[Larry Carlton] How to Recreate the Steely Dan Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Larry Carlton is a renowned guitarist known for his work with Steely Dan, contributing significantly to the American fusion and AOR sound of the 1970s. His solos in tracks like “Kid Charlemagne” and lead parts in “Don’t Take Me Alive” are celebrated for their urban sophistication and refinement, making them iconic among fans.

His guitar tone is characterized by “smooth sustain,” “thick midrange,” and “rich cleans,” blending jazz phrasing with rock attack seamlessly. While rooted in fusion, his sound retains hints of soul and blues, setting him apart from other session guitarists.

Known as “Mr.335,” Larry has consistently crafted his sound around the Gibson ES-335, establishing a signature tone in combination with Dumble-style amplifiers. Additionally, during his recordings with Steely Dan, he utilized smaller amps like the Fender Tweed Deluxe, which contributed to a unique crunch in his sound.

His playing style is marked by “dynamic picking,” “flowing lines based on chord tones,” and a fusion of jazz voicings with blues phrases. Even amidst the complex chord progressions of Steely Dan, he delivers melodic solos that maintain a sense of songfulness.

Given this background, Larry Carlton’s sound creation involves not just equipment but also the nuances of his playing and touch, making it a holistic expression of artistry.

Now, let’s delve into the specific amplifiers, guitars, and effects that Larry Carlton used with Steely Dan, organized by their usage and timeline.

▶ Search official YouTube videos of Steely Dan

List of Amplifiers and Features

The choice of amplifiers is a crucial element in Larry Carlton’s sound creation. As a session guitarist involved in numerous recordings, he has adeptly switched between different amps for studio and live settings. Particularly during his time with Steely Dan, the natural crunch of smaller amps and the thick sustain of Dumble-style amplifiers became central to his tone.

One of the standout amplifiers is the “Dumble Overdrive Special (ODS).” This custom model, equipped with 5881 tubes, is known for its smooth response from clean to overdrive. Larry paired it with a dedicated 1×12 cabinet featuring an EVM-12L speaker, establishing an urban and lush fusion sound. Live footage from the 1980s and 90s confirms this amp as a foundation of his tone.

In the recording of Steely Dan’s classic “Kid Charlemagne,” it’s said that Larry used a 1950s Fender Tweed Deluxe. The natural crunch of this small amp contributed to the depth and sustain of that famous solo, making it an essential part of his tone. During his session days, he also employed the “Fender Princeton (Blackface)” and “Fender Deluxe Reverb,” which added warmth reminiscent of jazz and blues.

Additionally, he purchased a Mesa Boogie Mark I in 1974, which he initially used as his main amp. However, after it was damaged and the sound changed, he transitioned to Dumble amplifiers. In the 1990s, he was also known to experiment with the Mesa Boogie Mark IV and Bogner. More recently, he has adopted the Bludotone Bludo-Drive as his main amp, creating a Wet/Dry/Wet system that provides a stable sound across performances in Europe and Japan.

Thus, Larry Carlton has shown flexibility in his amplifier choices, using smaller Fender amps for a distinct crunch during his Steely Dan era, while later focusing on the rich and thick tones provided by Dumble-style amplifiers in his solo career.

Types of Guitars Used and Features

The most iconic representation of Larry Carlton’s sound is undoubtedly the “Gibson ES-335.” Purchased new in 1969, he has modified it over the years and has used it as his primary guitar for over 50 years, earning him the nickname “Mr.335.” Practical upgrades include Schaller tuners, a graphite nut, and a KTS titanium bridge, with D’Addario EXL140 (.010-.052) strings that he maintains meticulously, often changing them twice a day during live performances. The lush and thick midrange of this ES-335 is prominently featured in Steely Dan’s classic tracks like “Kid Charlemagne” and “Don’t Take Me Alive.”

Additionally, he possesses a 1968 ES-335 gifted by fans, which has been modified with 1961 PAF pickups. While it serves a secondary role, its vintage PAF tone likely shines in jazz-oriented contexts.

Furthermore, he utilizes a 1955 Gibson Les Paul Special (TV Yellow) equipped with two P-90 pickups for blues and slide work. He also owns a 1954 Fender Telecaster, which he employs in country and R&B sessions. The 1962 Fender Stratocaster, made of alder with a rosewood fretboard, is essential for funky cutting and clean tones.

In the 1980s and 90s, he favored custom models from Valley Arts, featuring a compact 7/8 size body and EMG stacked pickups, achieving a modern and tight sound. This Valley Arts guitar played a central role in performances of tracks like “Last Nite” and “On Solid Ground.” In the acoustic realm, he has used Valley Arts small-body acoustics and Yamaha LA-WS for delicate fingerpicking recordings.

