[Kelly Jones] How to Recreate the Stereophonics Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Kelly Jones, the frontman, guitarist, and vocalist of Stereophonics, is known for his powerful riffs and melodic sensibility. His sound embodies a robust UK rock essence combined with the expansive qualities of American rock.

Iconic tracks such as “Dakota,” “Have A Nice Day,” and “Maybe Tomorrow” showcase different guitar expressions. For instance, “Dakota” features a straightforward rock sound, while “Maybe Tomorrow” highlights softer clean tones and acoustic elements. In contrast, “Bartender And The Thief” showcases a raw distortion.

Jones’s approach to guitar playing relies on the natural tone of the guitar and the characteristics of the amplifier, avoiding overly complex effects. This results in a sound that cuts through the mix, even with a rough setup during live performances.

His gear history reflects a practical approach, with long-term use of a Gibson SG and Gretsch guitars in the studio, emphasizing the importance of selecting the right guitar for the right situation. Understanding his equipment and sound design will provide insights into recreating the distinctive Stereophonics rock sound.

Below, we will explore the amplifiers, guitars, and effects used by Kelly Jones, detailing their settings and sound direction.

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List of Amplifiers and Features

The choice of amplifiers is crucial in Kelly Jones’s sound design. He has consistently favored simple amplifiers that enhance the natural resonance of the guitar. His setup typically includes a mix of British rock tradition and reliable American combo amps for both live performances and recordings.

In the early days of Stereophonics, the Peavey Bandit (commonly known as PV Bandit) was confirmed to be used. It was employed during the recording of their first album and has been spotted in live performances. Despite its compact size, it delivers solid sound pressure, often placed on top of a box for practical use.

Another notable amplifier is the Matchless C-30, designed based on the Vox AC30. This amp covers a wide range from clean to crunch, forming the foundation of Stereophonics’ tone. Its pronounced midrange blends naturally with Kelly’s vocals, supporting the overall band sound.

Marshall gear also plays a significant role. In the studio, Kelly frequently uses a Marshall 50W head paired with a cabinet, creating the quintessential UK rock sound. This setup provides a powerful distortion for their more aggressive rock tracks.

During the mid-career phase, the Fender Hot Rod Deluxe was also utilized, known for its simple, clean sound. It adds warmth, making it suitable for softer arrangements.

Recently, the Bad Cat Cougar 50 has been in use, a 50W Class AB combo amp that combines modern balance and reliability. This amp is believed to provide stable sound and power during live performances.

Overall, Kelly Jones opts for simple yet robust amplifiers for live shows, while utilizing traditional UK amps like Marshall and Matchless in the studio. These choices are instrumental in shaping his rock sound.

Types of Guitars Used and Features

Kelly Jones’s guitar collection has evolved throughout his career, showcasing his ability to select the right guitar for each stage and studio situation, emphasizing the texture of each song.

The most iconic guitar in his collection is the Gibson SG, purchased in the 1990s. This guitar, often referred to as his “#1,” has been his main instrument since 1996. Despite numerous repairs, including fret replacements and headstock repairs, it continues to be used, strung with Rotosound 10–46 strings. This guitar supports the loud and sharp sound heard in tracks like “The Bartender And The Thief.”

In the studio, the Gretsch Country Gent (orange) has played a significant role, reportedly used on almost all tracks of the last three albums. Kelly’s unique approach is evident as he has used it for years without changing the strings. The jangly tone typical of Gretsch guitars adds a distinct atmosphere to Stereophonics’ ensemble.

Other guitars confirmed on stage include the 12-string Gretsch G5422DC-12, Gibson ES-339 Flamed Maple Top, and Gretsch 6120N New Nashville, indicating his versatility in selecting instruments based on the song’s range. The 12-string, in particular, shines in tracks like “Dakota,” providing a spacious sound.

During the “Language. Sex. Violence. Other?” album period, Kelly used a Fender Mustang and a Fender Vintage Jaguar (Seafoam Green). The Jaguar even appears in the album artwork, symbolizing that era. The unique tone and lightness of Fender guitars add a new dimension to the band’s sound.

In recent years, he has frequently used the Gibson Custom CS-336 Plain Top, which has become a versatile alternative to the SG and Les Paul since the addition of Adam Zindani. Additionally, the Gibson J-150 Acoustic is favored for live performances and recordings, known for its ability to stand out even in loud environments.

Notably, he has a pink and brown nylon-string guitar purchased for £20 for his daughter, which he has used extensively in composing recent works, including Spanish-style arpeggio pieces like “What’s All The Fuss About.” This playful and experimental choice reflects Kelly’s musicality.

