rhythm guitar from “yesterday” by the beatles | ToneDB

yesterday

the beatles

rhythm guitar

90% ai confidence

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.