TONEDB

rhythm guitar from “down under” by men at work | ToneDB

down under

men at work

rhythm guitar

85% ai confidence

Tone Profile

A super clean, bright, and percussive rhythm guitar with a distinct "chuck" sound, achieved by DI'ing and re-amping through a Fender Twin with a touch of slapback delay. This creates an articulate, almost acoustic-like presence that drives the song's reggae-infused rhythm.

Signal Chain

Instrument: Fender Stratocaster (or similar single-coil guitar, likely bridge or bridge/middle pickup)

Amp: Fender Twin Reverb (for re-amping)

Microphone: Shure SM57 or Sennheiser MD421

Processing: Direct Injection (DI) of guitar signal, Slapback Delay (approx. 80-120ms, 1-2 repeats, low mix), Studio Compression (e.g., Urei 1176 or dbx 160, applied during mixing)

Other: The original guitar signal was recorded via Direct Input (DI), then re-amped through the Fender Twin. The playing style is a crucial reggae-influenced 'skank' or 'chuck,' focusing on muted upstrokes on the offbeats.

Recording Notes

  • Colin Hay's rhythm guitar part was primarily recorded using a Direct Input (DI) box.
  • The captured DI signal was subsequently re-amped through a Fender Twin Reverb amplifier.
  • A short slapback delay effect was added to the re-amped guitar signal.
  • The playing technique emphasizes a percussive, staccato 'chuck' or 'skank' rhythm, typical in reggae, played on the upbeats, often with muted strings.
  • The goal was a very clean, bright, and articulate tone to cut through the mix and provide rhythmic drive.

Recreation Tips

  • Use a guitar with single-coil pickups, such as a Fender Stratocaster, and select the bridge or bridge/middle pickup position for brightness.
  • If possible, record your guitar signal via a DI box first. Then, re-amp this DI signal through a clean Fender-style amplifier (like a Twin Reverb or Deluxe Reverb).
  • If re-amping isn't an option, use an amp modeler set to a clean Fender Twin sound and ensure the input is set for a direct guitar signal.
  • Add a subtle slapback delay: set it to around 80-120 milliseconds with only one or two repeats and a low mix level, so it's felt more than distinctly heard.
  • Apply light to moderate compression to even out the dynamics of the percussive strumming and add punch.
  • Master the reggae 'skank' rhythm: focus on crisp, muted upstrokes on the offbeats. Experiment with palm-muting to achieve the desired percussive 'chuck'.

Sources