{"id":10003890,"date":"2025-07-25T09:30:00","date_gmt":"2025-07-25T07:30:00","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/en\/?p=10003890"},"modified":"2025-07-25T14:02:55","modified_gmt":"2025-07-25T12:02:55","slug":"the-amps-guitars-and-secrets-behind-yungbluds-unique-sound","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/en\/gear\/the-amps-guitars-and-secrets-behind-yungbluds-unique-sound\/","title":{"rendered":"The amps, guitars, and secrets behind… Yungblud\u2019s unique sound!"},"content":{"rendered":"\n

The sound of Yungblud through his amps and guitars: after only four albums, British artist Dominic Richard Harrison has established himself as the figurehead of the new pop-punk generation. Three number-one albums in the UK, 28 singles, hundreds of millions of views on YouTube, and lyrics that speak directly to the everyday concerns of Gen Y post-teens. Musically, Yungblud is a thoroughly contemporary artist, moving freely between genres, borrowing indiscriminately from British rock, metal, hip-hop, and cutting-edge pop, with one constant: he writes great songs with hooks that burrow into your brain and never let go. And of course, all of this is backed by massive walls of guitars – a sound we\u2019ll be diving into here with the release of his new album, Idols<\/em>.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Young Blood<\/strong><\/h2>\n\n\n\n

From the outset, Yungblud makes his intentions clear: his music is played guitar in hand, regardless of whether the instrument had lost its mainstream appeal by 2017 compared to the 90s<\/strong>. In the video for his debut single, \u201cKing Charles\u201d, we see him performing in a trio without a bassist.<\/p>\n\n\n\n

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You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p> More Information<\/a> <\/div>

Unblock this content<\/a> Accept required service and unblock its content<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

His guitarist Adam Warrington plugs a black Jazzmaster into a Vox AC30 (we\u2019ll come back to that), while Yungblud himself plays a Sunburst Fender Telecaster<\/strong><\/a> with a rosewood fretboard. The amp behind him is, paradoxically, a bass amplification classic – the Ampeg SVT.<\/p>\n\n\n\n

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Ampeg<\/p>\n

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Later that same year, in \u201cTin Pan Boy\u201d, he appears with a Stratocaster with a maple fretboard in a colour reminiscent of Seafoam Green.<\/p>\n\n\n

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Fender<\/p>\n

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As Yungblud\u2019s success continues to grow, the guitar gradually disappears from his music videos. You\u2019ll have to look up the live version of \u201c11 Minutes\u201d to see him playing a stunning Gibson SG 61 Cherry Red with Maestro vibrato, and for \u201cWeird!\u201d in 2020 he brings back the Telecaster from his early days.<\/p>\n\n\n\n

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Gibson<\/p>\n

SG 61 Standard Maestro VC<\/h3>\n <\/span>\n\n
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That same year, the video for \u201cStrawberry Lipstick\u201d also recalls the \u201cKing Charles\u201d aesthetic with its two towering Marshall triple stacks (1959 Plexis), and especially his super-sexy Cardinal Red Gibson Firebird VII.<\/p>\n\n\n\n

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Gibson<\/p>\n

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\"\"
The secrets of Yungblud\u2019s sound \u2013 amps and guitars<\/figcaption><\/figure>\n\n\n\n

Amps\/guitars, the sound of Yungblud \u2013 The calm between the storms<\/strong><\/h2>\n\n\n\n

Punk as he may be, acoustic guitar holds a special place in Yungblud\u2019s artistic approach. It offers both a more direct channel for emotion and a way to showcase the quality of his songwriting without epic production. As early as 2018, he released a second EP titled Yungblud (Unplugged)<\/a><\/strong><\/em>, featuring acoustic versions of the tracks from his self-titled debut EP.<\/p>\n\n\n\n

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Gibson<\/p>\n

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In his unplugged work, Yungblud seems to lean towards Gibson, as seen in a live acoustic version of \u201cLoner\u201d where he plays a J-45. In the video for \u201cDon\u2019t Feel Like Feeling Sad Today (Sad Version)\u201d, he strums an LG-2 with a capo on the eighth fret, sitting on the edge of his bed. Slight complication when identifying it: the video is in black and white! You\u2019ll have to catch it again during the acoustic segments of Avril Lavigne\u2019s \u201cI\u2019m A Mess\u201d to see the LG-2 in colour, sporting its Cherry Sunburst finish.<\/p>\n\n\n\n

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Gibson<\/p>\n

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L.R.Baggs<\/p>\n

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For the live version of the same song, Yungblud sticks with Gibson, playing a Hummingbird amplified through an L.R. Baggs M1 soundhole pickup.<\/p>\n\n\n\n

