Johnny Marr

In this interview with Premier Guitar magazine regarding the recording of his 2018 album Call the Comet, Marr explains how he got the tone on the track "Hey Angel." He says, "The main rhythm guitar on there is a 1973 Les Paul Custom, like the one James Williamson used in the Stooges. That guitar was running through a Fender Bassman cranked up very hot. The solo and lead parts were done with the Carl Martin PlexiTone pedal, which is a great-sounding thing!"

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The use of pedals on all the instruments is prevalent on Call the Comet. Marr favors Carl Martin pedals for their musicality: Delayla for delay, Plexitone for distortion, AC-Tone for overdrive. He also likes Lovetone’s Doppelganger, Ring Stinger, Brown Source and Big Cheese for more extreme modulation and flange effects."

"Live on the Whistle Test, May 20 1986. Fender Bandmaster, Roland JC-120 and Mesa Boogie Mk III."

Towards the top of this page, there are photos of Marr with his Gretsch Country Club guitar.

1963 Fender Jazzmaster in Inca Silver. One of my favourite guitars.

Source: www.johnny-marr.com/guitarchestra-2/1963-fender-jazzmaster-in-inca-silver

This shot of Johnny’s pedalbard is fairly recent – pulled from Johnny Marr’s Facebook page.

In this picture of Johnny's pedalboard as it can be confirmed in this picture www.effectsbay.com/wp-content/uploads/2015/02/johnny-marr-pedalboard-break-down-1.jpg , we can notice that he owns 2 of this pedal.

From the effects send on the Boogie, I go into a T.C. Electronic 2290 and a Yamaha GEP50. I've got a Roland GP8, too -- those guitar processors are okay if you use them together with another effect. And I've got the wonderful Eventide Harmonizer, which I use for some of the expansive stereo choruses. I haven't used my Roland GR-50 guitar synthesizer onstage yet, but I'm planning to. The controller is a GK-2.

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. The DL-4 pedal is among the effects on the list.

A Mesa Boogie Mk I combo amp can be seen in this photo; it's the rightmost amp.

A Mac Pro tower can be seen in Johnny Marr's studio.

At 3:05, on the bottom of the right rack, we can see a Juno 60 in Johnny's studio.

“Smiths Fender Pro. 1985-‘87. Used on Meat is Murder, Queen is Dead, Strangeways Here We Come and live shows.”

"From the effects send on the Boogie, I go into a T.C. Electronic 2290 and a Yamaha GEP50. I've got a Roland GP8, too -- those guitar processors are okay if you use them together with another effect. And I've got the wonderful Eventide Harmonizer, which I use for some of the expansive stereo choruses. I haven't used my Roland GR-50 guitar synthesizer onstage yet, but I'm planning to. The controller is a GK-2."

"Live on the Whistle Test, May 20 1986. Fender Bandmaster, Roland JC-120 and Mesa Boogie Mk III."

At 1:00 in the music video for the song Boy With The Thorn In His Side off of The Queen is Dead,Johnny Marr can be seen with this guitar.

"This is a 1954 Gibson 295 or "Scotty Moore" that I used in the video for 'The Boy With The Thorn In His Side' and on some of 'The Queen Is Dead' album."

Source: http://www.smithsonguitar.com/2008/12/johnny-marrs-gear.html

In this picture Johnny Marr can be seen playing this guitar. This snap actually comes from 13th sequel of "Lo mejor de la Edad de oro", which was aired on spanish television (TVE) during 2006.

Johnny Marr used the Vintage 1957 Gibson Les Paul Goldtop Electric Guitar on the Healers' "Boomslang" album. This guitar was also played by Ed O’Brien on Radiohead’s "In Rainbows." A photo of the guitar is available on Johnny Marr's official website.

This shot of Johnny’s pedalbard is fairly recent – pulled from Johnny Marr’s Facebook page.

This shot of Johnny’s pedalbard is fairly recent – pulled from Johnny Marr’s Facebook page.

This interview with Marr for Premier Guitar magazine, regarding the recording of his 2018 album Call the Comet, includes a list of gear currently he used during the sessions. The Mr. Vibromatic pedal is among the effects on the list.

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "On 'Spiral Cities,' a Josephson C700 microphone is on the acoustic guitar. While it is not an obvious-sounding mic, Doviak finds its capabilities nuanced and a great match for Crazy Face’s live room." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The core idea behind the recording was to have it be close to what the band does live. The band records together in the live room quite a bit, although not always. For Marr’s guitars, Doviak places a Shure SM57 and AKG C414 in 60/40 blend up to the amp grille through the Neve 1081s with very little EQ, just a touch of brightness and bite to the SM57 and scooping out of muddiness. This gives an accurate representation of what you would hear standing in front of Marr’s amp at a show. " (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "'“We used some Lexicon PCM91 outboard reverb and some EchoBoy, not necessarily timed to the track so it could bounce around a bit and fill space,' says [engineer] Doviak. 'I usually go for something slightly degraded, like a cheap Tape Echo--something with character that sits in the background, not distracting, but has some integrity. MicroShift Soundtoys is great for vocal doubling and widening effects. I’d often use Decapitator or Radiator for some dirt.'" (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

This article on the making of Marr's 2018 Call the Comet album by MixOnline.com touches on some of the gear used during the recording process. "The bass, played by Iwan Gronow, goes through a Fender Bassman 100 or 300 through an 8x10 speaker. When not going DI, either an Electro-Voice RE20 or Neumann TLM 103 or beyerdynamic m380 microphone is used." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

In this photo from The Brag, Johnny Marr is using an EBow while playing live at the Enmore Theatre.

at 3:05 we can see Johnny in his studio with a few racks on synthesizers on the right. On the left rack, the synth in the middle is the Roland Juno 106.

A TC Electronic Polytune Mini 2 Noir can be seen in this photo of Johnny's pedalboard which was taken from an interview with Radio X on June 14, 2018.

One from 1963 was specified under the Guitarchestra section Marr's official website.

I wanted this 1963 Fender Jazz bass for a long time. It belonged to Paul Ryder from Happy Mondays and was on a lot of their records.

What Difference Does It Make, Miserable Lie, Handsome Devil demos. Drone Studios Manchester, 1982.

This is the earliest Smiths-era photo of Johnny with a guitar. This is a Gibson 335 in a Walnut finish. 1977 was the only year(at that time) in which they were offered with the coil tap switch on the lower horn