[George Harrison] How to Recreate the The Beatles Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

George Harrison, known as the lead guitarist of The Beatles, is one of the most influential guitarists in rock history. His sound evolved from early rockabilly and country-inspired phrases to later experimental and lyrical playing, symbolizing the musical evolution of The Beatles themselves.

Iconic examples of his sound include the bright arpeggios played on a Rickenbacker 12-string in “A Hard Day’s Night,” the introduction of the sitar in “Norwegian Wood,” and the deep tones produced by his Les Paul “Lucy” in “While My Guitar Gently Weeps.” Harrison was not just a lead guitarist but also served as a “sound designer,” adding color to the band’s sonic landscape.

His sound was never flashy; instead, he focused on enhancing the flow of the songs and the vocals, while occasionally delivering moments of intense individuality. For instance, in “Something” and “Here Comes the Sun,” he crafted delicate and emotionally rich tones that have influenced guitarists worldwide.

The reason George Harrison’s sound stands out is due to its diversity, warmth, and the optimization of guitar tones for the songs. In this article, we will chronologically explore the amplifiers, guitars, and effects he actually used, detailing his sound design techniques and methods for recreation.

▶ Search official YouTube videos of The Beatles

List of Amplifiers and Features

The amplifiers used by George Harrison are essential elements in discussing The Beatles’ sound. In the early days, he primarily used combo-type amps for performances in clubs and small venues. As the band’s popularity grew, he transitioned to higher-output amplifiers suitable for large arenas and stadiums. Here, we will discuss the amplifiers he was known to use and their characteristics.

From before their debut through the early recording period, the Vox AC30 was central to Harrison’s sound. The AC30 is a 30W tube amplifier known for its clean to lightly crunchy sound. The bright and jangly tones heard in early Beatles tracks like “She Loves You” and “Please Please Me” owe much to this amp.

By around 1964, as their popularity soared, he began using higher-output stack amplifiers like the Vox AC50 and Vox Super Beatle (AC100/AC200). These amps were crucial for managing volume during American tours and stadium performances. They provided a wide headroom, allowing George to maintain his clean tone while delivering substantial sound pressure.

In later studio work, the Fender Bassman (white tolex version) became prevalent. It was chosen for its thicker rhythm tones and presence in solos during the period from “Rubber Soul” to “Sgt. Pepper’s Lonely Hearts Club Band.” Additionally, the Fender Twin Reverb was introduced in the later years, with records indicating its use during the sessions for “Let It Be.” The expansive reverb tone can be felt in tracks like “Let It Be” and “Across The Universe.”

George’s choice of amplifiers was significantly influenced by the scale of live performances and the musical trends of the time. Initially, he favored compact and clear tones, while later, he sought out studio-oriented sounds with depth and richness. It can be assumed that the combination of these amplifiers contributed to his unique warm and deep guitar tone.

Types of Guitars Used and Features

Throughout his career, George Harrison used a wide variety of guitars, significantly influencing The Beatles’ sound. In the early days, he played entry-level instruments and affordable electrics, gradually introducing iconic models from Gretsch, Rickenbacker, Fender, and Gibson. In later years, he utilized uniquely painted and custom models on stage and in the studio. Here, we will outline the characteristics and usage periods of his notable acoustic and electric guitars.

His acoustic journey began with the Egmond 276 and Höfner President. He later cherished the Gibson J-160E, purchased alongside Lennon, showcasing its unique electro-acoustic sound in tracks like “I Want to Hold Your Hand.” In later years, he used the Gibson J-200 in “Here Comes the Sun” and “For You Blue,” delivering a rich resonance. Additionally, he incorporated the Martin D-28 and the 12-string D-12-35 in live performances and recordings, creating a profound acoustic sound.

On the electric side, he initially used the Gretsch Duo Jet, followed by the Gretsch Country Gentleman and Tennessean. The Country Gentleman, in particular, can be heard in “She Loves You” and “All My Loving,” showcasing its jangly sound. The Rickenbacker 360/12, featured in the film “A Hard Day’s Night,” popularized the unique brightness of the 12-string guitar worldwide.

