[Pat Metheny] How to Recreate the Pat Metheny Group Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Pat Metheny is renowned as an innovative guitarist who has significantly expanded the boundaries of jazz guitar. His band, the Pat Metheny Group, has been active since the late 1970s and has grown into a representative of fusion and contemporary jazz.

Musically, his sound is characterized by “warm, three-dimensional clean tones,” “chorus-like ethereal qualities,” and “unique textures from synthesizer guitars.” For instance, in the iconic track “Are You Going With Me?”, listeners can experience a fantastical sound created using the Roland GR-300 synthesizer and the Acoustic 134 amplifier. This approach transcends traditional jazz guitar concepts, presenting a soundscape-like experience.

In live performances, Metheny skillfully manipulates loops and synthesizers, creating an orchestral thickness on his own. Since the “Orchestrion Project” in the 1980s, he has incorporated modern technology, including computer control and Ableton Live, into his performances, continuing to deliver innovative stage expressions.

Pat Metheny’s sound captivates many listeners through its “universality that transcends jazz,” “tones that envelop the entire composition,” and “fantastical elements created through spatial effects and harmonic design.” His influence can be seen in artists like BUMP OF CHICKEN and various fusion guitarists in Japan, making him a representative example of sound design studied worldwide.

This article will thoroughly organize the amplifiers, guitars, and effects used by Metheny himself, along with settings and alternative equipment to recreate his sound.

▶ Search official YouTube videos of Pat Metheny Group

List of Amplifiers and Features

The amplifiers used by Pat Metheny are essential elements in shaping his sound. From the 1970s to the mid-1990s, the “Acoustic 134 Combo Amp” was primarily used, forming the foundation of his warm, expansive clean tones. This amplifier is characterized by the solid-state response and clear, wide-ranging sound, making it a symbol of the Metheny sound.

In the 1990s, the “Digitech GSP-2101 Preamp” was introduced, allowing for modern sound design utilizing rack systems. During this period, building a flexible system suited to live venues and tour environments was crucial, and Metheny emphasized the importance of being able to “consistently reproduce the same sound.”

In the latest tours since 2016, the “Kemper Profiler Power Rack” has taken a central role, profiling and reproducing the tones of previously used amplifiers like the “Fender Twin” and “Roland JC-120.” This allows for the digital recreation of years of developed sound while gaining modern convenience and stability. Additionally, the Kemper outputs to a 4×10 cabinet, providing a suitable spread for monitors and PA systems.

Moreover, a “Leslie Speaker” is used to add a unique element to his sound, creating tones that resonate like an organ. This effect is particularly utilized during ambient sections and solos, contributing to the ethereal quality characteristic of the Pat Metheny Group.

For acoustic performances, Metheny uses PA speakers like the “Meyer UM-1P” and “Bose L1 Pro32” as monitors, ensuring a natural sound quality suitable for acoustic guitars and specially tuned instruments. Additionally, the “Thumper” system, which combines the “Yamaha DSM100 Mesh Drum Throne” with the “AUDAC EPA152 Power Amp,” allows for a unique way to feel the rhythm on stage.

Thus, while flexibly incorporating evolving technology over the years, the core of “clean, warm, and enveloping sound” has remained consistent. Metheny’s choice of amplifiers is not merely about equipment selection but serves as a tool to embody his musical philosophy.

In this way, from the Acoustic 134 to the Kemper, Pat Metheny has adopted equipment suited to the times while maintaining the essence of his music.

Types of Guitars Used and Features

Pat Metheny’s guitar collection is incredibly diverse, incorporating everything from standard jazz guitar models to signature models and even experimental custom instruments. His selections are based on “sound design for each piece,” rather than mere instrument affection. His signature clean tone is supported by Ibanez signature models, but he uses a variety of guitars for different scenes in live performances and recordings.

The most long-standing favorite is the “Ibanez PM-100,” which features a combination of Charlie Christian-type pickups and internal microphones, providing dual output. This creates Metheny’s distinctive “deep clean tone.” Successors like the “Ibanez PM-200” and the more affordable “Ibanez PM3C” have become standard equipment for jazz guitarists.

Additionally, he has introduced the “Ibanez PM120 Axon Guitar” as a MIDI controller, allowing for experimental performances linked with synthesizer sounds and Ableton Live. This is particularly famous for its combination with the Roland GR-300, supporting the fantastical synth sounds heard in the 1980s hit “Are You Going With Me?”.

On the acoustic side, he owns unique and custom instruments made by Linda Manzer, such as the “Manzer Acoustic Guitar,” “Manzer Picasso 42-String Guitar,” and “Manzer Baritone.” Notably, the “Picasso 42-string guitar” is known for its overwhelming visual impact and unique sound due to its complex tuning structure. Recently, he has also incorporated experimental guitars like the “Taylor 8-string acoustic” and the “Daniel Slaman Guitar.”

