[Keith Richards] How to Recreate the The Rolling Stones Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Keith Richards is a central figure in The Rolling Stones and one of the most iconic guitarists in rock history. His sound is characterized by a “simple yet overwhelmingly unique” approach, particularly through his use of open G tuning, which has influenced guitarists worldwide. The gritty yet clear tone heard in classic tracks like “Brown Sugar,” “Start Me Up,” and “Honky Tonk Women” drives the overall sound of the band.

What stands out is his riff-making centered around “5-string open G tuning,” allowing for a balance of chordal richness and rhythm. Rather than focusing on speed or technical prowess, he draws from blues and country elements, creating a powerful groove with simple chord work. His playing also captivates with its use of “space,” incorporating not just the notes played but the resonance of the strings and the surrounding atmosphere into the music.

In the early 1960s, Keith used Gibson and Epiphone guitars, but from the 1970s onward, he became synonymous with the Fender Telecaster. Notably, his Telecasters “Micawber” and “Malcolm,” gifted by Eric Clapton, have become his trademarks. His amp selection ranges from small combos to stacks, but he typically maintains a crunch to light overdrive, maximizing the guitar’s resonance and the touch of his right hand.

In essence, the core of Keith Richards’ sound lies in “tuning,” “the character of the guitar itself,” “natural amp distortion,” and “rhythmic sensibility that utilizes space.” These elements create a sound that is simple yet difficult to replicate. By understanding each of these components, one can get closer to the Stones’ robust rock sound.

▶ Search official YouTube videos of The Rolling Stones

List of Amplifiers and Features

Keith Richards’ choice of amplifiers is crucial for understanding his sound. A defining characteristic is his avoidance of excessive distortion, focusing instead on amplifying the natural resonance of the guitar. His playing style, rooted in blues and country, often leads him to use amps that stay clean or maintain a light crunch.

The most iconic of these is the Fender High Power Tweed Twin (5F8-A). He brings multiple units on tour, using them extensively until they show signs of wear, as they form the backbone of his tone. The transition from thick cleans to natural crunch is seamless, making it a perfect match for his open G Telecaster.

In the studio, he often relies on the Fender Champ (Tweed/8-inch). Despite its small size, it offers a unique compression and speaker resonance, often paired with the Harvard for a blend of distortion and clean tones.

A sibling of the Champ is the Fender Harvard “One Love”, modified with 6L6 tubes and a 12-inch speaker. This guitar has been a long-time favorite of Keith’s, serving as a supportive role to the Champ and providing a thicker midrange.

Additionally, he sometimes uses the Fender Bandmaster (Tweed/3×10″) for overdubs, achieving a three-dimensional tone in recordings.

An unusual choice is the British-made Watkins WEM Joker (Red), which utilizes an internal Copicat for tape echo effects, creating a unique reverb known as “Halo.” In the late 1960s, he frequently used the Fender Dual Showman (mid-60s) to ensure sound pressure during outdoor festivals and large tours.

Moreover, from 1969 onwards, he extensively used the Ampeg SVT for guitar, bass, and organ. Between the late 70s and early 90s, he introduced the Mesa/Boogie Mark I, experimenting with modern gain. Records also show he tried out Vox (1967 prototype) and Hiwatt (circa 1968) during transitional periods.

Overall, Keith’s amplifier selection serves as a “canvas to maximize the guitar and playing touch,” emphasizing the natural sound of simple tube amps over flashy effects. While he has experimented with various amps over the years, his sound has consistently relied on Fender combos.

Types of Guitars Used and Features

When discussing Keith Richards’ sound, the most iconic aspect is his collection of Telecasters specifically tuned to open G. He owns many guitars, but only a few have been central to his live performances and recordings, serving as the source of The Rolling Stones’ signature riffs.

First among these is the Fender Telecaster “Micawber” (1953 Blonde). Gifted by Eric Clapton on his 27th birthday, this guitar features brass saddles on the bridge and a Gibson PAF pickup on the neck. It has been specifically tuned for “5-string open G,” making it a standout in tracks like “Brown Sugar” and “Honky Tonk Women.”

Another primary instrument is the Fender Telecaster “Malcolm” (1954 Natural), also dedicated to open G tuning and used interchangeably with Micawber on tour. The 1967 Telecaster “Sonny” has also played a significant role, underscoring the importance of Telecasters in his musical journey. In 1975’s TOUR OF THE AMERICAS, he utilized a Fender Telecaster Custom (Black), introducing a more modern sound.

