[Johnny Marr] How to Recreate the The Smiths Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Johnny Marr, the iconic guitarist of The Smiths, is celebrated as a pivotal figure in the UK indie rock scene of the 1980s. His sound is characterized by a “bright and clear clean tone” and “intricate arpeggio phrases,” which, alongside Morrissey’s vocals, defined the band’s unique identity.

For instance, in “This Charming Man,” the jangly riffs produced by a Fender Telecaster stand out, while “How Soon Is Now?” showcases the use of multiple Fender Twin Reverbs, creating an ethereal sound through the use of tremolo effects. Additionally, in “There Is A Light That Never Goes Out,” the chord work on a Fender Stratocaster with a capo beautifully supports the entire song.

Marr’s sound is a fusion of the shimmering qualities reminiscent of a Rickenbacker and the warm, cutting tones typical of Fender amplifiers. His complexly layered guitar arrangements add depth to the band’s sound, making it a significant influence on many guitarists even today.

This article will delve into the amplifiers, guitars, and effects that Marr used during his time with The Smiths, exploring key points in his sound design and practical settings for recreating his tone.

By organizing his iconic sound tendencies, you can reference them for the upcoming gear explanations and settings.

▶ Search official YouTube videos of The Smiths

List of Amplifiers and Features

When discussing Johnny Marr’s sound, a focus on clean tones built around Fender amplifiers is essential. During his time with The Smiths, he favored Blackface-era amps such as the Fender Deluxe Reverb and Twin Reverb. These amplifiers possess a bright and clear tone, ideal for highlighting his intricate arpeggios and chord work.

In early recordings, Marr frequently used the Fender Pro and ’65 Deluxe Reverb, which provided a midrange-forward sound that supported refreshing riffs like those in “This Charming Man.” Conversely, in “How Soon Is Now?”, he used multiple Fender Twin Reverbs to create a deep tremolo effect, resulting in a tone that is still regarded as iconic.

Additionally, during live performances, he incorporated the Roland JC-120, utilizing its stereo chorus to create expansive soundscapes. By mixing the warm cleans of Fender with the sharper, cooler tones of the JC, he crafted a unique auditory space that differed from the studio recordings.

In a 1985 concert in Barcelona, Marr was seen using a Yamaha JX50, and in March of the same year, a Vox AC30 was also confirmed, indicating that he was not strictly tied to standard amplifiers but rather selected gear flexibly based on the period and songs. After 1986, he experimented with the Mesa Boogie Mk III, Bandmaster, and Brownface Vibroluxe, suggesting a distinction in studio and live applications.

Overall, Marr’s choice of amplifiers reflects a consistent approach of “building on clean tones while adding the optimal depth and texture for each song and live setting.” His sound design appears to have been completed by blending the Fender foundation with the textures of Roland and Boogie amplifiers.

Types of Guitars Used and Features

Johnny Marr’s sound is defined more by his “diverse selection of guitars” than by his amplifiers. He skillfully chose different guitars for various periods and songs, layering tones like an orchestration.

The guitars that represent The Smiths era include the Fender Jaguar, Rickenbacker 330/360, Fender Telecaster, and Gibson ES-355. These instruments formed the core of his ability to control “brightness,” “thickness,” and “jangly” tones.

The Fender Jaguar is synonymous with Marr, to the extent that a signature model was later released. Its short scale and bright tone make it ideal for arpeggios, and it remains a favorite in his later solo work. During the Smiths era, he used a 1963 model, known for its striking black body and tortoiseshell pickguard, famously acquired from Isaac Brock of Modest Mouse.

The Rickenbacker 330 symbolizes The Smiths’ “jingle-jangle” sound. Its bright and articulate clean tone was prominent in tracks like “This Charming Man” and “What Difference Does It Make?”. He also employed the 360 12-string model, which is well-known among fans for having belonged to Pete Townshend of The Who.

The Telecaster is also crucial, with a vintage 1954 model appearing in the recording of “This Charming Man.” The clarity and punch of its cutting riffs can be attributed to this guitar. Additionally, a custom green Telecaster made by Roger Giffin was used in “Heaven Knows I’m Miserable Now,” producing a richly colored tone.

The Gibson ES-355 serves as a central recording instrument. The cherry red 1959 model and custom color variants were extensively used during the “The Queen Is Dead” album, providing the semi-hollow body’s depth to the overall texture. Furthermore, the Gibson Les Paul Standard/Custom has been confirmed in both tours and studio settings, chosen for situations requiring the thickness and sustain of humbuckers.

