the amp and effects; EQ and mixing techniques are also crucial.

Starting with amp settings, the Vox UL730, used during the “Unknown Pleasures” period, is characterized by a strong emphasis on midrange frequencies. Sumner took advantage of this feature by cutting the bass slightly and boosting the treble and mid, creating “hard and cutting riffs.” A reference setting would be around 3-4 for bass, 6-7 for mid, and 5-6 for treble. This ensures that the guitar maintains its presence even in the bass and drum-dominated tracks of Joy Division.

In the New Order period, the focus shifted from heavily distorting the amp to emphasizing clean tones enhanced by spatial effects. When using amps like the Roland JC-120 or Fender Twin Reverb, EQ settings were kept relatively flat, avoiding excessive lows and highs. This approach prioritized “transparency” to allow the guitar to blend with synthesizers and sequencers rather than stand out on its own.

For effects settings, a short delay (around 300-400ms) was typically used, with shallow feedback settings. This maintains the rhythmic feel of the phrases without disrupting the song’s tempo. In the signature track “Age of Consent,” the delay bounces back the guitar riff, creating a dynamic, sequenced feel.

Chorus was likely used with a fast rate and shallow depth, producing a “swaying” effect that blends seamlessly with the synthesizers while maintaining the guitar’s definition. Reverb was often naturally applied in live or studio settings, kept moderate to emphasize spatial depth without overwhelming the mix.

Moreover, Sumner’s use of distortion is unique. Instead of natural overdrive, he layered solid-state distortion like the RAT lightly, adding a gritty texture. This approach aimed for a “mechanical and inorganic tone” rather than a straightforward lead sound. This element is particularly prominent in early New Order tracks like “Ceremony.”

In terms of mixing, the guitar is rarely pushed too far forward, often panned to one side of the stereo field. Engineers targeted frequency ranges that did not interfere with the synths, bass, and drum machines, often cutting the guitar’s low end and boosting the 2kHz-4kHz range to enhance “clarity.” This allows the guitar to support the rhythm and melody while still being present in the mix.

In summary, Bernard Sumner’s sound design can be distilled into three key points: “midrange-focused EQ,” “clean-based spatial effects,” and “mixing frequency control.” Understanding this balance is crucial for replicating his sound.

Affordable Alternatives to Recreate the Tone

Bernard Sumner’s guitar sound is built around unique vintage gear and modified guitars, making it challenging to replicate exactly. However, with modern equipment, it is possible to approach his sound affordably. Here, we introduce products that are accessible for beginners and intermediate players.

For amplifiers, while the Vox UL730 is extremely rare, alternatives like the Roland JC-22 and BOSS Katana series are recommended. The Roland JC is suitable for recreating the clean, bright sound of the New Order period and includes built-in chorus. The BOSS Katana offers versatile amp modeling, producing solid-state-like tones.

For effects, the most critical components for his sound are delay and chorus. The BOSS DD-8 is an easy-to-use, multifunctional delay pedal that can replicate the rhythmic riffs of “Age of Consent” with a 300ms setting. For chorus, the BOSS CE-2W (Waza Craft version) or the more affordable CE-5 are excellent options. For reverb, products like the BOSS RV-6, which features various reverb modes, can easily recreate studio-like depth.

Regarding distortion, while the ProCo RAT is a classic choice, it can be expensive, so alternatives like the “Mooer Black Secret” mini pedal can serve as a substitute. These options are well-suited for replicating the gritty texture of Sumner’s solid-state distortion. The key is to avoid excessive distortion, layering it lightly.

For an all-in-one solution, multi-effects units like the Line 6 HX Stomp or BOSS GT-1000 Core are effective. By combining amp simulations and spatial effects, these units can comprehensively recreate Bernard Sumner’s sound. They offer excellent cost-performance for beginners, suitable for both live and home recording.

In summary, by focusing on “clean amps + spatial effects (delay, chorus, reverb) + subtle distortion,” you can achieve a New Order-like sound within a budget of around $500.

Summary and Conclusion

Reflecting on Bernard Sumner’s sound design, its essence lies in “not making the guitar the main focus.” During the Joy Division era, he created a cold, inorganic sound with minimal fuzz and tremolo. In contrast, the New Order period saw the use of delay and chorus to craft an ethereal sound that intertwined with synthesizers and drum machines. His constant awareness of “the role of the guitar within the overall song” has made his style unique.

Moreover, Sumner’s sound is not characterized by “guitar hero flashiness” but rather by a simple, mechanical playing style. His guitar fills the gaps in the music, sometimes reinforcing the rhythm and at other times highlighting the melody. Therefore, when attempting to replicate his sound, it is crucial to consider “how to blend into the band sound” rather than merely gathering the same equipment.

For modern guitarists aiming to recreate his sound, the key is to base their setup on clean amps, accurately combining spatial effects like delay, chorus, and reverb. Keeping distortion to a minimum while valuing transparency and modulation leads to a sound reminiscent of New Order. Additionally, during recording or live performances, emphasizing midrange frequencies while managing low frequencies can incorporate his mixing approach.

Finally, it is essential to emphasize that Bernard Sumner’s guitar sound is not an “isolated individual sound” but rather a “sound that functions within the whole.” Therefore, pursuing his sound design is not merely about searching for equipment but also about considering the overall band sound. If you aim for a New Order-like sound in your band, it is ideal to create sounds while considering the relationship with the bass and synthesizers, rather than isolating the guitar.

In summary, the core of Sumner’s sound design is “clean foundation + spatial effects + mixing balance.” Understanding this can allow for adequate recreation without needing expensive vintage gear. To get closer to his sound, learning about “sound placement” and “utilizing space” is crucial.