[Ed O’Brien] How to Recreate the Radiohead Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Ed O’Brien is the guitarist for Radiohead, known for crafting a unique soundscape that transcends traditional guitar roles. Rather than simply being “another lead guitarist,” he serves as a “sound designer,” creating rich reverbs, delays, and synth-like textures that add depth and ethereal expansiveness to the band’s music.

Iconic tracks like “Everything In Its Right Place,” “Weird Fishes/Arpeggi,” and “Airbag” showcase layers of guitar that evoke a sense of floating, thanks to Ed’s distinctive sound processing. His playing supports Thom Yorke’s vocals while intertwining with Jonny Greenwood’s experimental guitar work, solidifying Radiohead’s overall sonic identity.

In live performances, Ed is known for using volume pedals and loopers, treating the guitar almost like a synthesizer. This approach has redefined the image of guitarists in alternative rock, emphasizing the act of “creating” sound rather than just “playing” it. His solo work, such as the album “Earth,” further illustrates his philosophy of “sculpting sound,” where effects and guitar become one.

Studying Ed O’Brien’s sound design offers insights not just into guitar techniques but also into how to enrich an entire song. In the following sections, we will explore the amplifiers, guitars, and effects he has used, along with methods for achieving his signature sound.

To get a better understanding of his playing style, it’s recommended to check out Radiohead’s official music videos.

▶ Search official YouTube videos of Radiohead

List of Amplifiers and Features

Ed O’Brien has relied on various amplifiers throughout his career with Radiohead, each contributing to the spatial quality and atmospheric feel of his sound. His choice of amplifiers goes beyond mere distortion or clean tones; they serve as a foundation to maximize the effectiveness of spatial effects. Here, we will outline the amplifiers he has used, along with their characteristics and sound tendencies.

One of the most notable amplifiers is the Mesa Boogie Dual Rectifier Trem-O-Verb. Frequently seen in Radiohead’s live performances from the 90s to the 2000s, this amp provides a thick, driving sound. Its clean channel can withstand heavy effects, making it ideal for Ed’s style, which often requires the guitar to take on a synthesizer-like role.

Seeking a more nuanced tone, Ed also used the Fender Vibro-King for many years. Although it served as his main amp for nine years, its high volume ultimately led to its retirement. The Audio Kitchen Big Chopper then took its place, a handmade amp from London that offers a more manageable volume while still delivering solid cleans and overdrive. Ed has mentioned plans to use it actively in the studio, making it a key part of his recent rig.

Another amp he continues to use is the Fender Princeton. Despite its small size, it produces a warm tone characteristic of tube amps and works well with effects. For Ed’s style, which often involves multiple layers of delay and reverb, the Princeton’s straightforward character helps maintain clarity.

In his early days, Ed was also known to use a Peavey amp (model unknown). This was likely a budget-friendly option during the band’s formation and debut period. As his career stabilized, he transitioned to higher-end amps like Fender and Mesa Boogie.

Overall, Ed O’Brien’s amplifier selection emphasizes “clean transparency and compatibility with spatial effects.” His sound focuses more on “undulation and depth” rather than distortion itself, and the amps play a subtle yet crucial role in achieving this. He has likely chosen different amps for live and studio settings based on the demands of each period.

Types of Guitars Used and Features

When discussing Ed O’Brien’s sound, his collection of guitars is an essential element. In Radiohead, Ed plays the role of a “sound texture builder” rather than a traditional lead guitarist, which means that his chosen guitars prioritize compatibility with spatial effects and rich resonance over mere distortion or flashiness.

One iconic model is the Fender EOB Sustainer Stratocaster, his signature model featuring a Fernandes Sustainer. This allows for infinite sustain, enabling synth-like soundscapes when combined with delays and reverbs. During tours, he uses three of this model, each with his tattoo “Flower of Life” engraved on the neck plate, making it a true representation of “Ed O’Brien’s sound.”

Another significant guitar from his early career is the Westone Spectrum DX, an all-black model purchased in 1985 that contributed to the band’s sound during their indie days. Following that, he acquired a Squier Strat in 1987, which he used until 1991, but it was stolen. As a replacement, he got a Clapton Strat (modified with Lace Sensor → Fernandes Sustainer). Although he wasn’t fond of the standard sound, he was drawn to the sustainer feature, which greatly influenced his style.

Live performances often feature the Rickenbacker 360/12 FG (6-string and 12-string). This guitar was used during the “In Rainbows” tour, with the 12-string model making its debut on “Airbag.” Its unique, shimmering resonance plays a crucial role in expanding the band’s overall sound.

Notably, Ed lost a 1964 L-series Strat in the 90s, an incident that likely prompted him to seek more customizable Stratocasters.

Additionally, he has used the Gibson ES-335 Studio Wine Red, which features a maple body and 57 Classic pickups, known for its warm and rich sound. This guitar is often used for cleaner tracks, adding thickness to the band’s sound. The Fender Classic Series 70 Strat MN OW is also part of his collection, providing a diverse sound palette with a combination of zebra humbuckers and single coils.

