[Daniel Kessler] How to Recreate the Interpol Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Interpol, a prominent figure in the post-punk revival scene based in New York, owes much of its distinctive sound to guitarist Daniel Kessler. His guitar playing is characterized by sharp arpeggios, a clean tone that is both cold and warm, and a unique sense of rhythm.

Iconic tracks like “Obstacle 1,” “Evil,” and “Slow Hands” showcase memorable riffs and the resonant sound of clean guitar that utilizes space effectively. Kessler’s sound design is marked by the use of delay and reverb without excessive distortion, supporting the overall atmosphere of the band.

His approach to sound creation maximizes the character of the guitar itself, often employing semi-hollow and hollow-body guitars to balance the coldness of post-punk with a classic warmth. He primarily selects Fender amps known for their beautiful clean tones, combining minimal distortion with spatial effects.

What makes his sound noteworthy is that while many guitarists in the genre pursue aggressive distortion and noise, Kessler emphasizes “sound with space” and “transparency that complements the music.” Listening to Interpol, one finds that no instrument overpowers the others, yet the collective sound has a powerful presence, with Kessler’s guitar at its core.

This article aims to provide valuable insights for guitarists looking to delve deeper into Interpol’s music and recreate Kessler’s sound.

▶ Search official YouTube videos of Interpol

List of Amplifiers and Features

Amplifiers play a crucial role in Daniel Kessler’s sound design. He frequently uses Fender amps, whose beautiful clean tones complement the spatial effects, supporting the unique cold yet warm texture of Interpol’s music.

One of the most notable amps is the Fender Twin Reverb, confirmed to be used during the “Antics” tour. Its powerful output fills the stage with a clear clean tone that does not compromise the echoes of delay and reverb, providing a sense of depth to the band’s overall sound. The Fender Pro Reverb is also utilized, known for its slightly mid-focused warm clean tone.

Additionally, the Fender Princeton (from the 1960s) is particularly significant in recording settings. It was used during the recording of “Antics,” produced by Peter Katis, where its understated yet rich resonance defined the quality of the work. In recent live performances, Kessler has also brought the Princeton along, blending it with Gibson amps and the Carr Skylark. This blending technique adds dimensionality to the sound by combining multiple personalities rather than relying on a single amp.

When selecting amps, Kessler’s approach is clearly focused on “clean sound that utilizes space.” Interpol’s music thrives on the reverberation provided by delay and reverb, and using overly distorted amps would undermine that charm. Kessler deliberately opts for clean-centric amps, supplementing gain with pedals as needed.

Thus, his choice of amps reflects a flexibility in using different setups for live and recording situations while consistently rooting his sound design in “clean-based, space-focused” principles.

From this amplifier setup, it can be inferred that Daniel Kessler maintains a clean-centric approach while combining multiple amps to expand his sound image.

Types of Guitars Used and Features

The core of Daniel Kessler’s tone is formed by his unique selection of guitars, primarily semi-hollow and hollow-body models. He does not solely rely on effects but rather utilizes the inherent character of the guitar to blend the coldness of post-punk with a classic warmth.

First and foremost is the Gibson ES-330, which he often plays with P-90 pickups and a Bigsby B-7. He has been known to use a 1968 model, praised for its “timeless, sincere, emotional, and vulnerable” sound. The soft tone characteristic of semi-hollow bodies enhances the poignant essence of Interpol’s music.

Next is the Epiphone Casino. Kessler has used multiple Casinos, including a 1967 model dubbed “Casiera,” prominently featured on early albums like “Turn On The Bright Lights” and “Antics.” Although his first Casino was stolen, he continues to use a model from the same era, directly linking its sound to Interpol’s early sonic identity. The Casino’s light and clear resonance supports the band’s dark atmosphere while providing clarity to the songs.

Additionally, he employs the Gibson ES-335, known for its bell-like clarity and warmth, which remains a stable presence in studio recordings. When seeking a more jangly and hard-edged sound, he turns to the Rickenbacker 330 Jetglo, achieving modern and vibrant arpeggios.

Other guitars include the Gretsch Anniversary (from the 1960s), particularly a 1960 model known for its lower output, requiring effects for enhancement but possessing a rich character. For sharper and more cutting tones, Kessler also considers the Fender Jaguar / Jazzmaster, which he sometimes shares with bandmate Paul Banks.