A Fender Telecaster is also available as a secondary option, balancing with Adam Zindani’s Texas Specials-equipped Telecaster.

Overall, Kelly Jones’s guitar selection has flexibly changed according to the sound concept and arrangement of the time. In the studio, he primarily uses Gretsch guitars, while live performances often feature the SG or CS-336, adapting to various situations. His sound design revolves around choosing the right guitar character for each song.

Effects and Pedalboard Setup

Kelly Jones’s pedalboard is characterized by a focus on practicality over flashiness. His sound heavily relies on the guitar and amplifier themselves, keeping effects to a necessary minimum. However, he does utilize specific effects to add personality during live performances and for certain songs.

The Wah pedal is one of his most commonly used effects. In tracks like “More Life in a Tramp Vest” and “Bartender and the Thief,” it creates a lo-fi, aggressive texture. During live shows, he often sets it up to run through only one of the amps, adding depth to the sound. The Wah has become a defining element of Kelly’s sound identity.

For boosting and volume adjustments, the Boss GE-7 Graphic Equalizer is employed. When using two overdrive pedals, sound thinning can occur, so the GE-7 compensates by slightly boosting the volume while keeping the tone flat. This simple yet effective pedal plays a crucial role.

For distortion, the MXR Doubleshot Distortion is used, providing a strong drive sound. There are mentions of an additional distortion pedal (model unknown) that may have been used at times, but Stereophonics’ sound primarily relies on amp-derived distortion, making these effects more supplementary.

The Boss PH-3 Phaser also holds importance in his setup. It has been used in “Rooftop,” with specific settings noted at Stage 10 / Reso 11-12 o’clock / Depth 10 o’clock. By utilizing the phaser, even simple chord progressions gain movement and depth.

When switching between multiple amps live, the Pete Cornish Amp Selector is used, confirmed in songs like “Looks Like Chaplain.” This practical choice underscores Kelly’s commitment to stability on stage.

Additionally, the Xotic EP Booster has been confirmed in his setup. This popular booster replicates the preamp sound of the Echoplex, adding warmth and presence to the tone. It is believed to be used for enhancing nuances in both live and studio settings.

In the past, he used two Marshall Blues Breakers, but due to sound thinning when using two overdrives together, they are no longer in use. This trial and error process highlights his continuous pursuit of practicality.

Overall, Kelly Jones’s effects setup is a simple combination centered around Wah, booster, equalizer, and phaser. Distortion is primarily derived from the amp, with effects used as needed, supporting his robust and natural sound.

Tone Settings, EQ, and Mixing Approaches

Kelly Jones’s sound design revolves around the combination of guitar and amplifier, with effects kept to a necessary minimum. Therefore, EQ and amp settings are crucial, as they hold the secret to his loud and clear sound.

When using the Matchless C-30 or Marshall 50W Head, the basic amp settings typically emphasize the midrange. The bass is set around noon, the mids are slightly boosted (1-2 o’clock), and the treble is kept moderate (around 11 o’clock). This balance allows Kelly’s vocals to sit firmly in the midrange without competing with the guitar.

For clean tones, the Fender Hot Rod Deluxe or Gibson J-150 Acoustic is used, with EQ adjustments leaning towards flat. The J-150, known for its ability to stand out even in loud environments, is essential for Stereophonics’ live performances.

Distortion is primarily derived from the amp, with effects used as supplements. For instance, the MXR Doubleshot Distortion is employed to enhance deep distortion, but adjustments are made with the Boss GE-7 to maintain tone and volume, ensuring a thick guitar sound while preserving dynamics within the songs.

The Wah pedal settings vary slightly by song. In “Bartender and the Thief,” it is deeply engaged for a rough cutting feel, while in “More Life in a Tramp Vest,” it is used in a shallower range to achieve a lo-fi texture. Additionally, during live performances, he runs the Wah through only one amp, creating spatial depth.

Specific settings for the phaser (Boss PH-3) have been documented, such as those used in “Rooftop” at Stage 10, Reso 11-12 o’clock, and Depth 10 o’clock. These settings create a subtle movement that enhances simple chord progressions, providing an impressive spatial experience for listeners.

In terms of PA and mixing, Kelly’s guitar often occupies the same frequency range as the vocals. Engineers typically separate backing and lead parts for clarity. Compression is lightly applied to rhythm guitars, while mids are emphasized for leads. Delay and reverb are kept minimal, maintaining a dry and straightforward sound.

