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rhythm guitar from “here comes the sun” by the beatles | ToneDB

here comes the sun

the beatles

rhythm guitar

90% ai confidence

Tone Profile

Bright, clear, and articulate acoustic guitar with a prominent capoed character, beautifully enhanced by a subtle, shimmering Leslie speaker effect.

Signal Chain

Instrument: Gibson J-200 acoustic guitar (with capo on 7th fret)

Amp: Leslie 122 (or 147) speaker cabinet

Microphone: Neumann U67 (or AKG D19c) on Leslie cabinet

Processing: Abbey Road REDD.37 or REDD.51 console preamplification and EQ, Studer J37 tape saturation

Other: The acoustic guitar was first close-mic'd (e.g., with a Neumann U67). This signal was then sent from the console to the Leslie speaker cabinet. The Leslie, set to a slow 'Chorale' speed, was then mic'd and its output recorded to tape. The capo at the 7th fret is crucial for the bright, chiming quality.

Recording Notes

  • Recorded in July and August 1969 at EMI Studios (Abbey Road), Studio Two.
  • Primary acoustic guitar played by George Harrison on his Gibson J-200.
  • A capo was placed on the 7th fret of the acoustic guitar.
  • The most distinctive element is the use of a Leslie speaker (model 122 or 147) on the mic'd acoustic guitar signal.
  • The Leslie's rotating horn and drum, typically used for organs, imparted a shimmering, chorus-like effect to the guitar. The speed was likely set to 'Chorale' (slow).
  • The acoustic guitar was likely mic'd with a high-quality condenser like a Neumann U67 or U47, or dynamic like AKG D19c.
  • The Leslie cabinet itself was then mic'd, likely with Neumann U67s or AKG D19c microphones.
  • Recorded using an EMI REDD.37 or REDD.51 mixing console and a Studer J37 four-track tape recorder.

Recreation Tips

  • Use a bright-sounding jumbo or dreadnought acoustic guitar (e.g., Gibson J-200, Martin D-28).
  • Place a capo on the 7th fret. This is essential for the voicing and timbre.
  • The Leslie speaker effect is key. If a real Leslie isn't available, use a high-quality Leslie simulator pedal (e.g., Strymon Lex, Neo Ventilator II, EHX Lester G) or plugin (e.g., IK Multimedia T-RackS Leslie, Universal Audio Waterfall Rotary).
  • Set the Leslie simulator to a slow 'Chorale' speed with moderate intensity.
  • Mic your acoustic guitar with a condenser microphone to capture brightness and detail. Point it towards the 12th-14th fret or where the neck meets the body for a balanced sound.
  • If using a plugin, apply it to the recorded acoustic guitar track. If using a pedal, you can place it after a preamp if miking, or in the effects loop of an acoustic amp if applicable.
  • Apply subtle EQ: a gentle high-frequency boost for air and clarity, and possibly a slight cut in the lower mids to avoid muddiness.
  • Consider a touch of tape saturation emulation for warmth and subtle compression.
  • Play with a consistent, fairly gentle picking attack. Fingerpicking or a light pick can work well.

Sources