On the electric side, it is well-known that he favored the “Gibson ES-175” in his youth, achieving a warm and soft tone with flatwound strings. Other guitars like the “Gibson L-5,” “Gretsch G6120,” and “Fender Mustang” provide a wide range of nuances from jazz to rock.

For Pat Metheny, guitars are tools for expanding musical expression, evolving with the times and projects. Therefore, his guitar choices are always based on practicality and musical necessity.

In this way, Pat Metheny has utilized a wide range of guitars, from standard jazz guitars to custom instruments and synth-compatible models, adapting them to different scenes.

Effects and Pedalboard Setup

Pat Metheny’s effects board is known for its simple yet highly individual configuration. He generally avoids distortion effects, focusing instead on “delay,” “reverb,” “guitar synth,” and “MIDI control systems” as the core of his sound. This approach adds spatial depth and fantastical textures to his warm clean tones, creating a unique sound.

One of the most famous components is the “Lexicon Prime Time Digital Delay (II),” where two units are used in stereo to create thickness and chorus-like modulation. This is fundamental to Metheny’s chorus-like resonance and is an essential element for replicating his sound. Additionally, since the 1980s, the combination of the “Roland GR-300” and “Roland G-303 Guitar Synth Controller” has become iconic, achieving ethereal pad and lead sounds.

Recently, he has incorporated looping systems like the “Electro-Harmonix 95000 Looper” and “Pigtronix Infinity 3 Looper.” This allows him to recreate orchestral thickness even in solo performances or smaller ensembles. These are seamlessly controlled on stage with MIDI foot controllers like “Source Audio Soleman” and “Blackstar Live Logic.”

To maintain sustain, he uses the “Electro-Harmonix Superego” and “Gamechanger Audio Plus Pedal,” and by combining these with the Leslie speaker, he achieves organ-like fantastical sounds. Noise reduction systems such as the “EHX Hum Debugger” and “Ebtech Hum Eliminator” are also implemented to minimize hum from special pickups and synth systems.

Before the amplifier, the “IK Multimedia TONEX Pedal” is integrated to process standard audio output. For switching between multiple guitars, the “Lehle 3 at 1” is used, allowing for smooth transitions during live performances. Direct boxes like “Radial Stereo DI” from the Kemper to PA and “Countryman Active DI” from the Infinity Looper are also meticulously utilized.

Finally, all guitars are equipped with “TC Electronic PolyTune (2 Noir / 3 Noir),” allowing for quick tuning during live performances. Backstage, computer control centered around “Ableton Live 11” manages orchestral projects and special sequence playback.

In this way, Pat Metheny’s effects board is not structured like typical rock guitarists with distortion and boosters but is specialized in “spatial effects,” “loopers,” “synths,” and “noise management.” It truly supports his unique acoustic world.

In this way, Pat Metheny’s effect system is structured around spatial effects, loopers, and synths, with equipment chosen based on musical necessity.

Tone Settings, EQ, and Mixing Approaches

Pat Metheny’s sound design is established through “warm clean tones + spatial effects + unique mixing techniques.” His characteristic tone is not only about equipment selection but is meticulously designed, including equalization, reverb application, and processing through PA systems.

Initially, when using the Acoustic 134, the basic settings had the tone set relatively flat, with mids slightly emphasized to achieve a “warm yet cutting” sound. After transitioning to the Kemper, he maintained a similar range by profiling the Fender Twin and Roland JC-120. For EQ, he slightly cuts the lows (lightly cutting below 80Hz) and boosts the low-mid range around 200-300Hz to enhance the guitar’s resonance. The high frequencies are kept modest above 5kHz to maintain a soft quality that is not harsh on the ears.

The fantastical sound heard in signature tracks like “Are You Going With Me?” is largely due to the combination of delay and reverb. Using the Lexicon Prime Time II, one side is set to a shorter delay (about 400ms) and the other to a longer one (about 800ms), creating stereo modulation. Adding a light reverb overall produces a chorus-like ethereal quality. While this setting can be replicated with modern delays, the key is to create “modulation using stereo and time differences.”

When using the guitar synth (Roland GR-300), Metheny often blends clean tones with synth sounds, preserving the attack of the guitar while filling the space with sustained synth tones. In this case, the high frequencies of the guitar are slightly suppressed, while the mid-high frequencies of the synth are expanded to avoid muddiness. Light chorus or reverb is also applied to the synth side in live PA to ensure separation from the guitar.

For acoustic guitars and baritones, he uses a combination of Fishman pickups and AMT microphones, blending line and mic signals. This enhances the attack through the line while capturing the airiness with the mic, resulting in a natural resonance. The PA engineer typically organizes the midrange (around 500Hz) to avoid feedback while bringing out a rich sound.

