Black Keys Tone on a Budget

March 7, 2013

By Daniel Brooks

Last week we took a look at the Black Keys, whose passionate celebration of guitar-driven music continues to draw a steadily growing audience. An essential part of their success is Dan Auerbach's guitar sound, a big, distorted presence that comes from a variety of unusual guitars, the blended output of three different amps, an assortment of fuzz pedals, a few modulation effects and a tape delay. His sound and their music are deeply rooted in tradition and well within reach of most guitarists. Fortunately for those of us who want that sound for our own creative purposes, most of his gear is relatively easy to find, and there are inexpensive alternatives for each piece of equipment.

Auerbach's favorite Harmony, Silvertone, Teisco Del Rey, National and Supro guitars were all in production for many years and are still available to those who seek them out. They were the first instrument of many who went on to become legendary guitarists, and are remembered fondly for their price and quality and often kept as a valuable part of one's collection. There are collectors willing to pay a little extra to revisit their first guitar, so it's not uncommon to see some of these formerly inexpensive but good quality instruments going for a price you might expect to pay for a good new guitar. If you have a little extra time to shop around, you can still find one for only a few hundred dollars, but you can also get that vintage look, feel and sound through those guitar manufacturers like Eastwood, Airline, Hanson, Italia, Reverend and, of course, Fender, who are all creating good, inexpensive instruments worthy of comparison to the vintage models.

Dan Auerbach's amplification is a bit more of a challenge to recreate. As you probably know, a good amplifier can be the most expensive part of any rig, and Auerbach's stage setup relies on three different models, a Victoria Double Deluxe, a Fender Quad Reverb, and a Marshall JTM-45. All three amps are on all of the time, their outputs blended for an almost three dimensional sound. None of these are particularly rare, but the price of all three, or even any one of these, can be prohibitive. Fortunately, if you own a reasonably good tube amp you can use a foundation overdrive pedal to recreate the sound an old vintage amp. The Catalinbread Dirty Little Secret MKIII, the Wampler Plexi-Drive, or the Jetter Gear Gold 45/100 will transform your amp's tonal signature and overdrive profile to that of a vintage Marshall, while the Boss FDR-1 Fender Deluxe Reverb pedal lends the clean, rich sparkle of a vintage Fender amp. It is uncanny how completely and accurately these pedals change your amp's fundamental sound.

The Catalinbread Dirty Little Secret MKIII uses a JFET circuit designed after the actual tone stack and preamp stage of a vintage Super Lead. Open it up and flip the internal switch for the equally authentic sound of a Super Bass, with all of its beefy, clean power that sounds magnificent with single coils or P-90s. And while you're in there, adjust the internal trim pot to fine tune the pedal's output to your amp. You'll be amazed at the transformation.

The Wampler Plexi-Drive will give you all of the tones of a Super Lead at any setting, it cleans up with a turn of your guitar's volume control, and it offers a Bass Boost that lends some serious gravity to your sound.

The Jetter Gear Gold 45/100 is a new design that offers the full range of sounds from an old JTM-45, from the normal input to the bright input, and even a jumpered option for the best of both.

If you are playing through a pair of amps, you might consider putting a Boss FDR-1 Fender Deluxe Reverb pedal in front of the cleaner of the two. Perhaps not as dramatic as the Marshall pedals, but it will lend the subtle, glassy sounds that are the signature of a Fender tube amp.

The beauty of these pedals is that they retain the characteristics of the amp they represent, even when stacked with other pedals. This is important, since no matter which foundation pedal you use, or even if you're playing through actual JTM-45, or a Fender Quad Reverb, you will have to stack it with a fuzz pedal to get that Black Keys sound.

Dan Auerbach claims to have a collection of more than a hundred effects pedals, quite a few of those are fuzz pedals, and several of his favorites are on his pedalboard at any time. Used individually or together to sculpt a layered sound, a fuzz pedal, or two, or four, adds an extra dimension of harmonic richness and sustain, and you simply cannot achieve the same sound with any other kind of effect. He has a rare Shin-ei Companion Fuzz and a Shin-ei Fuzz-Wah that are no longer in production. If you are lucky enough to find one of these, you'll want to pair it up with an MXR ten-band EQ to restore the "scooped" mids. Chances are, you'll end up seeking another fuzz long before you see a Shin-ei. There are many great ones.

