[Steve Howe] How to Recreate the Yes Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Steve Howe, the guitarist of Yes, has crafted a sound world that symbolizes progressive rock. His sound is characterized by the use of a diverse array of string instruments, from acoustic and electric guitars to steel guitars, mandolins, and even Portuguese 12-string guitars.

Howe’s playing style boldly incorporates elements of jazz and classical music, seamlessly transitioning between cutting, arpeggios, and melodic leads. The iconic intro of “Roundabout” features the Martin 00-18 acoustic guitar, while the lead in “Close to the Edge” is painted with the majestic tones of the Gibson ES-345. In “Awaken,” the Fender Telecaster and Steinberger 12-string contribute profound resonance, giving Yes’s sound a unique presence.

The reason his sound garners attention lies not only in his technical prowess as a guitarist but also in his “orchestral approach” that supports Yes’s grand musical landscape. The selection of instruments and sound-making in each song is meticulous, akin to constructing a symphony, inviting listeners into another world.

To intuitively grasp Steve Howe’s diverse sound creation, check out Yes’s official music videos and live footage. You can search for them below.

▶ Search official YouTube videos of Yes

List of Amplifiers and Features

One of the significant elements supporting Steve Howe’s sound is his choice of amplifiers. Just as he is particular about his guitars, he has flexibly utilized different amplifiers according to the songs and eras. Notably, Fender amplifiers have been his long-time companions, chosen for their ability to maximize the beauty of clean tones.

The Fender Twin Reverb is a standout, known for its clean clarity and depth, consistently used from the Yes era through to Asia. It is also utilized for steel guitar, creating a spatial resonance that envelops the stage. In the early ’70s, he combined the Fender Dual Showman for the rear pickup and the Fender Super Twin for the front pickup, constructing a three-dimensional sound. This setup allowed for flexible tone control for each song.

Moreover, the first Fender amp he acquired, the Fender Tremololux, can be considered the starting point of his sound creation. It possesses a unique warmth that influenced his tone preferences in later years. In contemporary times, he has adopted a modeling amp system centered around the Line 6 DT50 and POD HD500, allowing for finely programmed presets that replicate tones for each song, ensuring stability and reproducibility in live settings.

Notably, combinations with the Line 6 Vetta II, Bogner, and Helix allow for instant switching to unique sounds like acoustic or sitar tones. This configuration has become central in recent albums like “The Quest,” merging classic tones with modern flexibility.

Additionally, there are records of using a vintage 1960/61 Gibson Explorer amp in “Heat of the Moment,” and more recently, the Vintage AC50 has been employed in recordings. The AC50 is particularly praised for its compatibility with Gibson guitars. The wide selection of amplifiers is what enables the multilayered quality of Howe’s sound.

This amplifier configuration has been optimized according to the technology and live environments of each era, making it a crucial element supporting his role in Yes and Asia. The following is a list of amplifiers that have been used or confirmed.

Types of Guitars Used and Features

When discussing Steve Howe’s sound creation, one of the most iconic aspects is his vast and diverse guitar collection. He employs a wide range of guitars, from jazz to electric, acoustic, and steel guitars, selecting the optimal sound for each song to support the grand soundscape of Yes.

His signature guitar is the Gibson ES-175, of which he owns several, including a 1964 model that serves as his main guitar during Yes tours. The stereo configuration and dual pickups create a three-dimensional resonance that Howe describes as his “dream guitar.” Following this, the Steve Howe signature ES-175 from Gibson has also appeared, utilized in tracks like “Fragile.”

In “Close to the Edge,” the 1970 Gibson ES-345 is used, with its Byrdland tailpiece and stereo wiring providing an expansive lead tone. During the classic period, he frequently used the ES-335 and ES-5 Switchmaster, particularly in the “Fragile” album where the ES-5 Switchmaster appears in most tracks. For jazz-oriented sections, he incorporated the Gibson Super 400 and the active pickup-equipped ES-Artist, achieving a diverse range of sounds tailored to the songs.

Notable mentions include the 1956 Gibson Les Paul Custom “Black Beauty” used in “Turn of the Century,” and Fender models such as a modified Stratocaster from the mid-’80s and a 1955 Telecaster used in “Awaken.” Additionally, he has embraced unique instruments typical of progressive rock, such as the Steinberger 12-string with EMG pickups and the Fender Double-neck steel guitar.

On the acoustic side, the Martin 00-18 (1953) is famously known for its role in the hall recording of “Roundabout.” Furthermore, in “Clap,” he utilizes his signature model MC-38, along with a Guild 12-string, a Portuguese 12-string, classical guitars, and mandolins. The delicate aspects of Yes’s sound are strongly supported by this acoustic collection.

