[Jonny Greenwood] How to Recreate the Radiohead Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Jonny Greenwood is the core guitarist of Radiohead, known for his experimental and innovative sound-making techniques. His playing transcends the conventional guitar sound, incorporating elements from classical and electronic music, thereby expanding the band’s sonic landscape.

For instance, in tracks like “Airbag” and “Paranoid Android” from the album “OK Computer,” he combines the kill switch on his Telecaster Plus with a Marshall ShredMaster to create a unique rhythmic noise. Additionally, in “Pyramid Song,” he employs a bow on a Fender Starcaster to produce ethereal sounds reminiscent of a cello or violin. These creative approaches have built a soundscape that goes beyond the confines of a rock band.

One of the defining characteristics of his sound design is the concept of “contrast.” By switching between the clean and bright tones of a Vox AC30 and the rough distortion from a Fender Eighty-Five combined with the ShredMaster using a BOSS LS-2, he creates entirely different textures within a single song. As a result, Jonny’s guitar often plays a pivotal role in “scene transitions,” supporting the narrative of the music.

Moreover, during live performances, he skillfully utilizes volume pedals and the Whammy to introduce dramatic changes in real-time, contributing to an unpredictable and dynamic sound that captivates the audience.

This uniqueness is closely tied not only to Jonny’s technical prowess as a guitarist but also to his perspective as a composer in the classical realm, making Radiohead’s sound truly one-of-a-kind.

▶ Search official YouTube videos of Radiohead

List of Amplifiers and Features

The role of amplifiers in Jonny Greenwood’s sound is significant. His sound design primarily consists of a dual system of solid-state amps for distortion and tube amps for clean tones, which he has maintained for years using a BOSS LS-2 for switching.

At the core of his distortion sound are solid-state amplifiers like the Fender Eighty-Five, Deluxe 85, and Studio 85, which he has been using since the early ’90s. When paired with the Marshall ShredMaster, these amps produce a unique compression and sharp midrange, evident in Radiohead’s early hits like “Airbag” and “My Iron Lung.” This choice cleverly utilizes the hard response that tube amps lack.

On the clean and low-gain side, the Vox AC30 series plays a crucial role. He operates several variants, including the AC30TBX and Dave Petersen Special, which support the fresh and expansive tones found in tracks post-“OK Computer.” The synergy with spatial effects is remarkable, as seen in the three-dimensional soundscapes of songs like “Lucky” and “Subterranean Homesick Alien,” which are a result of the combination of this amp with delay and reverb.

Additionally, he has used Fender Twin Reverb (’65 Reissue and Silverface), Super Reverb, and Vibro-King to adapt to the scale of live performances and the nature of the songs, balancing bright highs and warm lows even in larger venues. There are also records of him experimenting with vintage Bassman Heads and the small Champ 5C1 (1953 model) in the studio.

Furthermore, amplifiers like the Orange OR80/OD80, Mesa/Boogie Mark series, and Roland Jazz Chorus have been reportedly used during specific tours or sessions. The Roland JC, in particular, has a high affinity for modulation effects, enhancing Jonny’s ambient soundscapes. There have been instances where Ampeg Portaflex and Ashdown bass amps were incorporated for guitar use, likely to add thickness to the low end across the band.

The defining feature of this array of amplifiers is the consistent extreme separation of clean and distorted tones, which has shaped the drama of his sound. While many details are based on live photos and snippets from interviews, it is assumed that he has operated primarily on the system outlined above.

Types of Guitars Used and Features

One of the most iconic elements of Jonny Greenwood’s sound is the Fender Telecaster Plus V1. The antique burst model features a unique pickup configuration with a Lace Sensor Blue (neck) and Dually Red-Red (bridge), along with a custom Apem kill switch. This guitar is the source of the distinctive cutting noise heard in tracks like “Airbag,” “Paranoid Android,” and “Electioneering” from the “OK Computer” era. The body is adorned with stickers like “Attack No.1” and Honda, making it a familiar sight in live footage for fans.

Another significant variant is the Ebony Frost Telecaster Plus V1, which is known to have been used in the intro and verses of “My Iron Lung.” This particular guitar was stolen in 1995 but miraculously returned to Jonny in 2014, making it a piece of history for him.

In addition, he has modified an American Standard Telecaster to Plus specifications and has a cream-colored Telecaster Standard that he first acquired at age 16 (unfortunately stolen in 1992). Throughout his career, the Telecaster has remained a crucial part of his sound.

In pursuit of experimental sounds, he frequently employs the Fender Starcaster (1970s). Notably, in “Pyramid Song,” he uses a violin bow to create a bowing technique, producing a fantastical and classical sound. This approach reflects Jonny’s background as a classical composer.

He has also introduced various guitars depending on the scene or song, including the Gretsch Chet Atkins Tennessee Rose HT, Gibson Les Paul Standard and Custom, Rickenbacker 360 Fireglo, and Gibson ES-335. Each of these guitars has contributed to the diverse palette of sounds that support Radiohead’s wide-ranging musicality.