Auerbach's old Russian Sovtek Big Muff is no longer available on the market, but there are several pedals based on its legendary, massive distortion that will transform your sound in fantastic ways. For the past couple of years, Auerbach has come to rely on the Earthquaker Devices Hoof fuzz, which is a germanium/silicon hybrid based on the Sovtek Big Muff, but featuring a shift control that refocuses the tonal sweep of the effect for even greater versatility.

Next to the Hoof, the Blackout Effectors Musket will get you closest to the Black Keys' sound. The silicon driven Musket, and its germanium/silicon hybrid sibling, the Blunderbuss, offer a phenomenal range and control over some of the greatest fuzz sounds you can ever expect, or even hope, to hear.

The Mojo Hand Colossus Fuzz is another outstanding germanium/silicon hybrid that clones the Sovtek wall of seismic sound to perfection, with a mids toggle that offers three different midrange sweeps, and a mids control that fine tunes them to your needs.

The Electro Harmonix Big Muff Pi with Tone Wicker is a good, low cost option. The tone wicker switch opens up the high end for a bright sustaining bite, while the tone switch bypasses the tone control for a raw, unbridled effect.

Dan Auerbach also uses an Analogman Sunface, a custom-built Fuzz Face clone housed in a much smaller enclosure. Not as high gain as the other fuzz pedals on his board, but the original Fuzz Face offers a distinctive sound unlike any other, and it is its own inexpensive alternative.

Auerbach's modulation effects include a Boss OC-3 Super Octave, Boss PH-3 Phase Shifter, and Boss TR-2 Tremolo that add layers of otherwise impossible effects, and they are already as simple and inexpensive as any you'll find anywhere.

On the other hand, the Fulltone Tape Echo that serves as the last effect in his pedal train is as expensive an effect as any. Fortunately, there are a few excellent echo and delay pedals that will give your sound that incredible warmth, warble, and depth that, until recently, you could only get from magnets and a lot of moving parts. These new pedals are much smaller, lighter, and more reliable than their mechanical counterparts, and they'll give you that fantastic sound for a fraction of the cost.

The Earthquaker Devices Disaster Transport gives you all of the classic tone of a vintage tape echo machine, with additional control over the depth and speed of the modulation.

The Empress Tape Delay serves up vintage tape delay sound with an extraordinary set of controls like tap tempo, multiplied tap tempo for rhythmic variations, and a world of sound and operation choices.

One of our favorites is the Catalinbread Echorec. Modeled after the legendary Binson Echorec, it reproduces the natural modulation of the original rotating magnetic disc and fixed heads but with even greater flexibility in the tone, gain, and delay times.

TC Electronic's Alter Ego has several outstanding delay models built into its circuitry, and one of the most impressive is the Echorec. Mix it back a little and pair it with a foundation overdrive and one of the fuzz boxes we mentioned earlier, and you'll find a sound so epic that you might not ever want to leave your rehearsal space.


  1. Zach says:

    A fulltone OCD is also another very solid choice for a foundation overdrive, especially if you have a V3.

    posted on March 8, 2013 at 5:29 am
  2. Cosmiccowboy says:

    Sorry, say what you will (I know you make you living selling them) ... but tone is in the fingers not any pedal/boutique pedal.

    posted on March 8, 2013 at 5:32 am
  3. neldom says:

    Right, because you can make a Peavey Rage sound like a fuzz face into a JTM-45.
    I’m not denying ability is the major portion of the equation here, but realistically if you buy an Affinity Squier and plug it in to your Rage you’re not going to get Dan’s tone no matter whose fingers you use.

    posted on March 8, 2013 at 5:42 am
  4. SayWhat? says:

    If tone is only in the fingers, then why does Dan Auerbach use pedals?

    posted on March 8, 2013 at 5:42 am
  5. Anthony Tetrow says:

    Why do some guitarist have an “either/or” mentality, i.e., fingers, not pedals. Why not simply admit that it is “both/and”? Fingers and pedals are friends, not enemies.

    posted on March 8, 2013 at 5:44 am
  6. Rthomson says:

