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rhythm guitar from “the middle” by jimmy eat world | ToneDB

the middle

jimmy eat world

rhythm guitar

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Tone Profile

A bright, punchy, and articulate rock guitar tone with moderate gain, perfect for driving power chords with clarity and attack. Quintessential early 2000s alternative rock/pop-punk sound.

Signal Chain

Instrument: Fender Telecaster Thinline '72 (Jim Adkins) or Gibson SG Standard (Tom Linton)

Amp: Marshall JCM800 (often modded by an amp tech like Martin Golub)

Microphone: Shure SM57 (commonly blended with a Royer R-121 or Neumann U67/U87)

Processing: Primarily amp gain; an overdrive pedal (e.g., Ibanez TS9 Tube Screamer) could be used subtly for tightening or boost if needed.

Other: Bridge pickup utilized. Guitars are typically double-tracked (e.g., Adkins' Telecaster panned left, Linton's SG panned right) using similar amp settings for a wide stereo image. Focus on mid-high frequencies for cut and clarity.

Recording Notes

  • The rhythm guitars are double-tracked and panned wide (hard left/right) to create a full and powerful stereo sound, a common technique for producer Mark Trombino.
  • Moderate gain settings were used on the Marshall JCM800s to maintain clarity and note definition, especially for the distinct power chords.
  • Producer Mark Trombino often blended microphones on guitar cabinets; a dynamic mic like the Shure SM57 for punch, paired with a ribbon like the Royer R-121 for warmth, or a condenser like a Neumann U67/U87 for detail.
  • Guitars were likely tracked through high-quality preamps (e.g., Neve 1073 or similar) and API consoles.
  • The bass guitar carries significant low-end, allowing the guitars to be EQ'd to emphasize midrange punch and high-end articulation without cluttering the mix.

Recreation Tips

  • Use a guitar with humbuckers (like a Gibson SG or Les Paul) or P90s (like on Jim Adkins' signature Telecaster) on the bridge pickup for bite.
  • Dial in a Marshall-style amp (JCM800, JCM900, or a modeler equivalent) to a crunchy, medium-gain tone. Avoid excessive saturation to maintain clarity.
  • If using an overdrive pedal, set the drive control low and the level/volume high to boost the amp's input and tighten the low-end, rather than adding lots of pedal distortion.
  • Record two separate, tight performances of the rhythm guitar part and pan them hard left and right in your mix.
  • In the mix, apply a high-pass filter (low-cut) to the guitar tracks around 80-120Hz to remove unnecessary low-end rumble and make space for the bass guitar and kick drum.
  • Consider a slight boost in the upper midrange (e.g., 2kHz-5kHz) to enhance pick attack and presence if the tone needs more cut.

Sources