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lead guitar from “my sharona” by the knack | ToneDB

my sharona

the knack

lead guitar

95% ai confidence

Tone Profile

A bright, biting, and articulate lead tone with a distinct fuzzy overdrive from an MXR Distortion+ feeding a Marshall amp. It possesses strong sustain and cuts through the mix effectively, defining the song's iconic solo.

Signal Chain

Instrument: 1965 Fender Stratocaster (likely bridge pickup)

Amp: Marshall JMP 50-watt half-stack (head and 4x12 cabinet)

Microphone: Shure SM57 (or similar dynamic microphone)

Processing: MXR Distortion+

Other: Close mic placement on one speaker of the Marshall 4x12 cabinet. Possible subtle studio compression and EQ applied by producer Mike Chapman during mixing.

Recording Notes

  • The solo was performed by Berton Averre.
  • Recorded at Whitney Recording Studios, Glendale, California, in 1979.
  • Produced by Mike Chapman, known for his clean, punchy, and commercially successful sound.
  • The MXR Distortion+ pedal was a key component for the solo's characteristic fuzz-like overdrive and sustain.
  • The guitar solo is prominent in the mix, with a direct, focused sound, likely with minimal room ambience.
  • The overall production aimed for clarity and impact, fitting the New Wave/Power Pop style of the era.

Recreation Tips

  • Use a Fender Stratocaster-style guitar, selecting the bridge pickup for maximum bite and clarity.
  • A Marshall JMP or Plexi-style amplifier (or a quality modeler/plugin equivalent) is crucial. Aim for a moderately cranked tone.
  • The MXR Distortion+ pedal (or a faithful clone) is essential. Set the Distortion knob typically between noon and 2 o'clock and the Output knob to boost the amp appropriately.
  • Focus on articulate picking and replicating Berton Averre's aggressive attack, precise phrasing, and characteristic bends.
  • Consider adding subtle studio compression post-recording to enhance sustain and even out dynamics, mimicking the final mixed sound.
  • Experiment with mic placement; a classic SM57 slightly off-center of the speaker cone often works well for this type of tone.

Sources