<\/a>The Man in the Shadows<\/strong><\/h2>\n\n\n\n

In that same live video, a second guitarist appears in Yungblud\u2019s shadow, also playing a Hummingbird. Adam Warrington is a songwriter, producer, bassist, and above all, guitarist on all of Yungblud\u2019s tours from the very beginning. The Scottish musician is a hugely valuable sonic ally who, unlike Yungblud himself, is very forthcoming about his gear.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

When it comes to guitars, he\u2019s often seen with a black Fender Classic Player Jazzmaster<\/a>. In \u201cKing Charles\u201d, it has a tortoise pickguard, later replaced with a white one – but it\u2019s the same guitar.<\/p>\n\n\n

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Generally speaking, he has a strong preference for black guitars, including a Gibson SG Standard<\/a>, an ES-335<\/a>, and a Gretsch Duo Jet<\/a>.

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Gibson<\/p>\n

ES-335 Dot Vintage Ebony<\/h3>\n <\/span>\n\n
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Gretsch<\/p>\n

G6128T-53 VS Duo Jet BK<\/h3>\n <\/span>\n\n
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He also owns a sunburst Les Paul Standard<\/a> featured in the \u201cStrawberry Lipstick\u201d video, which has had its headstock broken twice.<\/p>\n\n\n

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Gibson<\/p>\n

Les Paul Standard 60 Fd VCS<\/h3>\n <\/span>\n\n
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As for amps, he blends two classics of British amplification to produce a massive sound: a Hiwatt Custom 20 head and a Marshall Bluesbreaker 1962 combo. In the studio, he also uses an Orange Tiny Terror<\/a>.<\/p>\n\n\n\n

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Marshall<\/p>\n

1962 Bluesbreaker<\/h3>\n <\/span>\n\n
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\n (5)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 1,579 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n\n\n\n
\n \n \n \n
\n \n
\n
\n \"Rocker\n <\/div>\n <\/div>\n \n \n
\n \n

Orange<\/p>\n

Rocker 15 Terror<\/h3>\n <\/span>\n\n
\n Rating: 9.00 out of\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (54)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 599 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n<\/div>\n\n\n\n

And when it comes to pedals, there\u2019s plenty to talk about. He uses many Boss multi-effects (ES-8, RV-50<\/a>0<\/a>, DD-500<\/a>, and MD-500<\/a>),<\/p>\n\n\n\n

\n
\n \n \n \n
\n \n
\n
\n \"RV-500\n <\/div>\n <\/div>\n \n \n
\n \n

Boss<\/p>\n

RV-500 Reverb<\/h3>\n <\/span>\n\n
\n Rating: 9.00 out of\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (32)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 371 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n\n\n\n
\n \n \n \n
\n \n
\n
\n \"DD-500\n <\/div>\n <\/div>\n \n \n
\n \n

Boss<\/p>\n

DD-500 Digital Delay<\/h3>\n <\/span>\n\n
\n Rating: 9.00 out of\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (69)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 333 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n\n\n\n
\n \n \n \n
\n \n
\n
\n \"MD-500\n <\/div>\n <\/div>\n \n \n
\n \n

Boss<\/p>\n

MD-500 Modulation<\/h3>\n <\/span>\n\n
\n Rating: 9.00 out of\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (27)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 369 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n<\/div>\n\n\n\n

as well as two JHS fuzz pedals (the Mufuletta and Crayon) and the essential DigiTech Whammy<\/a>. This sonic arsenal allows him to create a wide range of textures while Yungblud focuses on the more aggressive rhythm parts.<\/p>\n\n\n\n

\n
\n \n \n \n
\n \n
\n
\n \"Muffuletta\"\n\n <\/div>\n <\/div>\n \n \n
\n \n

JHS Pedals<\/p>\n

Muffuletta<\/h3>\n <\/span>\n\n
\n Rating: 9.00 out of\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (8)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 222 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n\n\n\n
\n \n \n \n
\n \n
\n
\n \"Crayon\"\n\n <\/div>\n <\/div>\n \n \n
\n \n

JHS Pedals<\/p>\n

Crayon<\/h3>\n <\/span>\n\n
\n Rating: 9.00 out of\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n \n
\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (12)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 177 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n\n\n\n
\n \n \n \n
\n \n
\n
\n \"Whammy\n <\/div>\n <\/div>\n \n \n
\n \n