As his career progressed, his guitar choices became more distinctive. The Fender Stratocaster “Rocky”, which he painted himself in a psychedelic style, became a favorite for slide playing in later years. The Gibson Les Paul “Lucy”, gifted from Clapton, resonated symbolically in “While My Guitar Gently Weeps.” Furthermore, during the rooftop concert for “Let It Be,” he used a custom-made Fender Telecaster All-Rosewood, whose tone can be seen in the footage.

In summary, George carefully selected the most suitable guitars for each era, continually adding new colors to The Beatles’ music. His ability to navigate from bright and clear sounds to deep and warm tones exemplified his role as a “guitarist who complements the music.”

Effects and Pedalboard Setup

George Harrison was not known for using a plethora of effects like Jimi Hendrix or Eric Clapton. However, he incorporated effects as needed in the studio and live performances, contributing to the innovative sound of The Beatles. Particularly in later albums, he actively utilized studio equipment alongside effects to add unique depth and expression to his guitar.

The most representative effect was the Vox V846 Wah-Wah, which can be heard in “Wah-Wah” (from “Let It Be”) and during his solo career. The wah pedal added dynamism to George’s phrases, enhancing the rock flavor. Additionally, machines like the Binson Echorec were used in the studio to create spatial depth. In tracks like “I Need You,” it produced an experimental sound with a tremolo effect.

Moreover, routing his guitar through a Leslie 147 speaker became a hallmark of The Beatles’ later sound. The swirling and expansive tones heard in “Lucy in the Sky with Diamonds” and “Something” are due to the rotary speaker’s unique rotating effect. Although this is more of a peripheral device than an effect, it was essential to George’s sound design.

At the studio level, the Fairchild 660 compressor and EMT 140 Plate Reverb were also crucial. While these are not direct effects pedals, they shaped George’s guitar tone, adding depth and dimensionality to the overall album sound. When recreating The Beatles’ sound, one must consider not only the pedals but also the impact of such studio processing.

In summary, George was more about selecting minimal effects based on the song rather than assembling a complex pedalboard, combining studio techniques to create a unique sound.

Tone Settings, EQ, and Mixing Approaches

George Harrison’s sound design was shaped not only by the combination of amplifiers and guitars but also by EQ adjustments and mixing techniques. Particularly in the later Beatles years, he utilized the latest technology at Abbey Road Studios, collaborating with engineers like George Martin and Geoff Emerick to pursue innovative sounds.

In the early days, amplifiers like the Vox AC30 often had settings that emphasized the midrange, enhancing the “jangly” resonance during chord strumming. Treble was typically set around 7-8, with Bass at about 5 to maintain balance, and Gain kept at clean to light crunch levels, creating a transparent tone that did not interfere with the vocals.

In the mid-period, when using the Fender Bassman or Twin Reverb, settings were observed to slightly suppress the low end while boosting the mid-low frequencies. Notably, in “While My Guitar Gently Weeps,” the combination of the Les Paul “Lucy” and Bassman achieved a lead tone with depth and sustain. During this setup, Bass was likely set around 6-7, Middle around 6, and Treble at about 5, ensuring a warm yet prominent sound.

When utilizing effects like the wah or rotary speaker, he often manipulated midrange peaks to highlight solos and memorable phrases. The guitar in “Something,” processed through the Leslie 147, featured rounded high frequencies and a three-dimensional resonance from the mid-low rotary effect. This was further enhanced during the mixing stage with added reverb and compression, elevating its ethereal quality.

In terms of studio processing, the Fairchild 660 compressor provided natural sustain, while the EMT 140 Plate Reverb added depth to the sound. The compressor controlled the attack, ensuring the tone was even, allowing the guitar to blend well with vocals and drums. Reverb was used selectively; for instance, in “Something,” it provided a rich, sweet resonance, while in “Here Comes the Sun,” it offered a bright and natural spatial feel.

