[Albert Hammond Jr.] How to Recreate the The Strokes Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Albert Hammond Jr., the guitarist of The Strokes, is a pivotal figure in the garage rock revival sound. His guitar tone is characterized by a unique drive that floats within a clean-cut style. Iconic tracks like “Last Nite” and “Someday” showcase the distinctive Stratocaster tone, which stands out with a solid presence while intertwining with the band’s overall rhythm.

On the other hand, songs like “Under Control” and “Trying Your Luck” reveal a softer nuance, indicating his adeptness in manipulating pickup selections and amp settings to achieve a diverse range of tones.

The Strokes’ sound is often described as having a “raw texture” and a “lo-fi approach,” rooted in Albert’s simple yet intuitive guitar playing. His sound crafting relies not on technical speed or complex effects but rather on the dynamics of picking, pickup selection, and a straightforward approach of connecting directly to the amp.

Moreover, Albert Hammond Jr. shows a commitment to his guitar tone in his solo work, often incorporating a broader array of effects and settings while maintaining the essence of his sound from The Strokes era. Consequently, his gear has evolved over time, with different setups for recording and live performances.

This article will organize the amplifiers, guitars, and effects that Albert Hammond Jr. has used in both The Strokes and his solo endeavors, along with detailed explanations of his EQ and sound settings.

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List of Amplifiers and Features

When discussing Albert Hammond Jr.’s sound, the choice of amplifiers is crucial. In The Strokes’ early work, particularly the album Is This It, the Fender Hot Rod DeVille 212 was notably used for recording. This amp, equipped with two 12-inch speakers, is known for its powerful clean headroom and thick, punchy sound, which forms the backbone of Albert’s cutting riffs. Its use at a near-crunch setting directly contributes to the raw and visceral tone characteristic of garage rock.

On stage, the Fender Twin Reverb has been a staple amplifier. A legendary model from the 60s, its bright and punchy clean tone is an essential element of The Strokes’ sonic identity. Recommended settings often include “highs at 7, mids at 4, and lows at 4,” which help Albert’s guitar cut through the mix effectively. It’s likely that he used the DeVille in the studio and the Twin Reverb for live performances.

Additionally, Albert has been confirmed to use the Hiwatt Custom 50 Head along with a dedicated cabinet for some tours and live shows. Hiwatt amps are known for their tight and punchy British tone, providing a clean yet assertive midrange. This allows for a different attack compared to Fender amps, especially during periods when the band’s sound scaled up for larger venues.

Interestingly, Peavey amps have also made an appearance in his setup. While the specific model remains unconfirmed, it is speculated that Peavey’s broad tonal range and slightly modern character complemented Albert’s sound diversity. Given Peavey’s cost-effectiveness, it likely served as a supplementary option during tours.

In summary, Albert Hammond Jr.’s amplifier selection revolves around a “Fender’s bright and clean foundation,” supplemented by the “punch of Hiwatt” and the “supportive character of Peavey,” allowing him to tailor his sound based on the situation. His choices reflect a simple yet classic rock approach, achieving a wide array of expressions through meticulous EQ and gain adjustments.

Types of Guitars Used and Features

The most significant element of Albert Hammond Jr.’s sound is undoubtedly his choice of guitars. From the inception of The Strokes, he has favored Fender Stratocaster models, with the most famous being the “1972 Stratocaster” (nicknamed Hot Rod). This guitar has supported numerous hits as Albert’s main instrument, later leading to the release of the Fender/Mexico Albert Hammond Jr. Signature Stratocaster (Olympic White) in 2018. It faithfully replicates his preferences, featuring a 7.25-inch radius rosewood fingerboard and a vintage-style tremolo mounted flat to the body.

In actual use, Albert typically employs the middle pickup, and in the track “Trying Your Luck,” he also utilizes the neck pickup to add softness. This allows him to achieve both the bright sparkle and the solid core sound characteristic of a Stratocaster.

Moreover, he doesn’t limit himself to just the Stratocaster; he employs multiple guitars. For example, the Gibson Les Paul Special offers a thick and raw tone that suits garage-oriented tracks like “Last Nite.” Additionally, the glittery and unique Gretsch White Penguin is sometimes used in live performances to achieve a bright and bold tone.

Another classic rock influence is evident in the Rickenbacker 325. Known as John Lennon’s favorite model, Albert has used it in certain songs and photo shoots, contributing to bright arpeggios and chord strumming.

For acoustic work, he has utilized both Guild Acoustic and Martin Acoustic guitars, which provide delicate expression in his solo works and some Strokes songs. The Martin, in particular, adds warmth to the band’s sound with its rich sustain and deep overtones.

