[Graham Coxon] How to Recreate the Blur Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Graham Coxon is the iconic guitarist of Blur, a band that epitomized Britpop in the 1990s. His playing style is a blend of rawness and delicacy, showcasing a wide range from solid, cutting riffs to ethereal arpeggios. The aggressive guitar sound in the hit “Song 2” and the melodic, layered guitar lines in “Coffee & TV” encapsulate his unique gear choices and sound design philosophy.

Coxon’s signature sound is built around classic Fender guitars, combined with a diverse array of effects and powerful amplifier tones, pushing the boundaries of traditional Britpop. Notably, his use of the Pro Co RAT distortion pedal creates a gritty sound, while guitars like the Jazzmaster and Jaguar contribute to a distinctive harmonic richness that is essential to Blur’s music.

Beyond his work with Blur, Coxon has continuously explored new guitar sounds through solo projects and side endeavors, showcasing an experimental spirit that remains vibrant. In recent reunion tours and activities, he has incorporated modern amps like Victory Amps and Morgan, alongside the classic Marshall Super Lead, demonstrating his evolution as a musician.

This multifaceted approach gives his sound a unique blend of “rawness,” “instability,” and “rough beauty,” setting him apart from other guitarists. His studio recordings often feature simple yet effective spatial effects, while live performances oscillate between explosive volume and delicate nuances.

When discussing Blur’s music, the texture created by Coxon’s guitar is indispensable. The following sections will delve into the amplifiers, guitars, and effects he has used, exploring how this distinctive sound is crafted.

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List of Amplifiers and Features

Graham Coxon’s choice of amplifiers is crucial in shaping his sound. During the golden era of Blur in the 1990s, his rig prominently featured two Marshall 1959 Super Lead 100W heads paired with a 1968 4×12 cabinet. This setup allowed for a loud, crunchy tone that, when combined with distortion pedals like the Pro Co RAT, produced an aggressive and cutting sound. Live footage from songs like “Song 2” and “Girls & Boys” showcases this Marshall stack towering behind him.

To manage the volume of this Marshall beast, he also employed the Marshall PB100 Power Brake, which allowed him to maintain the violent tone of the 100W head while controlling the output volume. This combination of “power brake and cranked Marshall” was essential for achieving the raw sound characteristic of 90s Blur.

On the other hand, for studio work and more recent solo endeavors, Coxon has opted for different amplifiers. He has praised the Morgan AC20 Deluxe in interviews, noting its sweet clean tones and natural overdrive, which pair well with his Jazzmaster and Telecaster, often yielding a spacious and rich sound during recordings.

In recent Blur reunion activities and with The WAEVE, he has expressed interest in using Victory Amps. This brand offers a modern yet classic tone, making it an ideal choice for guitarists like Coxon who wish to balance tradition with experimentation. He has mentioned trying out Victory during Blur’s 2023 activities, indicating a strong possibility of it becoming a staple in his live setup.

Additionally, the practical BOSS Katana 100W has been part of his rig, providing various features including an acoustic mode, making it useful for home practice and small rehearsals. This reflects his philosophy that “music is about the performance,” as he actively incorporates not only high-end gear but also practical and versatile equipment.

Overall, Coxon’s amplifier selection has evolved over time, featuring “the raw Marshall,” “the recording-friendly Morgan,” “the experimental Victory,” and “the practical Katana.” This consistent style of building a wall of sound live while pursuing delicate and layered tones in the studio strongly reflects the duality of his playing style. It is assumed that this careful selection of gear contributes to the unique rawness and atmosphere that defines Blur’s sound.

Types of Guitars Used and Features

The core of Graham Coxon’s sound lies in his long-time love for Fender guitars. Notably, the Fender ’52 Telecaster Reissue has been a staple since the early days of Blur, supporting the sharp cutting and riffs characteristic of the Britpop era. Following this, his signature model, the Fender Graham Coxon Signature Telecaster, was produced between 2011 and 2013, featuring a Seymour Duncan ’59 SH-1 in the neck and a vintage Tele single-coil in the bridge, along with a unique 375k pot. The combination of single-coil and humbucker tones supports his experimental sound-making.

During the “Parklife” era and in the music video for “Bang,” the Fender Jaguar can be seen, known for its short scale and sharp overtones. Additionally, in tracks like “Beetlebum” and “Coffee & TV,” he has used the Fender Musicmaster, which, despite its simple structure, perfectly complements his soft and ethereal riffs. In the early music video for “She’s So High,” the Fender Coronado 12-String also made an appearance, adding a shimmering quality to the song’s atmosphere.

Coxon has also embraced the Jazzmaster, which has been spotted on many stages from Blur’s mid-period to his solo work. Its thick, warm tone and unique harmonic character add depth to his compositions. Furthermore, the Fender Classic Series ’72 Telecaster Deluxe has been introduced to achieve a more powerful tone.