Moreover, when incorporating slide guitar, it is said that George often adjusted the EQ to highlight the mid-high frequencies. In tracks like “My Sweet Lord” and later Beatles works, he raised the Treble while lowering the Bass to accentuate the glassy sound of the bottleneck.

Overall, George’s sound design was achieved through a combination of “guitar and amp selection,” “EQ fine-tuning,” and “studio effects finishing.” His two-pronged approach of keeping live setups simple while actively processing in the studio formed the core of his sound.

Affordable Alternatives to Recreate the Tone

While fully replicating George Harrison’s sound can be challenging, there are ways for beginners and intermediate players to approximate it within a more accessible price range (around $100 to $500). The key is to balance “bright clean tones,” “warm acoustic sounds,” and “necessary wah and spatial effects.” Here, we will introduce commercially available gear that is relatively affordable and explain why it can help you get closer to George’s sound.

For amplifiers, while the Vox AC30 is on the pricier side, the VOX Pathfinder 10 and VOX Cambridge 50 are excellent recommendations for beginners. The Pathfinder, in particular, can be purchased for around $100, allowing you to experience its unique chimey clean tone. The emphasized midrange sound resonates with the rhythm guitar of early Beatles tracks.

In terms of guitars, while Rickenbackers and Gretsches can be expensive, the Epiphone Casino can be found for around $500, making it an ideal substitute for the model George used. Its hollow structure provides a unique resonance and lively tone, aiding in recreating the sound of later Beatles tracks.

For effects, the wah pedal BOSS AW-3 Dynamic Wah and the VOX V845 Wah are relatively affordable and highly recommended. These are essential for recreating George’s “Wah-Wah” effect, adding personality to lead guitar lines. Additionally, spatial effects can be achieved with the TC Electronic Hall of Fame Mini for reverb and the BOSS DD-8 Delay, effectively simulating the expansive qualities of Leslie and studio reverb.

Furthermore, utilizing multi-effects units can allow you to replicate George’s reverb, delay, wah, and compression all in one. Models like the ZOOM G3Xn and BOSS GT-1 can be purchased for around $300 to $400, greatly expanding your sound design capabilities. If you want to include studio-like processing, a multi-effects unit is a highly cost-effective choice.

In summary, to recreate George’s sound, the keys are “simple clean settings,” “spatial processing,” and “wah pedals.” By gathering these elements with affordable gear, you can experience a Beatles-like guitar sound.

Summary and Conclusion

Reflecting on George Harrison’s sound design, its essence lies in “enhancing the music.” He was never a flashy guitarist but rather a craftsman who delivered memorable sounds precisely when needed. From the jangly tones of early Gretsch and Rickenbacker guitars to the thick sounds of Fender and Gibson in the mid-period, and the experimental use of Leslie and wah in the later years, he consistently chose the most suitable equipment based on the flow of the music and the context of the times.

Moreover, his sound was not solely dependent on gear; it was also shaped by EQ adjustments and studio processing. The use of Fairchild compressors and EMT reverbs allowed his guitar to blend seamlessly into the band’s overall sound while maintaining presence when necessary. His proactive incorporation of slide guitar techniques added warmth and unique expression, marking significant points in his sound design.

Modern guitarists looking to replicate George’s sound do not need to acquire all his gear. The key is to focus on “clear clean tones,” “midrange-focused EQ,” “depth through spatial processing,” and “minimal necessary effects.” By combining VOX-style amplifiers, semi-hollow or hollow guitars, and wah and light reverb, one can get sufficiently close to Harrison’s sound.

In summary, George Harrison’s sound design is based on “simplicity” and “music-first principles.” His balance of maximizing the guitar’s individuality while adding effects and studio processing as needed formed the core of his sound. Readers are encouraged to start with their existing gear, trying simple settings, and then adding spatial effects and wah to approach a George-like tone. This is arguably the best way to experience the “Beatles essence.”