rhythm guitar from “come as you are” by nirvana | ToneDB

come as you are

nirvana

rhythm guitar

95% ai confidence

Tone Profile

A signature watery, detuned clean tone defined by a lush analog chorus that provides a constant sense of movement. The underlying guitar sound is slightly gritty and dark, sitting just on the edge of breakup without being truly overdriven.

Signal Chain

Instrument: 1965 Fender Jaguar with DiMarzio PAF (neck) and Super Distortion (bridge) pickups

Amp: Mesa/Boogie Studio .22 Preamp -> Crown Power Amp -> Marshall 1960B 4x12 Cabinet with Celestion G12-75 speakers

Microphone: Shure SM57 and Neumann U 87

Processing: Electro-Harmonix Small Clone Chorus

Other: Guitar tuned down one whole step to D Standard (D-G-C-F-A-D). The part was double-tracked to create a wider stereo image and enhance the chorus effect.

Recording Notes

  • The entire guitar was tuned down one full step, which is critical to the song's pitch, dark vibe, and string tension.
  • The Electro-Harmonix Small Clone is the key ingredient and is always active for this part. Its slightly unpredictable, warbly nature is the defining characteristic.
  • Producer Butch Vig recorded the album at Sound City Studios, utilizing their Neve 8028 console, which contributed its own coloration to the signal.
  • The main riff is double-tracked (two separate performances are recorded) and panned to create a thick, immersive sound.
  • While Kurt also used a Fender Bassman for clean tones, the Mesa/Boogie preamp was reportedly the choice for this track's specific clean-but-gritty texture.

Recreation Tips

  • Tune your guitar down to D Standard. This is non-negotiable for an authentic recreation.
  • Use the neck pickup of your guitar for a warmer, rounder sound.
  • The most crucial element is an analog chorus pedal. An EHX Small Clone is ideal, but any BBD-style chorus with a slow, deep rate will work well.
  • Set your amp to a clean channel, but turn the gain/volume up just enough so that it starts to break up slightly when you dig in with the pick.
  • If you're recording, play the part twice on two separate tracks and pan them slightly left and right to emulate the double-tracking technique.
  • Use a light touch when playing; the riff's magic is in its hypnotic, loping feel, not aggressive picking.