[Johnny Rzeznik] How to Recreate the Goo Goo Dolls Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Johnny Rzeznik, the guitarist and vocalist of the Goo Goo Dolls, has carved out a unique guitar tone in the alternative rock scene since the 1990s. His sound is prominently featured in iconic songs like “Iris,” “Black Balloon,” and “Slide,” showcasing a blend of acoustic and electric elements that balance delicacy and power.

Rzeznik’s playing style is characterized by open tuning chord work, a transparent clean tone, and sweet overdrive. These elements are not merely a matter of gear selection; they reflect a producer’s perspective on sound design, treating it as an integral part of the entire composition. His live performances resonate with powerful and emotional sound, while in the studio, he pursues a tone that is both three-dimensional and warm.

In particular, “Iris” features sustained notes created with an E-Bow, beautifully intertwined with acoustic layers, leaving a strong impression on listeners. While his 90s hits prominently showcased crunch tones from Marshall and Fender amps, he has recently embraced modern profiling amps like Fractal Audio and Kemper, evolving his sound to fit contemporary styles.

Thus, Johnny Rzeznik’s sound design is captivating for its ability to merge the strengths of classic guitar amps with the innovative sound design offered by the latest technology. In the following sections, we will delve into the details of his gear and uncover the secrets behind his distinctive sound.

▶ Search official YouTube videos of Goo Goo Dolls

List of Amplifiers and Features

One of the key elements supporting Johnny Rzeznik’s sound is his choice of amplifiers. Throughout his career, he has experimented with various amps, focusing primarily on three aspects: “rich cleans,” “expansive crunch,” and “presence that stands out in the mix.”

His “all-time favorite” amp is the Naylor SuperDrive 60, a handmade amp by Joe Naylor known for its responsive clean and drive tones. It has been extensively used in live performances from the 90s to the 2000s, underpinning the signature sound of the Goo Goo Dolls during their golden era.

In recent years, Rzeznik has actively incorporated profiling amps like Fractal Audio and Kemper. Particularly in the 2022 album “Chaos In Bloom,” he utilized both to combine traditional tube amps with modern sound design, allowing for stable reproduction and flexible tonal shaping during live performances.

Classic tube amps are also indispensable. The Fender Twin Reverb is a staple for acoustic guitar and clean tones, noted for its high headroom. The Silverface Twin has been used for horn recordings, ensuring a clear tone even at high volumes. The Vox AC30 is another favorite, providing a bright clean to crunch that complements Rzeznik’s chord work perfectly.

For rock-oriented distortion, he has employed the Marshall JMP 50W (1977 model) and JCM800. The JCM800, in particular, was a mainstay during the 90s, ideal for crunch rhythms focused on cutting. Additionally, the Roland JC-120 was used in the 90s, its transparent clean tone shining during arpeggio parts.

Rzeznik’s vintage preferences include amps like Victoria Amps (a combination of Bandmaster and Champ), Bad Cat Amplifiers, Dr. Z Maz 38, Matchless HC-30, Divided by 13, and Swart Atomic Space Tone. These handmade amps have played a significant role in studio work and specific song tonal shaping.

Overall, Johnny Rzeznik does not stick to one type of amp; he has adeptly switched between various amplifiers according to the situation and era. As a result, his sound can be summarized as a “coexistence of acoustic and electric” and a “delicate balance between clean and crunch.” While there are areas where actual usage and assumptions overlap, it is generally assumed that he utilizes this range of amplifiers.

Types of Guitars Used and Features

In Johnny Rzeznik’s sound design, one of the most crucial elements is his choice of guitars. He seamlessly switches between acoustic and electric guitars, often employing open tunings to create a unique resonance. The enveloping sound heard in signature tracks like “Iris” and “Slide” is a testament to his guitar selection.

For electric guitars, the Gibson Les Paul series is particularly prominent. The Les Paul Standard (Flame Top Sunburst), used in “Black Balloon,” is known for its sweet overdrive tone and rich sustain. Additionally, the 1973 Les Paul Gold Top (with mini humbuckers) is a beloved stage guitar, producing a distinctive tone. On tour, he also uses the Les Paul Custom (Black) and Les Paul Studio, adapting the character for different songs.

The Gibson ES-335 (in Cherry Red and Sunburst) frequently appears on tour, providing a warm and deep sound that suits ballads. A unique addition to his collection is the Gibson Robot Guitar, which he was involved in during its announcement. This guitar, equipped with automatic tuning, aligns well with his use of open tunings.

Rzeznik also employs numerous Fender models. The Fender Stratocaster shines in arpeggios and light overdrive riffs, particularly noted for its warmth when using the middle or neck pickups. The Telecaster, Jaguar, and modified Halfcaster have also made appearances in his setlist.