Beyond Fender, Coxon has actively used Gibson guitars as well. The Gibson Les Paul Custom and ’56 Les Paul Goldtop Reissue contribute to a thicker sound with sustain. He has also utilized the Gibson SG Special and Gibson ES-355 in various live and studio settings, with the ES-355 delivering beautiful tones in tracks like “No Distance Left To Run” and “This Is A Low.”

Other guitars in his collection include the Rickenbacker 330, used for its bright chord work that aligns with the Britpop lineage. Recently, he has been seen using the Yamaha Revstar RS620, a modern and versatile guitar that allows for new expressions. Overall, Coxon’s guitar choices can be summarized by the keywords “simple structure,” “unique overtones,” and “reinterpretation of traditional models.” He skillfully navigates between classic and modern models, crafting the evolving sound of Blur throughout the years.

Effects and Pedalboard Setup

The most defining element of Graham Coxon’s sound is his meticulously crafted pedalboard. Since the golden era of Blur in the 1990s, he has combined experimental and diverse effects to create a unique distortion and spatial processing. A standout in his setup is the Pro Co RAT 2, which he reportedly used in pairs during certain periods. The gritty distortion and mid-range push are essential for aggressive tracks like “Song 2” and “Popscene.”

His board also features numerous BOSS pedals. The BOSS VB-2 Vibrato adds a unique modulation that differs from chorus and fuzz, while the PN-2 Tremolo/Pan provides a tricky effect that pans the sound from left to right. Additionally, the BOSS BF-2 Flanger and DD-3 Digital Delay are frequently used to enhance the overtones of his Jaguar and Jazzmaster, creating a floating sound.

Moreover, during the 90s and 2000s, he incorporated quirky fuzz pedals like the DOD FX76 Punkifier and Shin-Ei FY-2 Companion Fuzz. High-gain overdrives like the T-Rex Mudhoney and modeling/looper pedals such as Line 6 FM4/DL4 and Akai Headrush E2 have also been part of his arsenal. The DL4 and Headrush, in particular, have been confirmed in live performances of “Coffee & TV,” where he loops riffs to build the entire song.

For spatial effects, the Electro-Harmonix Holy Grail and HOG have been long-standing staples, constructing ethereal soundscapes with reverb and pitch shifting. Recently, the Pro Co Turbo RAT has also been spotted, suggesting its use during the “The Magic Whip” era. Additionally, boosters like the Xotic EP Booster and Hudson Electronics Broadcast have been integrated to enhance thickness and overtones.

This array of effects symbolizes the duality of Coxon’s sound: the “roughness of distortion” and the “delicacy of spatial effects.” He boldly steps on pedals during live performances while meticulously crafting combinations in the studio, culminating in Blur’s edgy and raw sound. While some of this information is confirmed, there are also assumptions based on photographs, interviews, and live footage, leading to a strong belief that these effects were indeed used.

Tone Settings, EQ, and Mixing Approaches

Graham Coxon’s sound design may initially appear rough and impulsive, but it is actually established through delicate settings and mixing techniques. His guitar often embodies a sense of “otherness” in Blur’s tracks, utilizing amplifier EQ and pedal combinations to add a unique color to the overall ensemble.

Amplifier settings often feature the Marshall 1959 Super Lead, where the presence is set high, bass is slightly cut, and mids are significantly boosted. This results in the punchy mid-range riffs exemplified in “Song 2.” Treble is kept in check, with the Pro Co RAT providing the necessary high-end boost. The use of the Marshall PB100 Power Brake allows him to maintain a near-full gain feel while controlling volume, ensuring consistency across different venue sizes.

In terms of effects application, the RAT serves as the foundation for a rough distortion, supplemented with modulation effects like the VB-2 and PN-2. For instance, in “Beetlebum,” he sets the delay to a shorter time to create depth and thickness. Conversely, in “Coffee & TV,” he utilizes looping with the DL4 to construct a three-dimensional sound space. This approach achieves Blur’s signature “chaotic yet organized sound.”

Regarding EQ processing and recording techniques, when using Morgan AC20 or Victory Amps, he often leverages the amp’s clean tones, bringing the overtones of fuzz and overdrive to the forefront. Mic placements typically involve a combination of an SM57 and a ribbon mic, capturing both attack and ambient qualities. This results in a grand and expansive guitar sound, as heard in “This Is A Low.”

During the mixing stage, it is not uncommon for his guitar to be placed near the center rather than panned widely. Given that Blur’s sound often features a strong bass and drum presence, Coxon’s guitar functions as a “thorn” rather than a “wall” within the mix, emphasizing mid-range frequencies. Particularly for lead guitar, he tends to keep compression low, allowing for a dynamic range that retains a raw quality.