Overall, Ed O’Brien’s guitar selection emphasizes “sustained tones using sustainers,” “shimmering clean tones,” and “harmony with spatial effects.” The introduction of his signature model has further clarified this direction.

Effects and Pedalboard Setup

Ed O’Brien’s pedalboard is essential for crafting Radiohead’s sound. He doesn’t just distort sounds or add spatial effects; he treats the guitar as a “synthesizer-like expression instrument,” utilizing a variety of pedals. In live performances, he layers sounds using loopers and volume pedals, weaving in delays and modulation to create a dreamlike soundscape.

One of the most famous pedals is the DigiTech Whammy, a staple in Ed’s setup. It allows for pitch shifts ranging from a half-step to two octaves, particularly effective when combined with the Electro-Harmonix Deluxe Memory Man for dramatic spatial effects. Ed himself refers to the Deluxe Memory Man as a “god pedal,” using an expression pedal to manipulate feedback, showcasing its versatility beyond a simple delay.

He also actively uses the Origin Effects Cali76, which introduced him to compression, and the Catalinbread Belle Epoch Deluxe, which functions as a preamp modeled after the Echoplex, adding warmth and thickness to his sound. For fuzz, he incorporates unique gear like the ThorpyFX Mushroom Cloud (a Big Muff variant) and the Boss Tone Bender (Macari’s collaboration), allowing him to switch tones from song to song.

Supporting his improvisational style in live settings are loopers like the Line 6 DL4 and Akai HeadRush. These enable him to layer sounds, creating a rich ensemble reminiscent of keyboard instruments or string sections. His delay arsenal includes the Boss DD-5 and Boss DD-3, along with newer models like the Boss DM-101 and SDE-3000D, showcasing his continuous updates over the years.

Specialty effects such as the Hologram Electronics Infinite Jets and Electro-Harmonix HOG 2, as well as the vintage Binson Echorec, expand his sound beyond traditional guitar tones, adding synth-like sustain and intriguing harmonic processing to recreate Radiohead’s ethereal sound world.

At the core of his pedalboard are switching systems like the RJM Mastermind PBC and TheGigRig G2, allowing him to switch complex effects chains quickly and manage a vast array of pedals reliably during live performances.

In summary, Ed O’Brien’s pedalboard is built around the concept of “layering spatial delays and synthesizer-like effects,” and while he updates his pedals over time, the essence of his sound remains consistent.

Tone Settings, EQ, and Mixing Approaches

Ed O’Brien’s sound design involves meticulous crafting that goes beyond simple amp settings or pedal combinations. His guitar plays a synth-like role, coloring the space, making EQ and effect balance crucial aspects of his approach.

Starting with amp settings, Ed generally prefers a clean-oriented setup. Even when using the Mesa Boogie Trem-O-Verb, he keeps the gain low to avoid excessive distortion. With the Fender Vibro-King and Princeton, he tends to lower the treble slightly, keep the mids flat or slightly boosted, and keep the bass modest. This helps maintain clarity when layering spatial effects, allowing the sound to blend seamlessly into the overall mix.

His EQ processing varies between live and studio settings. In live performances, he often adjusts the wet ratio of delays and reverbs to account for the venue’s acoustics, allowing the PA to add airiness. Conversely, in studio recordings, he actively incorporates effects into the sound, particularly emphasizing the echoes from the Deluxe Memory Man and Line 6 DL4. This creates a unique “floating” sensation in the tracks.

In the iconic track “Airbag,” Ed layers spatial effects over the 12-string Rickenbacker 360/12, enhancing its shimmering tone. The EQ highlights high-frequency overtones while cutting low frequencies through the PA, preserving a sense of buoyancy within the band’s sound. In “Weird Fishes/Arpeggi,” he uses loopers to stack arpeggios, applying delays to each phrase while intentionally cutting mid frequencies to allow Thom Yorke’s vocals and Jonny Greenwood’s guitar to shine.

Another essential aspect of Ed’s playing style is his use of the volume pedal. He employs it not just for volume control but to create swell effects reminiscent of strings. With a compressor (like the Cali76) engaged, the sound’s attack becomes smooth, allowing sustained notes to remain stable. Layering delays on top of this creates an expansive soundscape.

From a mixing perspective, Ed’s sound often avoids central placement. His guitar is panned left and right, while Thom’s vocals and bass occupy the center. This arrangement allows Ed’s effect-laden sound to spread like a “wall of air,” enveloping the entire band. In live arrangements of “Everything In Its Right Place,” his guitar is mixed to blend with synths, providing a trance-like experience for listeners.