Acoustic guitars are also significant, with models like the Lakewood M14, Martin D-35, and 00-18, as well as the Gibson Hummingbird being used in both live performances and recordings. Particularly in emotionally charged songs like “Exit Music (For a Film),” their expressive qualities play a crucial role. The use of a Gibson Les Paul has also been confirmed in The Smile, indicating Jonny’s ongoing evolution in sound construction.

Thus, while the Telecaster Plus serves as the cornerstone, the strategic use of semi-hollow, Les Paul, and Rickenbacker guitars allows for the experimental and expansive sound that defines Radiohead.

Effects and Pedalboard Setup

The key to Jonny Greenwood’s sound lies in his extensive and experimental pedalboard. Since the ’90s, he has consistently based his sound around the Marshall ShredMaster, combining it with solid-state amps to construct the aggressive riffs characteristic of early Radiohead. This combination is particularly evident in tracks like “Airbag” and “My Iron Lung,” forming the backbone of the band’s sound. Additionally, he has incorporated modified clones of the white casing to establish a unique distortion character.

For lower gain sounds, he has long favored the BOSS SD-1, transitioning to the OD-3 in the 2000s. During his work with The Smile, he also added the Ibanez TS-808, indicating an evolution in his overdrive choices over time.

In the modulation realm, the Digitech Whammy (WH-1, WH-4) is iconic. The pitch-shifting combined with the kill switch produces a “sliding” sound that has become synonymous with Jonny’s technique. Other modulation effects include EHX Small Stone (multiple generations), PolyChorus, and DOD 440 Envelope Filter, which are adjusted per song. Furthermore, the Z-Vex Fuzz Probe has been used for noise experimentation, and the Demeter Tremulator for tremolo effects.

For spatial effects, the classic Roland RE-201 Space Echo leads the charge, alongside BOSS RE-20 and RV-3→RV-5 (notably the Plate reverb). In recent years, digital delays like the Strymon Timeline and BOSS DD-200 have been integrated, with the Akai Headrush E1/E2 used for looping purposes.

On the utility side, the BOSS LS-2 serves as the heart of his system, controlling amp switching. Volume pedals (BOSS FV series, Ernie Ball VP Jr), tuners (TU-2/TU-3), and power supplies like the Voodoo Lab Pedal Power 2 are also utilized. Additionally, off-board gear such as the Korg Kaoss Pad KP1 and Mutronics Mutator are employed for spontaneous sound design in both studio and live settings.

Jonny also uses various tools like the EBow, coins, bows, and paintbrushes, expanding his approach beyond that of a typical guitarist. By combining these elements, he creates a unique sound that is “guitar-like yet not guitar-like.”

As a result, while his pedalboard configuration may vary over time, it is assumed that he has evolved while maintaining the fundamental axis of “ShredMaster + Whammy + spatial effects + LS-2 switching.”

Tone Settings, EQ, and Mixing Approaches

Jonny Greenwood’s sound design extends beyond a simple “guitar plus amp” relationship; it encompasses a comprehensive sound design that includes PA and studio mixing. His settings can vary significantly between live and recording scenarios, but the core principle is a clear separation between distortion and clean tones.

On the distortion side, the combination of the Marshall ShredMaster and Fender solid-state amps creates a finely detailed high-gain sound. The EQ settings typically emphasize the midrange while keeping the low-end slightly cut, resulting in a noisy yet mix-friendly tone. For example, in “Airbag,” the dry distortion with reduced low-end separates from the drums and bass, highlighting a unique attack.

For the clean side, the Vox AC30 is generally set with slightly elevated treble and presence, while keeping the bass modest. This prevents muddiness when applying spatial effects, allowing the guitar to maintain a clear position in the mix. Particularly in tracks like “Lucky” and “No Surprises,” the combination of reverb and delay maintains a clear sound image.

The settings for delay and reverb can vary widely by song. For instance, in “Subterranean Homesick Alien,” he uses a higher number of repeats with shallow feedback to create ambient fluctuations. In contrast, for “Just” and “Electioneering,” he minimizes reverb to focus on a tight and aggressive sound. This reflects the significant influence of engineer Nigel Godrich, as the settings are meticulously adjusted on a per-song basis during recording.

Additionally, Jonny employs volume pedal manipulation during live performances to create fade-ins/outs and sustain effects akin to an organ. By layering this with reverb and delay, he creates sounds that resemble synthesizers or strings. This technique, prominently featured in “How to Disappear Completely” and “Pyramid Song,” is emblematic of Radiohead’s sonic identity.

In the mixing process, Jonny’s guitar is not always placed “front and center”; it may be panned left or right or processed to blend into the background. Particularly in experimental tracks, sounds processed through external gear like the Kaoss Pad or Mutronics Mutator are added to separate channels, transforming the guitar’s presence from “tone” to “texture.”