On the acoustic side, Marr utilized Martin D-28 and D-35 models, providing soft support for songs like “Back To The Old House” and “Bigmouth Strikes Again.” His philosophy of “selecting the optimal guitar for each song” has been a cornerstone of his approach, contributing to The Smiths’ layered and innovative sound.

In summary, Marr’s guitar selection was not merely a matter of preference but a part of a “sound design” tailored to the emotional and tonal needs of each song. This resulted in a diverse array of guitars being employed for different setlists, showcasing varied characteristics in both studio and live settings.

Effects and Pedalboard Setup

Johnny Marr’s approach to effects emphasizes “subtlety” and “harmonies that complement the songs” rather than flamboyance. During The Smiths era, he built a unique shimmering sound by combining clean amp tones with chorus, compression, and light overdrive.

Notable among his effects is the Boss CE-2 Chorus and the built-in chorus of the Roland JC-120. The CE-2, in particular, generates the deep modulation heard in “This Charming Man,” creating a unique jangly texture when paired with the Rickenbacker or Jaguar. Additionally, he used the Electro-Harmonix Electric Mistress (flanger) and Boss BF-2 to add a slight wavering to riffs and arpeggios, enriching the clean tones.

For overdrive, Marr primarily employed the Boss OD-1 and OD-2. His sound is characterized by a lack of excessive distortion, allowing the natural tone of the guitar to shine through while providing a subtle compression effect. It is believed that during live performances, he blended the overdrive lightly to maintain the dynamics of the phrases.

Delay effects were centered around the Korg SDD series and Yamaha SPX90, using short delays to enhance depth and thickness. Particularly in songs like “How Soon Is Now?”, the delay played a crucial role in adding spatial depth. In later live performances, he also incorporated the Line 6 DL4, which continued to be used in his solo work.

The MXR Dyna Comp compressor is emblematic of his sound. When paired with single-coil guitars, it provides a uniformity to his bright arpeggios, supporting Marr’s “articulate sound.” In recent years, he has also used the Diamond Compressor and Fender The Bends to adjust attack while maintaining the guitar’s responsiveness.

Regarding reverb, during the Smiths era, he primarily relied on built-in amp reverb or room reverb, with the Boss RV-2 reportedly owned but unused. However, in later years, he actively adopted modern reverbs like the Strymon Flint and Source Audio Ventris, expanding the dimensionality of his sound in solo performances.

Marr’s pedalboard has varied over time, but the essence remains “drawing out the natural resonance of the guitar and amp with minimal effects.” Therefore, he favored a small, simple setup rather than a large effects board, flexibly incorporating racks or multi-effects as needed for specific songs.

Tone Settings, EQ, and Mixing Approaches

Johnny Marr’s sound design extends beyond mere gear selection; it encompasses “EQ and overall mix design.” During The Smiths era, he layered guitar tracks in the studio, applying subtle EQ adjustments to achieve a coexistence of brightness and depth.

As a basic amp setting, it is common to start with the clean channel of a Fender amp, slightly boosting the Treble (around 5-7), keeping Bass modest (3-4), and adjusting Middle to be flat or slightly lower. This approach clarifies the articulation of arpeggios while ensuring a range that does not interfere with vocals or rhythm sections.

For example, in “This Charming Man,” the combination of a Fender Telecaster and Twin Reverb, with a slight cut in the mids and an emphasis on the highs, creates that refreshing and crispy riff. The CE-2 Chorus adds a subtle layer of depth, while the built-in spring reverb is set to a moderate level, maintaining a clean sound without excessive muddiness.

In “How Soon Is Now?”, Marr used multiple Twin Reverbs, synchronizing the tremolo effects. The PA and recording engineer subtly varied the tremolo speeds of each amp to create that unique modulation effect. In this case, the EQ was adjusted to lift the mids slightly for added thickness, while delay complemented the depth. Particularly, distributing short delay to one side enhances the stereo spread.

For ballads like “There Is A Light That Never Goes Out,” Marr combined a Stratocaster with a capo and compressor, keeping the EQ focused on the midrange while slightly reducing the highs for a softer resonance. Reverb was mixed to emphasize roominess, enhancing the spatial depth, allowing even simple chord work to resonate richly throughout the song.