Key points for EQ settings include:

• Bass: Modest (to prevent muddiness with spatial effects)
• Mids: Flat to slightly boosted (to maintain guitar presence)
• Treble: Slightly reduced (to avoid harshness while preserving overtones)

Delays and reverbs are used selectively, with deeper reverb in “Pyramid Song” and a combination of delay and modulation in “Idioteque” and “Everything In Its Right Place” to enhance the floating sensation. These choices are not merely additive; they reflect a precise control over which frequencies to preserve and which to cut.

In summary, Ed O’Brien’s sound design is built on the triad of “simple clean amps, intricate effects, and EQ adjustments.” His guitar doesn’t stand out dramatically on its own; instead, it integrates into the band’s sound, providing essential depth. His settings are meticulously crafted with the entire song in mind.

Affordable Alternatives to Recreate the Tone

To fully replicate Ed O’Brien’s sound, one would typically need the expensive guitars, handmade amps, and unique effects he uses. However, there are plenty of ways for beginners to intermediate players to achieve a “Radiohead-like ethereal sound” without breaking the bank. Here, we will introduce gear that is relatively accessible, ideally priced around $500 or less.

First and foremost is a delay pedal. This is the spatial effect Ed uses most frequently, and incorporating one can quickly bring you closer to his sound world. Recommended models include the BOSS DD-8 and BOSS DD-3T. Both are user-friendly and allow for simple delay time adjustments, enabling you to create a “wall of echoes” during live performances or practice sessions.

Next is reverb. While Ed loved the spring reverb of the Deluxe Memory Man and Vibro-King, a great alternative is the BOSS RV-6. It features hall and shimmer reverb settings, making it perfect for expanding your sound space. This is especially useful for recreating the floating arpeggios found in tracks like “Weird Fishes/Arpeggi.”

For pitch shifting, the Whammy is essential, but it can be pricey. A solid alternative is the BOSS PS-6 Harmonist, which can create harmonies and octaves while also providing simple pitch shifts, allowing you to experience Ed’s signature undulations more affordably.

If you’re looking to start layering sounds like Ed, the BOSS RC-5 or TC Electronic Ditto Looper are reliable choices. They offer intuitive operation for layering phrases, allowing you to build a “soundscape” in a live setting.

Additionally, incorporating compression can smooth out your swell techniques when using a volume pedal. For a budget-friendly alternative to the Cali76, consider the BOSS CS-3 Compressor Sustainer, which is easy to use and affordable.

As for guitars, while Ed’s signature EOB Strat is costly, alternatives like the Squier Classic Vibe Stratocaster or Yamaha Pacifica can provide the “Strat-like clarity” you need. The single-coil cleans work exceptionally well with spatial effects.

Finally, you don’t need a tube amp to get started. For a more accessible option, consider the Boss Katana series or Fender Mustang LT25, which are modeling amps that provide solid clean tones and pair well with effects to create a Radiohead-esque atmosphere.

In summary, with a combination of “delay, reverb, looper, and a clean-tone amp,” you can capture the essence of Ed O’Brien’s sound design. Even without high-end signature models, affordable gear can help you get closer to his “floating sound world.”

Summary and Conclusion

In summary, Ed O’Brien’s sound design can be distilled into the philosophy of treating the guitar not just as a stringed instrument but as a canvas for painting space. Radiohead is a band that continually innovates, and within that context, Ed’s role is to weave the “fabric of sound” that supports Jonny Greenwood’s sharp guitar and Thom Yorke’s vocals. The tools he uses—his amplifiers, guitars, and pedalboard—are essential for creating that fabric.

On the amplifier front, he prioritizes clean tones, carefully selecting volume and character to ensure effects don’t muddy the sound. His guitar choices center around Stratocasters, emphasizing sustainers and 12-string guitars to highlight sustain and expansiveness. In terms of effects, he builds his sound around delays, reverbs, and loopers, while also incorporating pitch shifters and synth-like pedals to achieve “sounds beyond guitar.”

Thus, to emulate his sound design, it’s more important to learn the approach of “layering sounds with an awareness of space” than to acquire specific high-end gear. For instance, using delays to layer phrases, creating swells with a volume pedal, and filling gaps within the band can evoke Ed’s essence.

Moreover, Ed’s playing is always mindful of the “overall sound.” While his guitar may sound simple on its own, it only completes its role when combined with rhythm and vocals. This is a valuable lesson for beginners, emphasizing the importance of considering “how to position your sound within a mix,” a principle that applies across genres.

To summarize, the key elements of Ed O’Brien’s sound design include:

• Base around clean tones
• Layered use of spatial effects (delay and reverb)
• Using loopers and volume pedals to “sculpt” sound
• Emphasizing sustain and expansiveness with sustainers and 12-strings
• Always considering the “overall sound of the band”

By focusing on these aspects in practice and gear selection, even without access to the exact same equipment, you can get quite close to Ed O’Brien’s soundscape. The key is to move beyond the mindset of simply “playing notes” to one of “painting sound in space.” This perspective holds the secrets to recreating the ethereal world of Radiohead.