    Fingers are an important part of the equation for sure… but I just got my Dirty little secret pedal from PGS this week and I can attest that it is a keeper for sure.  I use three dirt pedals all boosted with an Xotic EP booster through a Fender Humboldt Hot-rod Blues Jr…  A Boss blues driver with the Keeley mod, the Dirty little secret and a Joyo Ultimate drive (OCD clone).  These three (and my fingers LOL) give me a g r e a t range of distortion.

    posted on March 8, 2013 at 5:58 am
  7. JCL says:

    Feeling comes from you and your fingers….the tone (sound) comes from your rig!

    posted on March 8, 2013 at 6:02 am
  8. Roger says:

    Why does every discussion about pedals invites the whole “Tone is in your fingers ” thing. When I play Metal I put down my Tele, TS-9,and Blues jr and grab my PRS, Keeley MT -2, and Marshall.

    posted on March 8, 2013 at 6:20 am
  9. cosmiccowboycanfuckoff says:

    Tone is in the fingers, and your fingers are up your ass.

    posted on March 8, 2013 at 6:22 am
  10. Kevin says:

    These actually are all very good choices, but let me point out that if you have a really solid guitar and amp rig, you don’t really need a foundation OD. It’s NICE to have, but you are essentially buying additional channels.

    posted on March 8, 2013 at 6:26 am
  11. Ed says:

    I think it’s brainwashing. lol. To me style, nuance, and technique are in the fingers but “tone” comes from your gear. If EVH played through a Fender Twin Reverb you would absolutely know its him by his style of playing. But the “tone” from that rig would never be confused with the brown sound “tone” from his variac’d Marshall he used to play through.

    posted on March 8, 2013 at 6:28 am
  12. Tahbuss says:

    Style is different than tone.  The character and feeling you put into your playing is as unique as your fingerprint and while you may be able to emulate someone else’s style of playing, it’s only an interpretation.

    This article is discussing tone.  So no, it had nothin to do with trying to copy the WAY Dan plays, and everything to do with the sound he sets with his rig.

    It’s like painting a picture, what you draw is your style, but the colors and shades you use are your tone and are available to anyone.

    The reason that this article is about Dans tone is simply because he creates and amazing sound using an eclectic mixture of pieces.

    posted on March 8, 2013 at 6:52 am
  13. Greenman says:

    @Cosmiccowboy -  What an original thought. I don’t think anyone has ever said that during an effect pedal discussion.

    posted on March 8, 2013 at 7:33 am
  14. Cosmiccowboy says:

    Ha, ha, ha, ha ... well thats one way to get everyone fired up and speaking honestly about things. Thank God it’s not just another boring thread of hum drum pedal/tone comments. I should toss my hat in the ring more often :) 

    Sorry if I seriously honked anyone off ....

    posted on March 8, 2013 at 7:43 am
  15. Dave says:

    Ed funny you mention EVH and gear.  I was a panel with some well known guitarists including Steve Vai, jon Herington(Steely Dan), and Carlos Alomar (Bowie) and the question of gear vs tone came up and even they disagreed.  Carlos said he loved to try different guitars and gear cuz they inspired him to do different things.  Vai told a story of EVH coming to his house plugging Vai’s guitar into Vai’s rig and he said what came out was that famous EVH brown sound tone.  I heard another story of a tech setting up Leslie West’s rig, playing through it and it sounding just awful and was sure somehing was wrong or damaged.  Leslie comes out and plays through it and it was the killer Mississsippi Queen sound right off the record.  I think it is both.  A great player can make any gear work for them, but of course have certain things that compliment their style better than others.  I work with bassists that have top of the line Epiphani gear and another that sounds better than them all and she plays through a broken down Peavey shes had since the 80s and a $200 Ibanez.  That being said I still love my boutiquey gear, just gotta be careful and use your ears to see if something is really worth it.  Because I guarantee if you just spent a ton of $ on new gear you really really want notice the diference.  That’s why shootouts should always be blind.  Sometimes the cheap piece of gear is better for a certain style or application.  On the other hand the first time I played my Two Rock I never heard of them and was like, whoa what is this, and had to buy one.  Always get comliments on my tone.  O course alot has to do with playing with finesse and nuance, the Two Rock and any ODs I ust being very touch sensitive do help compliment that.  Lovepedal Kalamazoo and Mad Professor Sweet Honey Overdrive for example.