Since introducing the Line 6 Variax 600, he has actively incorporated modern approaches, modeling sounds like sitar and 12-string guitars, significantly enhancing live reproducibility.

In this way, Steve Howe’s guitar collection is not merely a collection but a necessary choice to expand the expressive power of the songs. To recreate Yes’s music, it is essential to combine guitars with multiple characters rather than relying on a single instrument.

Effects and Pedalboard Setup

Another crucial element in Steve Howe’s sound creation is his collection of effects and pedalboard setup. Like his amplifiers and guitars, he has refreshed his equipment over the years while pursuing his unique aesthetic of sound. The evolution from the Yes era to Asia and his recent solo activities is quite fascinating.

During the classic period, he utilized fuzz/distortion effects such as the Electro-Harmonix Big Muff, Marshall Fuzz, Maestro FZ-1S, and MXR Distortion+, creating unique overtones and sustain. Notably, the lead tones in “Siberian Khatru” and “Close to the Edge” are attributed to the combination of these fuzzes and treble boosters. Later, during the Asia period, he achieved a more modern and smooth distortion by using overdrive (assumed to be Tube Screamer-type) alongside the Twin Reverb.

In terms of spatial effects, the use of the Echoplex is well-known. In “And You and I” and “Siberian Khatru,” it adds a dreamy echo, forming the grand soundscape unique to Yes. Subsequently, delay, chorus, and phaser effects were introduced, particularly during the Asia era and his solo work, enhancing the three-dimensionality of the sound.

In recent years, he has adopted a system centered around multi-effects like the Line 6 Helix, POD HD500, and Vetta II. This allows for instant switching of tones using programmed patches, achieving a diverse range of sounds, including acoustic and sitar tones. This modern pedalboard setup is integrated with the Variax and DT50 amp, accommodating a wide range from classic hits to the latest albums.

As auxiliary equipment, he employs multiple volume pedals from DeArmond and Morley, allowing for seamless swells and acoustic transitions. For wah effects, he uses Korg multi-pedals and traditional wah pedals to emphasize improvisational expression. Additionally, compressors (including UREI and built-in models) are used to enhance sustain in 12-string guitars and the ES-Artist.

During the large-scale tours of the ’80s, he introduced a custom massive rack known as the “Quark Pedal Board,” managing fuzz, delay, and modulation effects collectively to accommodate complex setlists. From this modern Helix-centric configuration to earlier setups, his pedalboard has consistently evolved around the theme of “balancing diversity and reproducibility.”

These effects have been refreshed alongside the technological advancements of each era while consistently reflecting Howe’s musical philosophy.

Tone Settings, EQ, and Mixing Approaches

The essence of Steve Howe’s sound creation lies not only in the combination of guitars, amplifiers, and effects but also in the “delicate adjustments of EQ” and the “placement of tones according to the song.” Yes’s music is progressive rock that incorporates elements of classical and jazz, where the guitar is not merely playing leads but is integrated into the orchestration within the mix. Therefore, his settings consistently pursue a delicate balance of being “not buried yet not overly prominent.”

In terms of EQ settings, clean tones tend to emphasize the mid-high frequencies slightly, bringing out the acoustic nuances of the guitar. When using the Fender Twin Reverb or Dual Showman, it is often thought that treble is set around 5-6, mids around 4-5, and bass kept modest at around 3. This allows the guitar to stand out clearly amidst Yes’s thick ensemble, ensuring that arpeggios and chord work resonate clearly.

For distorted lead tones, to leverage the character of fuzz and distortion, it is speculated that treble and mids are slightly reduced on the amp side, while the fuzz pedal itself emphasizes harmonics. The unique expansiveness heard in “Siberian Khatru” and “Close to the Edge” can be attributed to this combination of a modest EQ setting on the amp and the use of echoes like the Echoplex.

Distinctive song-specific adjustments are also characteristic. In “Roundabout,” the Martin 00-18 is used, and for recording, natural reverb is utilized by employing hall recording techniques. EQ processing is kept minimal, focusing on mic placement and room resonance for sound creation. In “Awaken,” the Telecaster and Steinberger 12-string are used, suppressing low frequencies while bringing out bright highs, ensuring they do not overlap with the majestic organ and synthesizer.

In live settings, he employs modeling amps and the Helix system, preparing presets for each song to enable rapid switching. For instance, in songs primarily featuring clean tones, a compressor is combined to unify the sound’s clarity, while reverb and delay are set deeper for solos to create expansiveness. When using sitar or 12-string modeling, it is highly likely that he collaborates with the PA engineer to adjust acoustic-specific EQ separately.