Recently, he has been using his signature series from Sire (H7, S7, T7, L7) as his main live guitar. These models are affordably priced while effectively replicating the characteristics of vintage 335s, Strats, Teles, and Les Pauls, making them accessible options for many fans.

Other notable guitars include the Gibson EDS-1275 double neck (used for performances like “Layla”), the Gibson ES-175 (purchased at age 16, inspired by Joe Pass), and his first Stratocaster acquired at age 12. These choices reflect his diverse musicality, spanning jazz, rock, blues, and fusion.

In summary, Larry Carlton has adeptly selected appropriate guitars based on the era, song, and context, with the ES-335 as his mainstay. His versatility and adaptability have undoubtedly contributed to the richness of his sound in Steely Dan recordings.

Effects and Pedalboard Setup

Larry Carlton’s effects setup is characterized by a practical and musical approach, focusing on adding necessary color to specific moments rather than excessive use. In the context of Steely Dan’s complex chord progressions and sophisticated arrangements, Larry’s tone strikes a balance of presence without overpowering the mix. Consequently, his pedalboard is relatively simple, yet each piece of gear is chosen with care for studio and live use.

A staple in his setup is the “Modified Sho-Bud Volume Pedal,” a custom piece modified by Dumble that incorporates an FET buffer. This pedal is central to Larry’s tone control, allowing him to manipulate dynamics in sync with his picking. Additionally, he employs the Hilton Volume Pedal, using different units for electric and acoustic guitars.

For drive effects, he utilizes overdrives like the “Tanabe Zenkudo Overdrive” and “BlueLine Overdrive,” which pair well with Dumble-style amplifiers. The Zenkudo, in particular, is renowned as a Japanese masterpiece, adding smooth distortion while retaining dynamic range. There are also anecdotes of him using the MXR Distortion+ to push the crunch of the Fender Tweed Deluxe further.

In terms of spatial effects, the “Providence Chrono Delay” and “Roland SDE-1000” (rack-mounted) are notable. The SDE-1000 symbolizes 1980s digital delay, helping to widen the stereo space. He also incorporates the “TC Electronic TC 1210 Spatial Expander” and “Lexicon MX400 Reverb” into his rack, emphasizing a three-dimensional sound in live performances.

For modulation effects, he uses the “Visual Sound Liquid Chorus” (18V version) to add depth to jazz cleans and ballads. The “TC Electronic Hall of Fame Reverb” is also part of his setup, providing reverb even in a simple pedalboard configuration. Furthermore, he employs the “Dunlop Cry Baby 95Q wah” to accentuate funky cuts and expressive solos.

His tuners include the “Korg Pitchblack” and rack-mounted “Korg DTR-2000,” ensuring precise pitch management in both stage and studio settings. Through these combinations, Larry Carlton has built a simple yet expressive effects system. While the configuration has evolved over time, he consistently aims for a sound that naturally integrates into his performance.

Tone Settings, EQ, and Mixing Approaches

Larry Carlton’s sound creation is characterized by his ability to “control the overall resonance by combining amp settings, EQ, and picking touch according to the context of the song.” It’s not just about mimicking settings; it requires a comprehensive musical approach.

In the iconic Steely Dan track “Kid Charlemagne,” he achieves a natural compression by running the Fender Tweed Deluxe at low volume, allowing for a smooth crunch. His EQ philosophy is straightforward: keeping the bass subdued while emphasizing the midrange to ensure his sound cuts through the band mix. The treble is adjusted to avoid harshness, allowing the dynamics of his picking to shape the distortion.

When using amplifiers like the Dumble Overdrive Special or Bludotone, he typically avoids frequent channel switching, controlling clean to overdrive through the guitar’s volume and touch. Larry actively manipulates the volume and tone controls on his guitar, reflecting subtle nuances in his music. This is a key reason why other guitarists cannot replicate the “Carlton tone” even with the same gear.

Regarding EQ, he often emphasizes the midrange (500Hz–1.5kHz), resulting in a sound that combines the warmth of jazz with the power of rock. Conversely, the low end is kept somewhat restrained to avoid being buried in the mix. The high frequencies are smoothed out to create a pleasant, ear-friendly sound.

His use of effects is modest yet effective. Reverb is applied lightly to add a sense of space without compromising the guitar’s natural resonance. Delay settings are kept short (100–300ms) to ensure that the echoes do not interfere with the groove. Even when adding stereo width with the Providence Chrono Delay or Roland SDE-1000, the original sound remains central in the mix.