On the acoustic side, Guild and Taylor are his primary choices, with the Taylor 800 and 900 series frequently brought on tour. These guitars are characterized by their clear top-end and rich body resonance. Additionally, the Takamine EF341SC is commonly used in both live and studio settings, delivering a bright and punchy tone that shines in songs like “Slide.”

In summary, Johnny Rzeznik’s diverse guitar selection supports the broad musicality of the Goo Goo Dolls. While many models have been confirmed through photos and interviews, some are considered assumed based on available evidence.

Effects and Pedalboard Setup

Johnny Rzeznik’s approach to effects is simple yet powerful, capable of transforming the atmosphere of a song. He opts for pedals that complement the sound rather than flashy gimmicks, adding unique textures as needed. In the iconic track “Iris,” the use of an E-Bow for sustained notes combined with delay expands the soundscape, while “Slide” features warm riffs created by blending overdrive and chorus.

For overdrive, he favors pedals like the Maxon OD-9, Analog Man King of Tone, and Menatone Red Snapper. These pedals enhance the natural distortion of amps like Marshall and Naylor, producing sweet lead tones and crunchy rhythms. The King of Tone, in particular, is known for its nuanced response, making it ideal for Rzeznik’s delicate picking dynamics.

In terms of fuzz and unconventional effects, he uses the Electro-Harmonix Civil War Big Muff. This Soviet-era model offers long sustain and a thick tone, adding depth to his sound. Additionally, unique pedals like the Death by Audio Robot Pedal contribute to soundscapes in the studio.

For modulation, Rzeznik employs the Boss CH-1 Super Chorus, Retro Sonic Chorus, and Boss VB-2 Vibrato. These effects add depth to arpeggios and smoothly connect acoustic and electric layers. Delay pedals such as the Boss DD-3, T-Rex Replica, and Eventide TimeFactor are used to create varying spatial effects in different songs. Notably, the E-Bow and delay combination in “Iris” is emblematic of his sound.

Other essential components include routing with the Radial EXTC-Stereo for outboard effects and switching systems like the RJM Effect Gizmo and Axess FX-1 MIDI Foot Controller. This setup allows for efficient switching between complex pedal arrangements, ensuring consistent tone reproduction in both live and studio settings.

Power supplies and auxiliary systems are also crucial, with the Voodoo Lab Pedal Power 2 Plus ensuring stability across the board. Overall, Johnny Rzeznik’s pedalboard can be described as “minimal yet designed to maximize the song’s appeal.” While there are confirmed and assumed pieces of gear, it is generally believed that he utilizes this array of pedals to create his unique sound.

Tone Settings, EQ, and Mixing Approaches

Johnny Rzeznik’s sound design goes beyond merely combining guitars and amps; it involves meticulous control over EQ settings and mixing processes. To replicate his sound, one must analyze not only the gear used but also the perspective of PA and studio engineers.

Starting with EQ basics, it is crucial to slightly cut the low frequencies while maintaining a solid midrange for clean tones. In songs like “Iris,” where acoustic and electric layers overlap, adjustments are made to prevent the low end of the acoustic from clashing with the electric’s lows. The midrange (800Hz to 1.5kHz) is slightly boosted to ensure the guitar stands out in the mix.

For overdrive tones, there is a tendency to raise presence and treble while cutting lows. This approach is common when using amps like Marshall and Naylor, particularly to avoid interference with the bass and kick drum during live performances. In hit songs like “Black Balloon” and “Slide,” it is believed that Rzeznik creates sweet distortion with medium gain, without excessively cranking the amp’s gain, and reinforces sustain with compression or boosters.

EQ considerations also extend to effects usage. Delay pedals like the Boss DD-3 and T-Rex Replica are set with lower feedback to expand the sound without losing definition. The combination of E-Bow and delay in “Iris” cleverly mixes sustained sound with spaciousness, creating a cinematic scale.

In studio recordings, plugins such as Overstayer M-A-S, FabFilter, and SoundToys (Decapitator) are utilized to add saturation and harmonics, enhancing the thickness of the sound. Vintage compressors like the Altec compressors, RCA BA6A, 1176, and LA-2A are also employed, adding analog warmth and punch, effectively impacting not just the guitar but the overall band mix.

During live performances, tools like the Source Audio Programmable EQ are used for fine-tuning per song. For instance, in “Slide,” the lows are cut for a brighter tone, while in ballads like “Name” and “Sympathy,” the mids are emphasized for warmth. Rzeznik skillfully switches amp channels and footswitches to instantly change tones.

From a PA perspective, his guitar is always positioned to “support the vocals.” By avoiding excessive high-end and keeping the 2kHz to 4kHz range subdued, he ensures that his guitar does not clash with the vocals. Meanwhile, spatial effects and chorus add depth, enhancing the overall dimension of the song.