Specific EQ examples include a tendency to set the midrange at 60-70%, treble at 50-60%, and bass at around 30% for the distortion channel. For the clean side, he tends to suppress the midrange while emphasizing treble and presence. This approach ensures that even with extensive effects, the contours remain intact, allowing the guitar to secure its place within the overall band sound.

Overall, Jonny Greenwood’s sound design is not merely about the selection of amps and effects but is grounded in the idea of “adapting the role of the guitar to fit the narrative of the song.”

Affordable Alternatives to Recreate the Tone

Reproducing Jonny Greenwood’s sound in its entirety is a challenging task, requiring a modified Telecaster Plus, vintage amps, and an extensive pedalboard. However, for beginners or those looking to keep costs down, there are ways to capture a “similar nuance.” Here, we explore affordable gear options that can help recreate elements of Greenwood’s sound.

At the core of the distortion sound is the Marshall ShredMaster, but the original is now a premium-priced item and hard to find. A practical alternative would be to use the BOSS DS-1 or BOSS SD-1. The DS-1, while low-priced, offers a sharp attack that can be adjusted to approximate the aggressive tone of the ShredMaster. The SD-1, with its pronounced midrange, can help achieve tones similar to “My Iron Lung” or “Just.”

Next, for pitch-shifting techniques, the Digitech Whammy is essential. The latest models, WH-5 or WH-7, are available in the 300-400 dollar range and are the quickest route to recreating Jonny’s signature “glitching” sound. Even guitars without a kill switch can achieve spontaneous sound transitions by combining the Whammy with a volume pedal.

For spatial effects, while Strymon and vintage RE-201 units are expensive, the BOSS RV-6 and DD-8 offer excellent cost-performance ratios. The Plate reverb on the RV-6 closely resembles the reverb Jonny frequently uses, and the modulation delay on the DD-8 can create ambient textures. Furthermore, the BOSS RE-20 (a Space Echo clone) can be found used for around 300-400 dollars, making it easier to achieve the floating sound of “Subterranean Homesick Alien.”

While there are no direct reissues of the Telecaster Plus, alternatives like the Fender Player Telecaster or Squier Classic Vibe Telecaster are viable options. By swapping pickups or modifying with a kill switch, you can incorporate the essence of Greenwood’s main instrument. For those seeking semi-hollow sounds, models like the Epiphone Dot or Ibanez Artcore series around the 500-dollar range are also good choices.

For beginners, multi-effects units can be effective as well. Devices like the ZOOM G3Xn, BOSS GT-1, or Line 6 HX Stomp can handle distortion, delay, reverb, and pitch-shifting simultaneously, allowing for a wide range of Jonny-like sounds in live or home recording settings. The HX Stomp, in particular, excels in spatial effects, making it ideal for Greenwood’s experimental sound.

In summary, by utilizing budget models and multi-effects, it is entirely possible to experience Jonny Greenwood’s unique “experimental spirit.” The key is not to perfectly replicate his gear but to adopt his “flexible mindset in adapting the role of the guitar for each song.”

Summary and Conclusion

Reflecting on Jonny Greenwood’s sound design reveals a depth that cannot be explained by a mere “gear list.” His guitar is always constructed from the perspective of “how to depict the narrative of the song,” existing at times as noise, at times like strings, and at times as aggressive riffs. In essence, the core of the Greenwood sound lies in the idea of “liberating the guitar from the confines of a traditional instrument.”

Specifically, he employs the kill switch on the Telecaster Plus to create rhythmic noise while using the Starcaster with a bow to produce ethereal sounds. This contrast shapes the dynamism of Radiohead’s sound. The amplifiers also play a similar role, switching between solid-state and tube characteristics to create contrasts of light and shadow within a single song.

His effects are not merely a “lavish arrangement” but function as tools to expand creative thinking. The Whammy’s glitches, the Space Echo’s fluctuations, and the Mutator’s radical filtering all contribute to a sound that is always unpredictable, captivating the audience.

Moreover, his sound design has been significantly refined through collaboration with engineer Nigel Godrich. The depth of EQ, compression, and reverb is meticulously adjusted on a song-by-song basis, allowing the guitar to sometimes stand out and at other times blend into the background. This reflects not only his role as a guitarist but also as a composer and sound designer.

When aiming for replication, the most important aspect is not to possess the same gear but to incorporate his flexible mindset and experimental spirit. Even with affordable guitars and effects, it is possible to experience a “Greenwood-like texture” and create your own sound from there. In fact, Jonny himself intentionally utilizes “imperfection” and “serendipity,” leading to his unique expression.

In summary, Jonny Greenwood’s sound design values “mimicking thought processes” over “mimicking gear.” As long as you maintain a free-spirited quest as a guitarist, anyone can touch upon that spirit and create their own sound.