In summary, Daniel Kessler’s choice of guitars skillfully balances “warmth from semi-hollow and hollow bodies” with “clarity from offset models,” crafting Interpol’s unique sonic landscape. As a result, his guitar sound continues to exude delicacy while maintaining a strong presence.

Effects and Pedalboard Setup

Daniel Kessler’s sound is characterized by a foundation of clean tones with added depth from spatial effects, avoiding excessive distortion. Interpol’s tracks rely on arpeggios and riffs, making clarity of each note crucial, and his choice of effects is highly strategic.

A key delay pedal is the BOSS DD-5 Digital Delay, which has been used extensively on tours and is considered essential for the sound of the “Antics” era. It is speculated that he currently uses the DD-7 or DD-8, but the fundamental approach remains a simple digital delay emphasizing rhythm. The Eventide TimeFactor has also been integrated for high-quality rhythmic delay.

For spatial effects, the early model of the Electro-Harmonix Holy Grail Reverb supports Interpol’s unique ambient feel, while the Eventide Space is used to express a variety of reverb types.

For overdrive, the Vox V810 Valve Tone Overdrive is favored for both recording and live performances, and the legendary Klon Centaur (or its clones) is mentioned for overdrive purposes. In cases where more distortion is desired, the ProCo Rat 2 Distortion has been used, but generally, Kessler maintains a clean sound with just a light drive.

For boosting, Kessler utilizes the MXR M-133 Micro Amp and Zvex Super-Duper 2-in-1 Boost, as well as the Zvex Super Hard On (SHO). These pedals play crucial roles in elevating clean volume and adding light drive to the amp. The Keeley Fuzz Head has been noted as a potential replacement for the Diaz Texas Ranger, now recognized as a key component of Interpol’s distortion sound.

In terms of modulation, the BOSS TR-2 Tremolo (green casing with three knobs) is presumed to be used, along with the MXR Phase 90, which adds movement to single-note phrases. The Line 6 DL4 Delay Modeler has also been used at times for looping and experimental sound creation.

Lastly, Kessler reportedly uses two Voodoo Lab Pedal Power 2+ units to power the entire pedalboard, ensuring stability for both live and studio settings.

This setup reveals a consistent philosophy of “focusing on spatial effects and boosters while keeping overdrive minimal,” highlighting Kessler’s commitment to prioritizing the overall sound image of the band. The cold yet dramatic sound of Interpol is meticulously shaped by this array of effects.

Tone Settings, EQ, and Mixing Approaches

Daniel Kessler’s sound design revolves around “utilizing the character of the guitar” and “creating a sense of reverberation through spatial effects.” His guitar sound is simple yet intricate, calculated from the perspective of a PA or recording engineer.

Regarding amp settings, Kessler tends to keep the gain and volume low to maximize the clean tones of Fender amps. When using the Twin Reverb or Pro Reverb, he slightly raises the treble (around 6-7), keeps the bass moderate (3-4), and has the mids flat or slightly elevated (5-6), achieving a transparent sound that does not muddy the spatial effects. When using smaller amps like the Princeton, he may raise the volume a bit to achieve natural compression.

In terms of effects, delay and reverb are paramount. By synchronizing the delay time on the BOSS DD-5 or Eventide TimeFactor with the rhythm, arpeggios and riffs expand spatially. Notably, in tracks like “Obstacle 1” and “Evil,” 16th or 8th note delays subtly overlap, adding depth to simple riffs. For reverb, he selects plate or hall types with the Electro-Harmonix Holy Grail or Eventide Space, blending them without overpowering the dry sound.

Distortion is rarely used aggressively; instead, Kessler adds a light drive with the Vox V810 or Klon-type overdrive. This approach prevents muddying arpeggios and chord strokes, and when using the ProCo Rat 2, it remains a partial accent. Booster pedals (MXR Micro Amp, Zvex Super-Duper) are used to push the clean sound, playing a crucial role in the dynamics of the songs.

In studio recordings, Kessler often employs a blending technique with two amps. For example, blending the small, delicate clean of the Princeton with the thickness of a Gibson amp creates a three-dimensional sound image not achievable with a single amp. Recording engineer Peter Katis actively incorporated this blending technique in “Antics.”