In summary, Johnny Rzeznik’s sound design is a balance between “harmony within the band ensemble” and “storytelling through each song.” While some moments may feel understated when listened to in isolation, they exude an overwhelming presence within the mix. This approach is a key factor in making his music timelessly appealing. Therefore, while definitive gear settings may vary by song and era, it is assumed that the aforementioned EQ and mixing techniques are consistently applied.

Affordable Alternatives to Recreate the Tone

While replicating Johnny Rzeznik’s sound may require expensive vintage gear or handmade amps, beginners and intermediate players can achieve a similar vibe with relatively affordable equipment. Here, we introduce staple gear that can be acquired for around $100 to $1,000, making it easier to recreate his sound.

For overdrive, the BOSS SD-1 Super OverDrive is a great alternative that shares characteristics with Rzeznik’s beloved Maxon OD-9 and King of Tone. Its midrange-focused sound makes it easy to achieve the sweet crunch typical of Rzeznik’s style, especially when paired with the clean channel of an amp. Another modern option is the JHS Morning Glory.

For fuzz or thick distortion, the Electro-Harmonix Big Muff Nano series is a practical choice. While the original Civil War Big Muff can be quite pricey, the Nano series offers a budget-friendly way to enjoy sustain-rich, thick tones, perfect for Rzeznik’s heavy riffs and build-ups before choruses.

In the delay category, the BOSS DD-8 offers excellent cost performance as an alternative to the Boss DD-3 and T-Rex Replica. With an analog-style mode, it can simply recreate the spatial expansiveness heard in “Iris.” Its user-friendly nature is a significant advantage for beginners.

For chorus effects, the BOSS CH-1 Super Chorus is a must-have pedal, as it is the very model Rzeznik uses. It provides a transparent, expansive quality, allowing for natural blending with acoustic layers. It is essential for arpeggio-driven playing.

If you’re interested in exploring wah sounds, the Dunlop Cry Baby Standard (GCB95) is recommended for its cost-effectiveness and sound quality. It is the same model Rzeznik has used, effective for adding accents during live leads and riffs.

Regarding amplifiers, while original Naylor or Marshall models can be expensive, the BOSS Katana series serves as an excellent alternative. It covers everything from clean to crunch, along with delay and chorus effects, making it versatile for home practice and small gigs. Additionally, using a multi-effects unit like the Line 6 POD Go allows for profiling-like sound design at a more accessible price point.

For acoustic guitars, while the Takamine EF341SC and Taylor 900 series can be costly, models like the YAMAHA FGX series or Takamine GD30CE can effectively replicate the desired acoustic sound. Their bright and defined acoustic tones stand out in a band setting, fitting well with Goo Goo Dolls-style songs.

In conclusion, beginners can assemble relatively affordable gear to get closer to Johnny Rzeznik’s sound. The key is to focus on “EQ balance that prioritizes midrange,” “appropriate distortion,” and “effective use of spatial effects.” Even with budget-friendly pedals and amps, being mindful of these aspects can lead to a sound that closely resembles his.

Summary and Conclusion

At the core of Johnny Rzeznik’s sound design is the exquisite combination of “acoustic transparency” and “electric warmth.” As evident in his songs, he does not merely distort; he emphasizes the necessary frequencies for each track while centering the vocals, ensuring that the guitar narrates its own story. This is supported by meticulous gear selection and thoughtful EQ and mixing techniques.

In terms of guitars, Rzeznik utilizes a wide range, from iconic Gibson and Fender models to Takamine and Taylor acoustics, switching tones according to the situation. His amplifiers range from classic, responsive tube amps like the Naylor SuperDrive 60 to modern digital profiling amps like Fractal Audio and Kemper, balancing the qualities of vintage rock with contemporary stability.

Effects are introduced not as mere embellishments but to create the necessary atmosphere for each song. Overdrive creates sweet, natural crunch, while delays and choruses add expansiveness, and E-Bow and fuzz effects contribute unique floating qualities. The result is a guitar sound that strikes an ideal balance between understated presence and impactful phrases.

For beginners and fans aiming to emulate Rzeznik’s sound, the focus should not solely be on acquiring the same gear but rather on the three pillars: “prioritizing midrange in EQ,” “effective use of spatial effects,” and “balancing acoustic and electric elements.” Even with budget-friendly effects and amps, being mindful of these principles can lead to a sound that closely resembles his.

Through the Goo Goo Dolls’ signature tracks “Iris,” “Slide,” and “Black Balloon,” we hear the essence of pop-rock that transcends time. Johnny Rzeznik is a masterful guitarist supporting that sound, and what we can learn from his sound design is the importance of “designing sound to enhance the song.” There are many elements to consider, not just for fans but for anyone who plays guitar.

Ultimately, the key to replicating his sound lies not in the price or brand of the gear but in how to create “emotionally expressive sound that harmonizes with the vocals.” Thus, the allure of Johnny Rzeznik’s sound design is a result of the fusion of his sensibilities as a guitarist and songwriter, making it essential to be aware of this approach.