Digitech<\/p>\n

Whammy 5<\/h3>\n <\/span>\n\n
\n Rating: 9.00 out of\n 10<\/span>\n
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\n <\/svg>\n <\/div>\n
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\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (533)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 169 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/a>Signed Furax<\/strong><\/h2>\n\n\n\n

Yungblud is among the artists who\u2019ve reignited a passion for guitars among the younger generation, so it was only a matter of time before he got his own signature model. In 2024, Epiphone announced the release of the Yungblud SG Junior<\/a>.<\/p>\n\n\n

\n \n \n \n
\n \n
\n
\n \"YUNGBLUD\n <\/div>\n <\/div>\n \n \n
\n \n

Epiphone<\/p>\n

YUNGBLUD SG Junior CW<\/h3>\n <\/span>\n\n
\n Rating: 9.00 out of\n 10<\/span>\n
\n
\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (10)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 468 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n\n\n\n

This guitar pays tribute to the glorious simplicity of the vintage SG Junior, and comes at a price point accessible even to his less affluent fans. It features in the video for \u201cI\u2019m A Mess\u201d with Avril Lavigne for the electric sections.<\/p>\n\n\n\n

\n
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Unblock this content<\/a> Accept required service and unblock its content<\/a> <\/div> <\/div> <\/div><\/div>\n<\/div><\/figure>\n\n\n\n

But Yungblud is already looking ahead – he\u2019s revealed that for his next signature model, he\u2019d like an Epiphone hollow body. For the recording of Idols<\/em>, he made extensive use of his 1964 black Gibson ES-330. Adam Warrington, meanwhile, had an Epiphone Casino, and the two models share a very similar fully-hollow, P90-loaded construction.<\/p>\n\n\n\n

\n
\n \n \n \n
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\n
\n \"ES-330\n <\/div>\n <\/div>\n \n \n
\n \n

Gibson<\/p>\n

ES-330 Tobacco Sunburst<\/h3>\n <\/span>\n\n
\n Rating: 10.00 out of\n 10<\/span>\n
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\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (2)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 2,599 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n\n\n\n
\n \n \n \n
\n \n
\n
\n \"Casino\n <\/div>\n <\/div>\n \n \n
\n \n

Epiphone<\/p>\n

Casino Vintage Sunburst<\/h3>\n <\/span>\n\n
\n Rating: 9.00 out of\n 10<\/span>\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
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\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n
\n <\/svg>\n <\/div>\n <\/div>\n\n
\n (21)\n <\/div>\n <\/div>\n<\/div>\n\n
\n \n 511 \u00a3 <\/span>\n <\/div>\n\n <\/div>\n
\n \n \n View Product\n <\/span>\n <\/a>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n \n <\/div>\n<\/div>\n<\/div>\n\n\n\n

Yungblud\u2019s Sound \u2013 Amps and Guitars<\/h2>\n\n\n

The amps\/guitars or the secrets of the one and only\u2026 Yungblud\u2019s sound!<\/p>\n\n\n

We\u2019ve not seen the last of his surprises, and chances are Nashville is already at work on the next Yungblud. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\n\n\n\n

Changes<\/strong><\/h3>\n\n\n\n

Edit: Yungblud performed a powerful cover of \u201cChanges\u201d originally by Black Sabbath, during the \u201cBack to the Beginning\u201d benefit concert, centered around Ozzy Osbourne. A powerful, soulful moment that now feels even more significant; with Ozzy\u2019s very recent passing, the performance hits even harder. A fitting tribute from one generation to another, to a legend who clearly saw something of himself in Yungblud. \ud83d\udda4<\/p>\n\n\n\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

Discover how Yungblud shapes his signature sound \u25b6\ufe0e Using bold guitars and legendary amps across his genre-blending discography \u2713<\/p>\n","protected":false},"author":23,"featured_media":10003896,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tblog_post_audio_url":"","footnotes":""},"categories":[1083],"tags":[],"class_list":["post-10003890","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gear"],"category_colors":{"color_key":"gear","css_classes":{"text":"cat-gear","text_light":"cat-gear-light","bg":"cat-bg-gear","bg_light":"cat-bg-gear-light","border":"cat-border-gear","text_on_bg":"cat-text-on-gear"}},"reading_time":{"minutes":5,"formatted":"5 min"},"_links":{"self":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts\/10003890","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/comments?post=10003890"}],"version-history":[{"count":10,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts\/10003890\/revisions"}],"predecessor-version":[{"id":10003918,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/posts\/10003890\/revisions\/10003918"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/media\/10003896"}],"wp:attachment":[{"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/media?parent=10003890"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/categories?post=10003890"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thomann.de\/blog\/en\/wp-json\/wp\/v2\/tags?post=10003890"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}