In studio mixes, to achieve the unique balance of “all parts being clearly audible” characteristic of Yes, stereo panning is frequently employed for guitars. Guitars capable of stereo output, such as the ES-175, are separated left and right, distributed across different amp channels to emphasize three-dimensionality. This results in a “clean yet expansive” sound. It is believed that mix engineers adjust the midrange of the guitar to avoid clashing with synths and bass, slightly boosting presence during leads to ensure clarity.

Overall, Howe’s sound creation philosophy is characterized by “respecting the inherent qualities of the guitar without forcing excessive processing through EQ.” By shaping character with amplifiers and effects, and spatially placing them in the mix, he has produced the transparency and grandeur essential to Yes’s music.

Affordable Alternatives to Recreate the Tone

While Steve Howe’s equipment often includes vintage guitars, high-end amplifiers, and custom boards that can be quite expensive, there are ways for beginners and intermediates to approach his sound at a relatively affordable price. Here, we introduce commercially available products that can be acquired for around $1,000 and explain why they can help achieve a similar tone.

Starting with guitars, Howe’s main instruments like the Gibson ES-175 and ES-345 are quite costly. As an alternative, the Epiphone ES series is highly recommended. The Epiphone ES-335 and ES-175, while budget-friendly, possess the warmth and jazz-oriented tone characteristic of semi-acoustics, making them sufficient for recreating Howe’s clean tones and arpeggios. For incorporating acoustic sounds, options like the YAMAHA FG series or Seagull guitars are also viable.

Regarding amplifiers, while the Fender Twin Reverb is expensive, the Fender Tone Master series (digital reissues) is relatively affordable and lightweight, faithfully reproducing the clean tones of the Twin. For home practice or small gigs, the Boss Katana series is excellent, featuring a variety of amp modeling that makes it easy to create Howe-like sounds from clean to crunch.

For effects, if you want to replicate the fuzz and delay he used affordably, the current model of the Electro-Harmonix Big Muff or the reissue of the MXR Distortion+ are optimal choices. These can be found for around $100 and can closely approach the sustain and harmonic richness of the ’70s Yes era. For delay, the BOSS DD series (DD-8 or DD-200) is recommended for simply recreating warm echoes reminiscent of the Echoplex.

Additionally, multi-effects units like the BOSS GT-1 or Line 6 POD Go are very effective means of mimicking Howe’s current system. These are simplified versions of the Helix and POD HD500, capable of diverse modeling, including acoustic simulations and sitar-like effects. They also allow for smooth preset switching during live performances, accommodating the complex arrangements of Yes’s music.

Finally, introducing a volume pedal can make it easier to perform Howe’s swell techniques. The Boss FV-30 or Morley’s compact models are available at reasonable prices and can greatly enhance dynamic expression. Combining this with a compressor (like the BOSS CS-3) can also help achieve the sustain characteristic of 12-string guitars.

In summary, it is not necessary to acquire vintage or signature models to recreate Steve Howe’s sound. Instead, using Epiphone, Fender Tone Master, and Boss or Line 6 multi-effects can sufficiently approach his tone. The key is the idea of “recreating the character of diverse guitars and switching them according to the song.”

Summary and Conclusion

The essence of Steve Howe’s sound creation goes beyond mere equipment selection; it lies in his ability to “utilize different sonic characters for each song and integrate them into Yes’s grand musical world.” Listening to his sound reveals that the guitar does not overshadow but supports the whole, akin to being part of an orchestra, while also shining uniquely when needed.

Specifically, he plays delicate arpeggios on jazz-oriented full acoustics (Gibson ES-175 and ES-345), expresses lyrical parts on acoustics (Martin 00-18 and MC-38), and creates expansive leads using fuzz and delay. To create the unique “thickness of sound” characteristic of Yes, he employs stereo outputs and multiple amplifiers for a three-dimensional arrangement.

In modern times, with the introduction of Line 6 Helix and Variax, he can instantly switch between multiple tones, yet the underlying philosophy remains unchanged. It revolves around the question of “how to narrate the story of the song through the guitar.” Even simple chords can express entirely different emotions by altering tone, EQ, and playing style, leaving a profound impression on listeners.

For those wishing to recreate Yes’s music at home, it is crucial to focus not on acquiring the same equipment but on the mindset of “switching tones according to the song” and emphasizing “the beauty of clean tones.” By keeping effects and amp settings simple and adding fuzz or delay as needed, you should be able to achieve a surprisingly close sound to his.

In summary, to replicate Steve Howe’s sound, it is not high-priced vintage gear that is necessary, but rather a flexible mindset of “switching guitars and amps according to their roles in the music.” With careful EQ adjustments and spatial processing, you can infuse your performance with the spirit of Yes.

“The essence of sound creation lies not in the price or brand of the equipment, but in the attitude towards the music” — this is embodied by guitarist Steve Howe.