During live performances, Marr placed great importance on EQ balance. When using the Roland JC-120 alongside Fender amps in stereo, he adjusted the JC to be slightly treble-heavy while keeping the Fender focused on mid-low frequencies, achieving both lateral spread and frequency complementarity. This ensured that the guitar sound would not get lost even in stadium-sized venues, supporting the overall thickness of the band.

In mixing, he frequently employed doubling (layering the same phrase with different guitars), adjusting one guitar’s EQ to be high and the other low to avoid phase interference while maintaining separation. Engineers often experimented with microphone placement, combining on-mic and off-mic techniques to capture a natural ambiance.

Marr’s sound design is based on the idea of “designing the overall resonance rather than focusing solely on individual tones,” where the player’s touch and the mixing engineer’s skill work in tandem. Thus, simply assembling gear is not enough; careful adjustments of EQ, reverb, and mix positioning are essential for recreating his sound.

Affordable Alternatives to Recreate the Tone

Given that Johnny Marr’s gear primarily consists of vintage guitars and professional-grade amplifiers, it is not realistic for beginners or intermediate players to replicate his setup entirely. However, by focusing on “bright clean tones,” “spatial chorus,” and “light compression,” it is possible to achieve a remarkably similar sound with accessible gear.

For amplifiers, the Roland JC-22 and Boss Katana series are excellent alternatives. The JC-22 is a smaller version of the JC-120, capable of reproducing that signature stereo chorus. The Katana series offers Fender-like cleans while incorporating built-in chorus and reverb, making it suitable for home practice and small gigs.

For guitars, the Squier Jaguar and Classic Vibe Telecaster are budget-friendly options. Choosing single-coil models allows players to replicate Marr’s signature jangly arpeggios. If aiming for the expansive sound of a 12-string, pairing a Danelectro 12-String or Electro-Harmonix POG2 (octaver) can help achieve tones similar to “There Is A Light…”.

For effects, the BOSS CE-2W (Waza Craft) is a go-to alternative. It models the original CE-2 while also including a CE-1 mode, faithfully recreating Marr’s chorus sound. The MXR Dyna Comp remains a staple compressor, but for a more budget-friendly option, the BOSS CS-3 is also a viable choice.

For overdrive, the BOSS OD-3 is versatile, providing Marr-like “slightly pushed distortion” without compromising the clean tone. The BOSS DD-8 is a current model that is user-friendly, allowing for thickness with short delay settings. While Strymon is expensive, a more affordable option would be the TC Electronic Hall of Fame 2 for rich reverb.

In summary, combining a guitar priced around $500 with 3-4 BOSS compact pedals can create a sound close to “This Charming Man” or “Heaven Knows I’m Miserable Now.” The key is to maintain a foundation of “clean + chorus + light compression.” This approach allows beginners to recreate The Smiths’ sonic landscape effectively.

Summary and Conclusion

Reflecting on Johnny Marr’s sound design reveals that its essence lies in the “dedication to selecting the optimal solutions for each song.” Rather than merely using expensive gear or vintage models, he understood the characteristics of each guitar and amplifier, combining them according to the emotional and atmospheric needs of the songs to create The Smiths’ unique sound.

For instance, when bright arpeggios were required, he would choose the Rickenbacker or Fender Jaguar, while for thickness and depth, he would opt for the Gibson ES-355 or Les Paul. His amplifier choices were primarily Fender-based, yet he incorporated the chorus of the Roland JC-120 and the power of Mesa Boogie, showcasing a flexibility that did not rely on a single piece of equipment.

In terms of effects, he centered around simple pedals like the CE-2 Chorus and MXR Dyna Comp, while effectively adding delay and tremolo to create spatial depth. The key was to “not overuse” effects, maintaining the natural resonance of the guitar within a reasonable range. This approach is quintessentially Marr.

Moreover, his sound is closely tied to his playing style, characterized by complex chord work, unique fingerings, and rhythmic right-hand cutting. These elements interact with effects and amplifiers, achieving a simple yet profound tone. Thus, Marr’s sound is completed not only by “the gear itself” but also by “the player’s touch and arrangement skills.”

For guitarists aspiring to replicate his sound today, it is crucial to focus not on acquiring all the gear but on “how to add brightness and depth to a clean foundation.” Affordable gear can achieve remarkably similar tones, and honing one’s playing style is the most significant aspect of this journey.

In summary, Johnny Marr’s sound design is built on “the balance of simplicity and subtlety,” “layered arrangements,” and “thoughtful EQ adjustments that align with the songs.” Understanding this approach is the first step to experiencing The Smiths’ sound and applying it to your musical expression.