TONEDB

rhythm guitar from “london calling” by the clash | ToneDB

london calling

the clash

rhythm guitar

88% ai confidence

Tone Profile

A bright, trebly, and percussive rhythm guitar tone with a sharp attack and raw punk energy, defined by a Telecaster's distinctive bite and a clean-to-edgy amp sound.

Signal Chain

Instrument: Fender Telecaster (likely Joe Strummer's 1966 model)

Amp: Fender Twin Reverb (or Music Man HD-130 Reverb)

Microphone: Shure SM57

Other: Bridge pickup selected. Aggressive, staccato downstroke strumming technique. Amp set for high headroom with treble and presence emphasized, master volume pushed to the edge of breakup. Close microphone placement, possibly slightly off-axis. Original recording likely included studio console EQ (high-pass filter, treble boost) and light compression post-mic.

Recording Notes

  • Recorded in 1979 at Wessex Sound Studios, London.
  • Produced by Guy Stevens, known for his raw and energetic production style, encouraging spontaneous performances.
  • Engineered by Bill Price, who had previously worked with the Sex Pistols.
  • The rhythm guitar parts, primarily by Joe Strummer, are crucial to the song's driving, anthemic feel.
  • The band aimed for a powerful, direct sound, capturing their live energy.

Recreation Tips

  • Use a Fender Telecaster, selecting the bridge pickup for maximum bite and twang.
  • Employ a Fender-style amplifier (e.g., Twin Reverb, Deluxe Reverb) set to a mostly clean tone with just a hint of breakup when strummed hard.
  • Boost the treble and presence controls on the amp; keep bass moderate to avoid muddiness and mids fairly neutral or slightly scooped.
  • Play with aggressive, choppy downstrokes. Some light palm-muting can enhance the percussive quality of the main riff.
  • A thin to medium gauge pick will accentuate the attack.
  • If your amp is too clean, a transparent overdrive pedal with gain set low and level high can push it into slight breakup.
  • To emulate the studio polish, use an EQ pedal/plugin to apply a high-pass filter (around 80-100Hz) and a gentle boost in the upper-mids/treble (2-5kHz).
  • Subtle compression can help even out dynamics and add sustain, but avoid squashing the sound.

Sources