In the late 1960s to early 1970s, he frequently used the Ampeg Dan Armstrong Plexi (Lucite). This guitar, known for its transparent body, excels in clarity and attack, adding a fresh impression to the Stones’ live sound. Additionally, he has employed Gibson ES-355TD-SV (1969) and Les Paul Standard “Keef Burst” (1959 with Bigsby). The latter is particularly notable as it was later passed to Mick Taylor, becoming a legendary instrument within the band.

On stage, a striking presence is the Gibson Les Paul Junior “Dice”, adorned with a Dice sticker. Its TV Yellow body and simple P-90 pickup configuration deliver a raw tone. Unique guitars like the Zemaitis single-cut “Macabre” (skull & bone decoration) and the Travis Bean TB500 (aluminum neck) have also made appearances on tour.

For acoustic work, he initially used the Harmony Meteor H70 and Harmony H1270 12-string. Later, staples like the Martin 00-21 and Gibson Hummingbird were introduced, utilized in recordings and solo projects. Notably, the Maton Supreme Electric 777 is rumored to have been used in the recording of “Gimme Shelter.”

In recent years, he has also incorporated the Music Man Silhouette and Danelectro electric sitar, showcasing his continuous quest for new sounds. Overall, Keith’s guitar selection can be summarized as “centered around Telecasters in open G, adapting to achieve the optimal sound for each context.”

Effects and Pedalboard Setup

In Keith Richards’ sound creation, effects play a primarily supplementary role. His philosophy is to create the necessary sound with the amp and guitar, avoiding an over-reliance on pedals. Consequently, the effects used are limited in number and vary by era, yet these few pieces of gear have produced some of the most significant sounds in rock history.

The most famous effect is the Gibson Maestro FZ-1 Fuzz-Tone, used in the 1965 hit “(I Can’t Get No) Satisfaction.” This riff was initially recorded as a substitute for a horn section but ultimately became an iconic phrase that changed the course of guitar rock history. Keith himself described it in later interviews as a “sound born from accident,” marking fuzz as a staple effect in rock guitar.

As the 1970s rolled in, the use of wah pedals and phasers/modulation effects increased in both live and recording settings. Particularly in the early 70s to 80s, he utilized the wah’s filtering effect for solos and added phaser effects to rhythm guitar, creating a unique atmosphere. While Keith dislikes excessive effects, he strategically incorporates them to suit the song or arrangement.

An interesting example is the Watkins Copicat (tape delay), which is built into the aforementioned Watkins WEM Joker amp. This feature created a special reverb effect known as “Halo,” providing a more analog feel with a swirling echo that adds depth to Keith’s rhythm guitar.

Additionally, during his solo work, he introduced the Palmer speaker simulator. Particularly in the track “999,” he used it to create distortion sounds with a unique texture that couldn’t be achieved through direct amp connection. This choice reflects Keith’s flexible approach to incorporating sounds that serve the song.

In summary, Keith Richards’ effects setup is remarkably simple, with the core of his guitar work relying on “his hands and the amp.” The few effects he does use are tied to historical performances, emphasizing his unique approach to sound.

Tone Settings, EQ, and Mixing Approaches

The essence of Keith Richards’ sound creation is distilled into three core elements: “open G tuning,” “the touch of his hands,” and “the natural drive of the amp.” He avoids complex pedalboards and extreme EQ settings, instead pursuing setups that maximize the inherent qualities of the guitar and amp. Here, we will outline his typical settings and mixing approaches.

Starting with EQ balance, Keith generally aims for a mid-heavy sound. He often sets the amp’s bass low (around 2-3), boosts the mids (6-7), and keeps treble moderate (around 5). This is because the bass and drums handle the low end in the band, allowing the guitar to carve out a midrange role that propels the song forward. Particularly, the sound of the Telecaster’s single coils or the PAF-equipped Micawber shines with this EQ, producing a cutting tone.

Regarding distortion, the focus is on the natural drive of the amp. With the Fender Champ or Harvard, he typically raises the volume to around 6-7 to achieve a crunchy feel while controlling the clean and distorted tones through picking dynamics. With higher-output amps like the Fender Tweed Twin, he generates sound pressure while keeping gain low, utilizing the ample headroom to blend seamlessly into the band ensemble. This means that while the guitar sounds close to clean when heard alone, it reveals a pleasant distortion when mixed with the band.

Song-specific adjustments are also crucial. In tracks like “Brown Sugar” and “Start Me Up,” he emphasizes the 5th string in open G tuning, keeping distortion minimal to prioritize the rhythmic groove. Conversely, in “Jumpin’ Jack Flash” and “Street Fighting Man,” he bases the sound on acoustic guitar recordings, boosting the mids in the EQ to create a raw yet powerful sound. Notably, the recording of “Street Fighting Man” involved capturing the acoustic guitar through a cassette recorder, showcasing his experimental approach that adds a unique texture to his tone.