For EQ processing, Kessler lightly boosts the 2-4 kHz range to prevent the guitar from getting buried in the mix, while cutting low-end frequencies below 100 Hz to avoid interference with the bass. Given the heavy use of spatial effects, EQ on reverb and delay returns is also crucial, with high frequencies slightly reduced to prevent harshness while maintaining mid-range presence. This results in the unique Interpol sound that embodies both “coldness and warmth.”

In live settings, rather than changing pedal combinations for each song, Kessler maintains a basic setup, using the on/off of boosters and delays to create dynamics. For instance, in “Slow Hands,” he emphasizes a relatively dry clean tone, while in “NYC” and “Leif Erikson,” he deepens the reverb and delay settings to amplify the ambient feel.

In summary, Daniel Kessler’s sound design consistently revolves around “clean amp foundations, ensuring clarity through EQ, and creating expansiveness with spatial effects.” Distortion and modulation are kept minimal to avoid disrupting the overall sound image of the band. From an engineering perspective, his sound design exhibits a remarkable sense of balance, contributing significantly to Interpol’s unique atmosphere.

Affordable Alternatives to Recreate the Tone

To fully replicate Daniel Kessler’s sound, one would typically need to acquire vintage Gibsons, Epiphones, and expensive Eventide effects. However, for beginners and intermediate players looking to approach his sound, selecting relatively affordable and accessible alternative gear is a practical approach. Here, we present items primarily from well-known brands like BOSS and MXR that can help recreate the Interpol sound.

To replicate the clean-centric amp sound, the compact yet Fender-like Fender Champion 40 or the BOSS Katana 50 MkII are recommended. The former provides the signature Fender clean, while the latter offers excellent cost-performance with a variety of built-in effects, making it suitable for both live and practice settings, allowing for a simplified experience of Kessler’s amp configuration.

For delay, the BOSS DD-8 or DD-7 are reliable choices. They intuitively recreate the delay sound that supports Interpol’s rhythmic arpeggios. For reverb alternatives to the Holy Grail, the more affordable Electro-Harmonix Holy Grail Nano or TC Electronic Hall of Fame 2 are ideal. Adding rich spatial effects can significantly enhance the Interpol-like sound.

For overdrive, alternatives to the Vox V810 include the BOSS SD-1 Super OverDrive or MXR GT-OD. These provide a light overdrive that adds natural distortion to clean tones, aligning with Kessler’s sound design principles. Additionally, the Boss DS-1 or Mooer Black Secret can serve as cost-effective substitutes for the Rat 2, offering similar tonal characteristics.

For booster pedals, the classic TC Electronic Spark Mini Booster is recommended as an alternative to the Zvex Super Hard On, providing excellent clean boost in a compact and affordable package. Furthermore, for power supply needs, alternatives like the One Control Distro can ensure stable pedalboard operation.

In conclusion, beginners aiming to explore the “Interpol sound” do not necessarily need to invest in expensive vintage gear. By starting with these affordable alternatives, one can achieve a highly replicable sound without breaking the bank.

Summary and Conclusion

Reflecting on Daniel Kessler’s sound design reveals a consistent commitment to “sound design with space” that supports the unique world of Interpol. He avoids aggressive distortion and excessive effects, building his sound around a clean, transparent guitar tone. This is one of the reasons why Interpol stands out in the post-punk revival scene.

The guitars he uses, such as the Gibson ES-330 and Epiphone Casino, are centered around semi-hollow and hollow-body models, characterized by warmth and fragility. He chooses clean-focused amps like the Fender Princeton and Twin Reverb, keeping distortion to a minimum. Additionally, by skillfully manipulating delay and reverb, he creates a sound that embodies both depth and coldness. These cumulative choices shape Interpol’s “cold yet beautiful soundscape.”

Moreover, his approach to sound design always prioritizes “the overall sound image of the band.” Kessler’s guitar does not overpower but leaves a strong impression on the listener. This is supported not only by his choice of gear but also by his awareness of timing and arrangement, showcasing his maturity as a guitarist.

In conclusion, to recreate the Interpol sound, it is essential to focus on “selecting clean-centric semi-hollow/hollow-body guitars,” “maintaining transparency with Fender amps,” and “adjusting delay and reverb with spatial awareness.” By keeping these points in mind, one can achieve a sound close to Daniel Kessler’s without needing expensive vintage gear.

Interpol’s sound design transcends mere guitar sound replication; it is based on the philosophy of how to incorporate “space,” “emptiness,” and “texture” into the music. Understanding this core is the first step in integrating his sound into your own playing.