In Steely Dan recordings, the engineer’s skill is also crucial, employing light peak control with compressors and midrange boosts in EQ. Particularly during solo sections, a 2–3dB boost helps bring the guitar forward, while backing parts are processed more subtly to maintain the overall dimensionality of the song. These studio and PA techniques contribute to the completeness of Carlton’s sound.

In summary, Larry Carlton’s settings revolve around “natural amp crunch,” “midrange-focused EQ,” “dynamics controlled through touch and guitar volume,” and “subtle yet spatial effect processing.” By focusing on these elements, one can get closer to recreating his sound in Steely Dan.

Affordable Alternatives to Recreate the Tone

To faithfully replicate Larry Carlton’s sound, high-end and hard-to-find gear like the Gibson ES-335 and Dumble amplifiers are often required. However, it’s essential for beginners and intermediate players to capture “similar nuances” within a realistic budget. Here, we introduce alternative gear priced around $1,000 or less that can help achieve Larry Carlton’s tone.

For guitars, the “Sire Larry Carlton Signature Models” are highly recommended. The H7 (335-type), S7 (Strat-type), and T7 (Tele-type) models offer authentic construction at an affordable price, with Larry himself using them in live settings. The H7, in particular, provides the thick midrange and sustain characteristic of a semi-hollow, making it an optimal choice for those seeking a “Mr.335 tone.”

For amplifiers, consider modeling or digital amps like the “BOSS Katana series” or “Yamaha THR100” as substitutes for Dumble. These options are budget-friendly while capable of delivering a wide range from clean to smooth overdrive. The BOSS Katana, especially, has a strong midrange presence, and with some EQ adjustments, it can closely approximate Larry’s thick tone.

For overdrive pedals, options like the “BOSS OD-200,” “JHS Sweet Tea,” or “Mad Professor Simble Overdrive” are effective choices designed with Dumble-style characteristics. The Simble is particularly well-regarded as a “Dumble-style OD,” balancing compression and dynamics, making it suitable for Larry’s touch-controlled style.

In terms of spatial effects, the “TC Electronic Hall of Fame Reverb Mini” and “MXR Carbon Copy Analog Delay” are practical choices. The Hall of Fame offers natural reverb quality, adding depth to clean tones. The Carbon Copy provides a warm analog delay, ideal for enhancing solos. Lightly applying these effects can help achieve the refined atmosphere typical of Steely Dan.

Finally, for volume pedals, the “Ernie Ball VP Jr” is an affordable and user-friendly option, perfect for practicing the dynamics control that Larry frequently employs. While professional models like Hilton or modified Sho-Bud pedals are pricier, the VP Jr can still help players grasp the necessary techniques.

In essence, the core of Larry Carlton’s sound lies in “midrange-focused tone,” “dynamics through touch and volume control,” and “natural spatial processing.” By combining cost-effective gear that captures these elements, players can come remarkably close to the tone he achieved during his time with Steely Dan.

Summary and Conclusion

Reflecting on Larry Carlton’s sound creation reveals that its essence lies more in the “fusion of nuances and musicality” than in the gear itself. In Steely Dan recordings, the natural crunch from the Fender Tweed Deluxe small amp supported the iconic performance of “Kid Charlemagne,” while in his later career, he established an urban and refined fusion sound centered around the Dumble Overdrive Special.

The core elements of his sound include a thick midrange, smooth sustain, and dynamic playing. Particularly, the warmth and dimensionality of the ES-335, combined with the control of the volume pedal and guitar itself, allow him to produce a unique character that no one else can replicate, even with the same amps and effects. This “use of gear to enhance touch and musicality” is the essence of Larry Carlton.

Moreover, his sound creation consistently reflects an awareness of “the role within the overall music.” Even amidst the complex arrangements of Steely Dan, his guitar never overpowers but instead weaves memorable solos that resonate with listeners. This delicate balance stems not just from amp and pedal settings but from a deep understanding of the music and ensemble.

For modern players attempting to recreate Larry’s sound, it’s not necessary to have high-priced vintage gear or Dumble-style amplifiers. The key is to focus on “midrange-conscious EQ,” “subtle yet effective reverb and delay,” and “dynamics control through guitar and volume pedal.” By grasping these points, even relatively affordable signature models and modeling amps can bring players closer to the “Carlton sound.”

In summary, Larry Carlton’s sound is a synthesis of “adaptability as a session musician,” “the fusion of jazz, blues, and rock,” and “the depth of touch and nuance.” The masterpieces left from his time with Steely Dan symbolize this, continuing to captivate guitarists around the world. His approach to sound creation serves as a guide not only for gear exploration but also for honing musicality.