Albert’s guitar selection reflects a mindset of “choosing instruments with the right character for the song and using them as needed.” By centering on the Stratocaster while also incorporating Les Pauls, Gretsches, and Rickenbackers, he achieves a wide range of expressions. This directly contributes to The Strokes’ “simple yet diverse band sound,” showcasing his flexible playing style. Overall, Albert Hammond Jr.’s guitar choices can be summarized as “a diverse selection centered around the Stratocaster.”

Effects and Pedalboard Setup

Albert Hammond Jr.’s pedalboard is characterized by a simple yet effective configuration that provides the right character for each song. A significant component of The Strokes’ early sound was the Visual Sound V1 Jekyll & Hyde Ultimate Overdrive. This pedal features two channels that switch between overdrive and distortion, and it is said that Albert used this pedal extensively throughout much of Is This It. The settings typically involve the tone at 8-9 o’clock and gain at 11-12 o’clock, achieving a sound that is close to clean yet slightly gritty, embodying a garage flavor.

Another essential pedal in his setup is the Boss DS-1 Distortion. This straightforward distortion pedal has been used in iconic tracks like “Last Nite” and “Someday,” supporting Albert’s trademark sound. He also regularly employs the MXR M-133 Micro Amp as a clean boost, which is used to elevate volume during solos or arpeggios.

Albert utilizes several spatial effects, with the Electro-Harmonix Holy Grail Reverb and Electro-Harmonix Memory Man being particularly important. The former was confirmed for use in Is This It, providing depth to clean tones, while the latter has been used in tracks like “Under Control” and “Barely Legal,” emphasizing the band’s lo-fi aesthetic with its warm analog delay.

In later live performances and solo work, his pedalboard has evolved to include pedals like the Mad Professor Deep Blue Delay and Electro-Harmonix Memory Boy, along with boutique pedals such as Bogner Wessex and Menatone Shut Up & Drive. Photos from tours around 2015 show a variety of overdrives and delays, indicating a shift from the initial simple setup to a more diverse approach.

Additionally, a staple for tuning is the Boss TU-2 Chromatic Tuner, a must-have item in professional settings that supports the signal chain’s entry point. Other pedals like the Stone Deaf PDF-1, a parametric EQ/drive pedal, have also been spotted, suggesting its use for fine-tuning sound crafting.

Overall, Albert Hammond Jr.’s choice of effects emphasizes “simplicity and intuition while ensuring they serve their purpose for each song,” with a particular focus on the differentiation between overdrive and delay effects. This suggests that his pedalboard has evolved over time, transitioning from minimalism in the early days to a more varied setup later on.

Tone Settings, EQ, and Mixing Approaches

Albert Hammond Jr.’s sound crafting may appear simple at first glance, but it is underpinned by meticulous settings and EQ balance. The basic settings of the amp are crucial. The Fender Twin Reverb often used live typically recommends settings like “highs at 7, mids at 4, and lows at 4.” This configuration emphasizes the high frequencies while keeping the lows tight, allowing for a well-blended mix with the band.

During the recording of Is This It, the Fender Hot Rod DeVille 212 was employed. This amp is known for its robust clean tone, and Albert combined it with the Visual Sound Jekyll & Hyde and Boss DS-1 to create a lightly distorted lo-fi sound. He avoids excessive gain, keeping the tone close to clean yet with just enough grit to maintain that “almost crunchy” nuance, which is the secret to The Strokes’ raw guitar tone.

Settings also vary by song. In “Last Nite” and “Someday,” the DS-1 provides a straightforward distortion, slightly reducing the mids to emphasize a jangly resonance. Conversely, in “Trying Your Luck” and “Under Control,” he utilizes the neck and middle pickups of the Stratocaster to create a softer tone, where spatial effects like the Holy Grail Reverb and Memory Man add warmth and depth.

Albert’s EQ balance generally trends towards “cutting the lows and boosting the highs.” This is because, in The Strokes’ twin-guitar setup, Nick Valensi’s Gibson guitar handles the thicker mid-low frequencies, leaving Albert’s role to focus on “cutting and riff clarity.” Thus, the mix is designed with this division of labor in mind, and even if the settings sound thin when heard alone, they function perfectly within the band context.

Additionally, live PA and mixing processes are also carefully considered. The Strokes’ sound emphasizes “rawness” and “grittiness,” so reverb and compression processing are kept minimal, often outputting the mic’d amp sound almost as is. Guitars are typically recorded with standard mics like the SM57, with EQ slightly boosting the mids to bring them forward in the mix. Albert’s guitar is panned left and right, balancing around Julian Casablancas’ vocals.

In his solo work and live performances post-2010, he has introduced a wider array of effects, using different textures of overdrive with pedals like Bogner Wessex and Menatone Shut Up & Drive, while also incorporating Deep Blue Delay and Memory Boy for added depth. However, the core philosophy remains unchanged: rather than “adding sound,” he focuses on “switching necessary characters.”