Live EQ settings vary depending on the venue, but generally follow the principle of “organizing the low end, enriching the midrange, and smoothing the high end.” This is a crucial philosophy for replicating the Metheny sound, emphasizing not just equipment settings but also the perspective of “how to present the sound.”

Additionally, when using loopers, a light reverb is added to the entire loop to match the texture of the live guitar performance. This prevents the loop from sounding disconnected, achieving a natural orchestral layering. In engineering, the loop output is sent to the PA through an independent DI, allowing for separate processing from the guitar.

In summary, Pat Metheny’s sound design revolves around “a foundation of warm clean tones, enriching the midrange, and creating spatial processing for expansion.” This principle has been consistently maintained regardless of equipment changes, and it is a vital element in PA and mixing. Thus, the essence of his sound lies not merely in specific guitars or amplifiers but in “the design of EQ and spatial processing.”

Affordable Alternatives to Recreate the Tone

While it is challenging to fully replicate Pat Metheny’s sound, there are commercially available equipment options that can help beginners and intermediate players approximate the “atmosphere” of his tone. Here, we introduce relatively affordable and easily accessible products, selecting those in the price range of approximately $100 to $500 (up to $1,000).

First and foremost are “spatial effects.” The core of the Metheny sound lies in “delay + reverb + stereo presence.” While it is difficult to replicate the expensive Lexicon, the BOSS DD-200 and TC Electronic Flashback series can approximate that ethereal quality by combining stereo delay and modulation. A key setting would be to distribute a delay time of around 400ms to 800ms in stereo, with a mix around 30%.

Additionally, loopers are convenient for live performances and practice, helping to recreate Metheny’s orchestral layering. The BOSS RC-5 and Electro-Harmonix 720 Looper can be introduced for around $200, adequately supporting simple loop layering. The RC-5, in particular, is stereo-compatible, making it easier to create a thick sound when combined with spatial effects.

Regarding amplifiers, while replicating professional models like the Kemper is challenging, choosing modeling amps like the Roland JC-22 (a smaller JC-120) or the Fender Mustang GTX50 allows for easy access to transparent clean tones combined with spatial effects. The JC-22 is particularly compact, making it versatile for practice and small gigs.

In terms of guitar selection, while the Ibanez PM series is expensive, the Artcore series (like AF95 or AM93) offers excellent cost performance, allowing players to achieve a warm clean tone easily. Using flatwound strings (like D’Addario Chromes) can further bring them closer to the Metheny-style tone.

Finally, a recommended option for beginners is multi-effects units. The BOSS GT-1000 Core or Line 6 HX Stomp, while slightly pricier (around $800 to $900), can cover delay, reverb, looping, and amp modeling all in one device. Depending on the settings, they can recreate Metheny’s clean tones and fantastical spatial effects.

By combining these elements, it is possible to approach the Pat Metheny sound without needing a professional-grade system. The key is to focus on “clean tones as a foundation, enveloped by spatial effects,” and with this mindset, one can create a similar atmosphere using available equipment.

By using this equipment, it is possible to approach the sound of Pat Metheny at a reasonable price.

Summary and Conclusion

Pat Metheny’s sound transcends the label of merely being a “jazz guitar virtuoso,” having built a unique acoustic world. The essence of his sound design lies not in simply lining up equipment but in the philosophy of “building on clean tones while adding spatial depth and fantasy.” Guitars, amplifiers, effects, PA systems, and mixing—all elements are intricately combined to create a tone that envelops the entire music.

His long-standing use of the Ibanez PM series and Acoustic 134 forms the core of his sound, which has since evolved into the Kemper and the latest signature models. However, the axis of “warm, deep clean tones” has always been preserved. This serves as an important hint for many guitarists, not just jazz players, in their sound design.

Furthermore, the spatial processing centered around delay and reverb symbolizes his music. The “floating sensation with modulation” achieved using Lexicon’s stereo delay can be replicated with current equipment, emphasizing the importance of “balancing EQ and spatial effects.” Particularly, enriching the midrange while softening the high frequencies is a point that anyone can adopt.

Additionally, Metheny has continually opened new musical territories using guitar synths, unique instruments, and loopers. This reflects his stance of “using tools for musical expression without making technology the goal.” For beginners trying to emulate his sound, it is not necessary to gather expensive equipment; what is crucial is to have a perspective on “how to present the sound.”

In conclusion, to recreate Pat Metheny’s sound, it is essential to focus not only on specific guitars or amplifiers but also on three pillars: “clean tones,” “spatial effects,” and “equipment selection based on musical necessity.” By keeping these in mind, one can express a similar atmosphere with their available gear.

Finally, learning from Pat Metheny’s sound design goes beyond merely copying sounds. It offers answers to the universal challenge of “how to resonate your music” and “how to design space with sound.” I encourage readers to take inspiration from his approach and apply it to their own sound design.