Furthermore, the role-sharing with the second guitarist (Adam Zindani) is crucial during live performances. By combining Zindani’s Telecaster for clean and cutting tones with Kelly’s SG or Les Paul for powerful backing, the unique thick sound of Stereophonics is achieved. EQ and amp channel switching are creatively adjusted for each song.

In conclusion, Kelly Jones’s sound design can be summarized as focusing on “midrange emphasis,” “amp drive as the primary source,” and “adding depth with minimal effects.” This approach directly correlates with his playing style, ensuring that his raw and robust guitar work resonates naturally.

Affordable Alternatives to Recreate the Tone

Kelly Jones’s sound is supported by high-end gear like the Gibson SG, Matchless, and Marshall, making it impractical for beginners or intermediate players to acquire everything. Here, we present affordable alternatives that can help recreate the Stereophonics sound, targeting a price range of approximately $100 to $500.

For guitars, the Epiphone SG Standard is an ideal choice. While the Gibson SG is expensive, the Epiphone version can be found for around $500. It offers a thick, midrange-forward sound similar to the original, making it suitable for live performances and practice. For those seeking a 12-string sound, affordable models from Aria or Danelectro are also viable options, allowing players to experience the spaciousness found in tracks like “Dakota.”

In terms of amplifiers, the Marshall Code 50 and Boss Katana 50 MkII offer excellent cost-performance ratios. The Marshall Code can model classic Marshall sounds, accommodating everything from crunch to drive. The Boss Katana is versatile, covering clean to distorted tones, and includes built-in effects, making it easy to achieve a Kelly-like sound without needing additional pedals.

For effects, the Dunlop Cry Baby Standard GCB95 Wah pedal is a staple. Priced in the $100 range, it effectively replicates the lo-fi, aggressive texture Kelly uses in his solos. For distortion, the Boss DS-1 Distortion and Boss SD-1 Super OverDrive are effective. The SD-1, in particular, is suitable for pushing amp drive, creating a thick sound when paired with Marshall or Katana amps.

For boosting and EQ purposes, the Mooer Graphic G is a budget-friendly alternative to the Boss GE-7, useful for volume adjustments and tone corrections, allowing players to experience the “sound thinning prevention” Kelly emphasizes. Additionally, while the Xotic EP Booster provides warmth, a more affordable option is the TC Electronic Spark Booster.

For spatial effects, while the Boss PH-3 Phaser can be directly implemented, a more economical choice is the Behringer VP1 Vintage Phaser, which is capable of recreating the floating sound heard in “Rooftop.”

By combining these pieces of equipment, players can get remarkably close to Kelly Jones’s sound with a modest investment. The key points to focus on are “midrange-oriented amp settings,” “adding expression with Wah and Phaser,” and “preventing sound thinning with EQ.”

Summary and Conclusion

Reflecting on Kelly Jones’s sound design reveals a consistent aesthetic of “simplicity and practicality.” He prioritizes the unique character of the guitar and amplifier, adding only essential effects to enhance the sound. This clarity supports the robust and raw sound characteristic of Stereophonics.

Specifically, his long-term use of the Gibson SG and the Gretsch Country Gent in the studio exemplifies his selective approach to guitar character for each song. By centering his setup around classic amps like Marshall and Matchless, and emphasizing midrange in EQ settings, he ensures that the band’s sound blends naturally. This approach is essential for accommodating a wide range of songs, from powerful rock anthems like “Dakota” to mellow tracks like “Maybe Tomorrow.”

His effects setup is also streamlined, featuring only a few essential pedals like Wah, phaser, and equalizer, used only when necessary. This approach allows the natural sound of the guitar to shine through. While he has incorporated selectors and boosters for practical reasons, these choices are ultimately driven by a pursuit of stability and reliability.

For beginners and intermediates looking to recreate his sound, this philosophy is highly applicable. Even without high-end gear like the SG or Matchless, focusing on “midrange-oriented settings,” “adding expression with Wah and Phaser,” and “preventing sound thinning with EQ” can lead to a closer approximation of Kelly’s sound. By combining alternatives like the Epiphone SG and Boss Katana, players can achieve a practical rock sound while keeping costs manageable.

In summary, the essence of Kelly Jones’s sound design lies in its “rough yet meticulous” and “simple yet impactful” nature. His playing consistently supports the overall band sound, making choices that resonate with the music. Understanding this approach offers valuable insights for guitarists in their sound-making journey. Immersing oneself in Stereophonics’ music and experimenting with personal gear is the first step toward achieving a similar sound.