In conclusion, Albert Hammond Jr.’s sound crafting can be summarized as “valuing a clear foundational tone from the amp while applying minimal effects and EQ to impart character.” This approach reflects his emphasis on the overall ensemble of the band, prioritizing how the sound is perceived in the mix rather than merely selecting equipment.

Affordable Alternatives to Recreate the Tone

To faithfully reproduce Albert Hammond Jr.’s sound, ideally, one would gather his signature Stratocaster, Fender amps, and boutique effects. However, this can often exceed tens of thousands of dollars. Therefore, here are alternative gear options that are accessible for beginners and intermediates, ideally priced between $100 and $500 (or up to $1,000) to aim for a similar sound.

First, regarding guitars, the core Stratocaster is essential. While the signature model can be pricey, a great alternative is the Squier Classic Vibe 70s Stratocaster. This model is budget-friendly and features a rosewood fingerboard and vintage-style specifications that make it easier to approach Albert’s tone. Its pickup output is modest, allowing for a “near-crunchy texture” when lightly driven.

For amplifiers, alternatives to the Fender Twin Reverb or Hot Rod DeVille include the Fender Champion 40 and Boss Katana 50 MkII. The Champion 40 offers Fender’s signature clean tone, and by adjusting the EQ to “boost the highs and moderate the lows,” one can closely approximate Albert’s sound. The Katana is multifunctional, but focusing on the clean channel with a slight boost can yield a sound suitable for live performances.

For effects, the BOSS DS-1 Distortion is indispensable. Its affordable price allows for immediate replication of the distortion sound in Albert’s signature tracks like “Last Nite” and “Someday.” For boosting, the MXR Micro Amp is a classic choice, but if you’re looking for a more budget-friendly option, the BOSS GE-7 Equalizer can serve as a booster. By slightly elevating the mids and increasing the level, you can achieve a similar clean boost effect.

For spatial effects, the BOSS DD-8 Digital Delay is highly recommended due to its versatility. Selecting the analog mode can recreate the warmth of the Memory Man, while the standard mode can achieve a more modern texture akin to the Deep Blue Delay. For reverb, options like the BOSS RV-6 or Electro-Harmonix Holy Grail Nano are viable. The Holy Grail Nano is a more affordable version of the Holy Grail that Albert has used, making it a highly accessible choice for sound replication.

By utilizing these combinations, one can recreate the “Strat + clean amp + DS-1 + simple reverb/delay” sound characteristic of Albert Hammond Jr. The key points to remember are “not overdriving,” “maintaining a clean foundation,” and “allowing highs to shine.” Keeping these three aspects in mind, you can achieve a sound reminiscent of The Strokes without needing to invest in expensive signature models.

Summary and Conclusion

Albert Hammond Jr.’s sound can be succinctly described as “simple yet remarkably unique.” His playing style does not rely on flashy techniques but instead generates distinct nuances through pickup selection, picking dynamics, and subtle amp settings. This approach is integral to The Strokes’ overall concept, creating a “lo-fi yet balanced sound” that is essential to their identity.

Notably, Albert’s role emphasizes “the clarity of sound within the band” rather than “the presence of the guitar alone.” His settings may sound somewhat dry and hard when heard in isolation, but they are designed to blend perfectly with Nick Valensi’s thick Gibson sound and Julian Casablancas’ vocals. In essence, his sound crafting exists within the blueprint of the entire ensemble.

Moreover, his choice of gear reflects a focus on “essential selections.” By centering on the Fender Stratocaster, he skillfully navigates the middle ground between clean and crunch, adding drive with the DS-1 or Jekyll & Hyde as needed. By utilizing reverb and delay minimally, he forms a raw yet deep tone. This “maximizing individuality with minimal tools” approach offers valuable insights for many guitarists.

Since his solo work, he has evolved to include boutique pedals, expanding his sound crafting, yet the core philosophy remains unchanged: “building on a clean foundation with just a touch of distortion.” Understanding this philosophy allows one to approximate Albert’s sound without needing to acquire the exact same gear.

In conclusion, the essence of Albert Hammond Jr.’s sound crafting lies in “the exquisite balance between clean and crunch,” “sound design that considers the entire band,” and “maximizing effects with minimal tools.” Rather than relying solely on equipment, it is crucial to prioritize the nuances of picking and amp EQ adjustments, adopting a mindset of “subtracting” to create the ensemble that embodies The Strokes’ sound.

If you aim to cover The Strokes’ songs or pursue a guitar sound akin to Albert’s, keep in mind the importance of “simple gear with minimal essential tweaks.” While acquiring expensive equipment can be enjoyable, the essence lies in more fundamental aspects. Albert Hammond Jr. exemplifies how “space” and “subtraction” can be powerful tools in music.