rhythm guitar from “yesterday” by the beatles | ToneDB
yesterday
the beatles
rhythm guitar
Tone Profile
A warm, intimate, and melancholic solo acoustic guitar tone. Characterized by the natural resonance of a down-tuned steel-string guitar played fingerstyle, it's clear and direct with subtle studio ambiance.
Signal Chain
Instrument: 1964 Epiphone Texan FT-79 acoustic guitar
Amp: Acoustic (No amplification, direct to console)
Microphone: Neumann U47 (or similar period Neumann/AKG large-diaphragm condenser like AKG C12)
Processing: EMI REDD.37 or REDD.51 recording console (for preamplification and subtle EQ), Abbey Road Studio Two echo chamber (for subtle reverb)
Other: Guitar tuned down one whole step to D-G-C-F-A-D. Paul McCartney played fingerstyle. Microphone likely placed 6-12 inches from the guitar, aimed at the 12th fret or neck/body join.
Recording Notes
- Recorded on June 14, 1965, at EMI Studios (now Abbey Road Studios), Studio Two.
- Paul McCartney was the sole musician on the initial track, performing vocals and his Epiphone Texan acoustic guitar simultaneously.
- The Epiphone Texan FT-79 (Paul's specific model, serial number 19183) was tuned down a whole step from E standard to D-G-C-F-A-D.
- This tuning allowed Paul to play the song using G major chord shapes, while the actual key of the song is F major, which suited his vocal range.
- Engineered by Norman Smith and produced by George Martin.
- A string quartet, arranged by George Martin, was overdubbed on June 17, 1965, but this profile focuses on the initial guitar recording.
Recreation Tips
- Use a quality steel-string acoustic guitar, ideally a dreadnought or jumbo model like an Epiphone Texan or Gibson J-45.
- Tune your guitar down one whole step: D-G-C-F-A-D.
- Play fingerstyle, emulating Paul McCartney's gentle but articulate approach. Focus on clean notes and consistent rhythm.
- Record with a large-diaphragm condenser microphone. Aim it towards the 12th fret or where the neck joins the body, approximately 6-12 inches away for a balanced tone.
- Experiment with mic placement; moving closer can add proximity effect (bass boost), while further away captures more room sound (though the original is fairly dry).
- Use a clean, high-quality microphone preamp. Avoid overdriving the preamp to maintain clarity.
- Apply minimal EQ; a slight high-pass filter (e.g., around 80Hz) to remove low-end rumble might be useful, but the original sound is quite natural and uncolored.
- Add a touch of subtle, natural-sounding reverb (e.g., a short plate emulation or a small, realistic room reverb). Avoid long or overly wet reverb tails.
- Do not use compression, or use it very sparingly, to maintain the natural dynamics and transient detail of the acoustic performance.
Recommended Gear
- Epiphone Masterbilt Texan Acoustic/Electric Guitar(Guitar)
- Gibson J-45 Standard(Guitar)
- Neumann U 87 Ai Condenser Microphone(Mic)
- AKG C414 XLS Condenser Microphone(Mic)
- Focusrite Scarlett 2i2 (or similar audio interface with clean preamps)(Preamp/Interface)
- Universal Audio UAD EMT 140 Classic Plate Reverberator Plugin(Plugin)
- Valhalla Plate Reverb Plugin(Plugin)
- D'Addario EJ16 Phosphor Bronze Light Acoustic Strings (.012-.053)(Strings)