    posted on March 8, 2013 at 8:20 am
  16. Will says:

    Even Eddie VH admits that the the whole variac thing was a hoax. He made it up at an interview when he didn’t know what to say.. He variously said he overated or underated his amps power input. Tone was definantly in his fingers, given the guitar mess he fashioned himself. Eddie would be the last person you would let work your PRS. No? Don’t confuse his playing skill with his technical rambles. The Variac was a fib. He admits it. Sorry. Do the bike reflrctors on his guitar enhance the tone. Can I buy some?

    posted on March 8, 2013 at 8:22 am
  17. Chris says:

    according to wikipedia he also uses a Boss PS5 Super Shifter at the beginning of “Lonely Boy” for the dive least on the recording.  also..the way i see it..sound is definitely in the fingers..but you use your fingers to manipulate the sound your gear is putting out.  if dan’s tone inspires you, using similar gear is a good start towards building a foundation for your sound.

    posted on March 8, 2013 at 8:31 am
  18. mr. on says:

    I love pedals,and all this guff, and I really enjoy PGS demos, but that all sais ..
    why why why has the world of guitar players (generally) become so obsessed with ‘nailing’ someone else’s already established tone? -  and throwing so much money at doing so.
    I mean , If you ever get there, it is already nothing unique, and besides - who else will _really_ care? !

    posted on March 8, 2013 at 8:31 am
  19. Michael B says:

    Sorry, my tone is actually in my feet… when I stomp on a pedal or two ( or three or four).

    posted on March 8, 2013 at 8:38 am
  20. Fuzzotronic says:

    Hahahahahaha… Fingers… tone…
    Fuck man! Unless you are a cyborg or an android and have built in effects in your cyber hands or body… Your tone will come from your specific axe, pedals and amp… YOUR PLAYING STYLE will come from your hands and fingers. You can pick up a $50 or $5000 guitar and it will sound like YOU playing, but you need fx (or not ) to get your specific sound / tone!

    posted on March 8, 2013 at 9:10 am
  21. big cockhead says:

    I wonder what EJ would say regarding tone, fingers, buttholes and the like?

    posted on March 8, 2013 at 10:23 am
  22. DBA says:

    Pedals are good - fingers are bad. Not sure where @big cockhead was going with the fingers and bums.
    There are so many great pedal builders with serious talent out there building incredibly response tools. I like 3 pedal boards full of pedals and playing with a pick or without a pick and a solid boutique hand wired amp.  Its a little piece of heaven - no change in talent - I’m a good or a bad player with or without the tools. 
    Bottom Line - ProGuitar Shop is the best pedal store around and Andy is the best guide.  I love them both and they make me happy.  HAPPY IS GOOD!

    posted on March 8, 2013 at 12:05 pm
  23. cos says:

    mr. on is right.  the world has enough regurgitated, uninspired stuff in it.

    posted on March 8, 2013 at 1:19 pm
  24. Brad Delp says:

    What’s the Catalinbread like? I heard that is a sweet and responsive little piece of Heaven? I need something for my Traynor YCV 40T. The second channel is pretty heavy but I prefer a more smooth articulate distortion/Overdrive…Suggestions? THX

    posted on March 8, 2013 at 4:02 pm
  25. Ed says:

    Missing the point Will. It was only an example. Pick whatever analogy you want but don’t make a Strawman out of mine.

    posted on March 9, 2013 at 12:22 am
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  27. johnny says:

    My band plays “Lonely Boy”, and I can get a pretty reasonable approximation with a Melekko Ekko, OCD, Wampler Paisley, and a TC Electric HOF ‘verb.  Guitar is a Gretsch Duo Jet and amp is a Carr Hammerhead.  The Gretsch and the Carr certainly aren’t “budget”, but I daresay you could replace those with an Indonesian Gretsch and a Fender Blues Deluxe RI and get more or less the same thing.

    posted on March 9, 2013 at 3:28 pm
  28. Olpoppabear says:

    You guys are killing me on the tone discussion lets look at the basics a good portion of tone is and always be the GUITAR, cmon pick-ups, Body woods neck its all about vibration pick placement and hwat and where the pick ups are.

    posted on March 10, 2013 at 12:38 am
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