Andy Summers’ playing on this early hit by the Police is a perfect example of how a player doesn’t need to blast or fill every space to make an impression. Instead, Summers impresses with his shimmering textures, inventive suspended chords and restraint, leaving plenty of room for the rhythm section to drive the groove.
This approach also was effective in the increasingly larger venues the Police were playing in the late Seventies as their popularity began to grow, creating a sound that resonated throughout the hall.
The key to Summers’ especially sparkling treble comes courtesy of two classic stomp boxes: an MXR Dyna Comp and an Electro-Harmonix Electric Mistress. The compressor gives consistent body to each note in the chords while the Electric Mistress is dialed to a chorus-like effect instead of the usual flanging sweep.
An Echoplex set to a single repeat, with the echo volume the same as the dry volume, creates a simple rhythmic effect with a characteristic feel courtesy of overlapping resonant sustain that can’t be duplicated simply by playing two strokes in quick succession.
ORIGINAL GEAR
GUITAR: 1961 Telecaster Custom with maple neck and Gibson neck humbucker (bridge pickup)
AMP: Early Seventies Marshall JMP 1959 Super Lead (Input: I lower, Presence: 3, Bass: 4, Middle: 3, Treble: 6, Volume I: 5)
CABINET: Marshall 4x12 (speakers unknown)
PEDALS: MXR Dyna Comp (Output: 6, Sensitivity: 6), Electro-Harmonix Electric Mistress (Rate: 6.5, Range: 8, Color: 3, Filter Matrix switch: flanger setting), Echoplex EP-3 (Mode: Echo, Delay: 330ms, Sustain: single repeat, Volume: 50/50 dry/echo)
STRINGS/TUNING: D’Addario EXL115 .011 .014 .018 .028 .038 .049/Standard
PICK: Dunlop Jazz II 1.18mm nylon
- Fender Standard Telecaster
- Marshall DSL 15C combo
- Line 6 M9 Stompbox Modeler
Use the Marshall’s Classic Gain channel with the gain very low and the volume as high as it will go while still remaining clean. The Line 6 M9 has great models of each effect except the EHX Electric Mistress—use the Tri Chorus instead.
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