Johnny Marr — Rig Network

The primary Smiths guitar — the 330's bright, trebly character through the JC-120's chorus produces the signature jangling, chiming Smiths rhythm sound. Marr often used a capo at the 2nd fret for "The Boy with the Thorn in His Side", "Heaven Knows I'm Miserable Now", and many others.

Used alongside the Rickenbacker throughout the Smiths — the Tele's different pickup voicing produced complementary tonal layers in multi-tracked guitar arrangements. Also primary guitar for solo and Electronic work.

Unique to this artist in the database

For Electronic and solo work — the semi-hollow warmth provides a rounder character compared to the Rickenbacker's brightness.

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The defining amp of the Smiths' guitar sound. The JC-120's solid-state transistor design produces the cleanest possible amplification of the guitar signal, and its built-in stereo chorus is integral rather than a pedal addition. The stereo output across two 12" speakers creates the wide, dimensional sound of Smiths recordings.

Alongside the JC-120 for additional clean volume and Fender character — Marr ran the Twin and JC-120 simultaneously in stereo for certain recordings and live performances.

Before the JC-120 became his primary amp (which has built-in chorus), Marr used the CE-1 — the first Boss chorus pedal and one of the warmest, most natural-sounding chorus circuits ever produced. Its lush, wide stereo character was perfect for the Smiths' jangle.

Subtle delay for depth — Marr's delay use is subtle and rhythmic rather than obvious. A short delay adds dimension to the clean guitar sound without creating audible distinct echoes.

For post-Smiths work when not using the JC-120 — the Small Clone's warm, relatively subtle chorus character suits indie and alternative contexts.

Unique to this artist in the database