His adeptness at tailoring settings for each song is noteworthy. In “Parklife,” he emphasizes tremolo, selecting EQ that highlights the unique cutting of the Jaguar. In “Tender,” he applies deeper reverb to enhance the expansive and majestic feel. For “Song 2,” he connects the boosted RAT sound directly to the Marshall, capturing an almost live explosive sound. These subtle differences in EQ and settings endow each track with a distinct character.

In summary, Coxon’s sound design masterfully balances “rough distortion” with “delicate spatial effects.” While EQ and effect settings fluctuate based on the song or situation, the underlying philosophy of “precision within roughness” remains consistent. These meticulous efforts culminate in the creation of Blur’s unique sound.

Affordable Alternatives to Recreate the Tone

Graham Coxon’s sound is crafted through a combination of vintage Fenders, Marshalls, and a distinctive array of pedals centered around the Pro Co RAT. However, acquiring all this gear can be expensive and impractical. Therefore, here are some affordable alternatives that beginners to intermediate players can use to recreate the “Blur sound,” focusing on products priced between $100 and $1000 that are readily available.

For distortion, finding a suitable alternative to the Pro Co RAT is key. The original RAT 2 is still available for under $200, but if you want to save more, the BOSS DS-1 or JOYO RAT clones are excellent candidates. By adjusting the distortion level, you can achieve a similar explosive quality reminiscent of “Song 2.”

As an amp simulator, the BOSS Katana series offers exceptional cost performance. In fact, this is a model that Coxon himself uses, capable of recreating Marshall-style crunch and VOX-like cleans with its presets. Its versatility, including an acoustic mode, makes it suitable for home practice and small gigs.

For modulation effects, the BOSS TR-2 (tremolo), BF-3 (flanger), and CH-1 (chorus) are effective choices. To recreate the floating guitar sound of Blur, particularly tremolo and vibrato effects are crucial. These can often be found for around $100 on the second-hand market, making them a fantastic value. The combination of these wavering effects can help you relive the textures of “Parklife” and “Beetlebum.”

In terms of spatial effects, the TC Electronic Hall of Fame 2 Reverb and Flashback Delay are highly recommended. While the Electro-Harmonix Holy Grail and DL4 can be pricier, using these TC pedals can effectively recreate the reverb and delay characteristics unique to Blur. Additionally, a multi-effects pedal with looping capabilities (like the Zoom G1X Four or Line 6 HX Stomp) can allow you to experiment with looping techniques similar to those in “Coffee & TV.”

Regarding the guitar itself, the Fender Player Series Telecaster or Squier Classic Vibe series can provide a cost-effective way to achieve a Blur-like sound. The Telecaster, in particular, is a signature guitar for Coxon, allowing for diverse expressions through pickup switching and tone adjustments.

In summary, using RAT-style distortion, the BOSS Katana for amplification, and BOSS or TC Electronic for modulation and spatial effects, you can get quite close to the “Blur sound” for under $1000. The key is to focus on the balance of “roughness and delicacy” in your playing. With this perspective, you can approach Graham Coxon’s tone in any environment.

Summary and Conclusion

Graham Coxon’s sound design is supported by a philosophy that goes beyond mere “gear combinations.” While acquiring iconic equipment like Marshall stacks and Pro Co RATs is the traditional route, the essence lies in the coexistence of “roughness and delicacy.” In Blur’s tracks, his guitar often drives the music with destructive noise, while at other times, it fills the space with intricate arpeggios.

Notably, his settings and EQ change with each song. In “Song 2,” the explosive riffs are achieved with a simple RAT and Marshall setup, overwhelming the audience, while in “Coffee & TV,” he constructs delicate melodies using looping and spatial effects. In tracks like “Tender” and “This Is A Low,” he skillfully employs reverb and clean tones to create grand soundscapes. Thus, his guitar can be seen as a “variable entity that constantly adapts to the song.”

Moreover, his gear choices reflect his character. While he primarily uses classic Fender Telecasters and Jazzmasters, he also incorporates newer guitars like Rickenbacker and Yamaha Revstar. His amplifier choices range from the explosive Marshall to modern options like Morgan and Victory, demonstrating a willingness to explore the possibilities of sound without being tied to the past. This flexible approach has allowed Blur’s sound to continually evolve with the times.

For readers aspiring to approach Graham Coxon’s sound, it is crucial to focus not just on copying the gear but on embracing his musical philosophy of “precision within roughness” and “beauty within instability.” While EQ and pedal settings serve as references, ultimately, it is the nuances of performance, the dynamics of picking, and the improvisational spirit that shape his sound.

In conclusion, the essence of Graham Coxon’s sound design lies in “controlled chaos.” His style, which rises and blends within the band, conceals complexity within simplicity, radiates a unique presence. Each time you listen to Blur or attempt to replicate his guitar work, you can touch upon that depth. The first step to recreating his sound is to experience the raw distortion of the RAT and the sharpness of the Telecaster. From there, cultivating a sense of “designing chaos” is the shortest path to achieving the Coxon sound.