In mixing, Keith’s guitar is often positioned to support rhythm through left-right panning. Live, he collaborates with Ronnie Wood in a twin-guitar setup, dividing responsibilities between rhythm cuts on one side and leads or embellishments on the other. In studio recordings, he similarly allocates Micawber to one channel and Malcolm to the other, creating a rich, layered guitar sound.

Moreover, minimizing double tracking and overdubs is another hallmark of his style. By intentionally leaving in the roughness and nuances of his playing, he achieves a “human rock and roll” feel. Engineers often refrain from overly correcting Keith’s performances, instead emphasizing rawness through positioning and EQ in the mix.

In summary, Keith Richards’ settings consistently emphasize “bringing midrange forward with EQ, allowing distortion to emerge naturally from his touch and the amp,” “using acoustic or open G electric guitars based on the song,” and “highlighting groove through left-right positioning and midrange thickness in the mix.” Technically simple, this approach makes it challenging to replicate his sound. This style has undoubtedly supported the foundation of The Rolling Stones.

Affordable Alternatives to Recreate the Tone

While fully replicating Keith Richards’ sound is challenging, understanding key elements allows for a relatively affordable setup to achieve a “Stones-like riff sound.” The most critical aspects are open G tuning (5-string usage) and a light crunch tone. Here, we will introduce accessible gear suitable for beginners to intermediates.

First, regarding guitars, the original Fender Telecaster “Micawber” is quite expensive, but a great alternative is the Squier by Fender Telecaster Classic Vibe series. This budget-friendly option offers a vintage-like sound, and tuning it to open G allows you to enjoy Keith’s signature chord riffs. Switching to the front pickup can somewhat replicate the PAF-equipped tone of Micawber.

For amps, while a tube amp is ideal, budget-conscious players can opt for transistor/modeling amps like the Boss Katana series or Fender Champion 20. These amps can handle a wide range from clean to crunch, and slightly boosting the mids in the EQ can help you get closer to that Stones-like robust tone.

In terms of effects, a fuzz pedal is essential. While the original Maestro FZ-1 is pricey, alternatives like the BOSS FZ-5 or Electro-Harmonix Satisfaction Fuzz are affordable and highly effective. The latter is designed specifically to recreate the tone of “Satisfaction,” making it a direct link to Keith’s signature sound.

Additionally, if you want to replicate the swirling effect, consider adding a MXR Phase 90 for that 70s Keith tone.

As an accent, incorporating an affordable acoustic guitar (like the Yamaha FG series) is also recommended. The Stones often blend acoustic elements into their arrangements, allowing you to capture a Keith-like vibe even in solo performances.

In summary, having a “Squier Telecaster + affordable modeling amp + fuzz + phaser” can allow you to experience the groove of The Rolling Stones. The key is not to focus solely on expensive gear but to embody the spirit of tuning and playing approach. This way, you can get sufficiently close to the essence of Keith Richards while staying within budget.

Summary and Conclusion

Keith Richards’ sound creation relies on a “simple yet essential rock sound” that does not depend on flashy gear or complex effect chains. The Telecasters dedicated to open G tuning, the natural crunch of Fender amps, and minimal effects—these three pillars create the unique groove of The Rolling Stones.

Notably, his approach emphasizes the “space in the sound.” Keith does not focus on speed or technical playing; instead, he drives the band’s groove with simple riffs and chord work. This enhances the thickness of the songs, enveloping listeners in a sensation that makes them want to move. His style of “dominating songs with riffs” is uniquely his own and has significantly influenced subsequent guitarists.

Moreover, his EQ and settings are not extreme; he prioritizes a balance that allows the guitar to “sing.” By avoiding excessive distortion and leveraging the nuances of picking and the gaps in the band ensemble, he achieves a robust tone that is distinctly Keith. Thus, while technically simple, the rhythm and feeling embedded in his playing define the essence of his sound.

For guitarists aspiring to emulate Keith Richards’ sound, it is crucial to focus on “challenging yourself with open G tuning,” “practicing simple chord riffs thoroughly,” and “trusting the natural sound of the amp” rather than simply acquiring expensive gear. Even affordable Telecasters and modeling amps can allow you to experience this world.

In conclusion, the essence of Keith Richards’ sound lies in the “aesthetic of simplicity.” By emphasizing necessary elements without adding excess, he achieves a unique groove. When you pick up a guitar, pouring your heart into those simple riffs is the first step toward getting closest to the Stones’ sound.