Every Breath You Take (Remastered 2003) — The Police1 / 2
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Every Breath You Take (Remastered 2003) Guitar Tone Settings

The Police · 1980s · rock

studio

Original Recording

Guitar
Fender Telecaster (Andy Summers' custom-modified 1961 Telecaster)
Pickups
Custom-wired single-coil pickups (Telecaster configuration, neck and bridge, with added preamp and phase switch)
Amp
Roland JC-120 Jazz Chorus
Pickup Position
Neck pickup (likely, for warmth and clarity in arpeggios)

Studio recording, 1983, Synchronicity album. Andy Summers' Telecaster featured a built-in preamp and phase switch. The JC-120 is renowned for its stereo chorus and ultra-clean sound. No evidence of live rig or alternate guitars for this studio riff section.

Amp Settings

Mids
6.5
Bass
5.5
Gain
0
Reverb
3
Treble
7
Presence
5.5

Effects Chain

  • Boss CE-1 Chorus Ensemble · chorus
  • Delay pedal (model unknown) · delay

Fender Telecaster → Boss CE-1 Chorus Ensemble → Delay pedal (model unknown) → Roland JC-120 Jazz Chorus

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Tone Character

  • crystal-clear and pristine
  • bright and articulate
  • lush stereo chorus
  • shimmering, glassy highs
  • tight, percussive attack
  • minimal sustain
  • atmospheric and spacious
  • clean, undistorted
  • studio-polished clarity
  • subtle warmth from neck pickup

Notes & Caveats

  • ⚠️Gain adjusted to 0 for clean tone
  • ⚠️No direct numeric amp settings found; settings estimated based on typical JC-120 usage for 1980s studio clean tones.
  • ⚠️Pickup position inferred from tone and Andy Summers' known preferences; not explicitly confirmed for this riff.
  • ⚠️Pedal models confirmed for chorus, but delay pedal model not specified in sources; included as 'Delay pedal (model unknown)'.
  • ⚠️No evidence of amp reverb being a major part of the sound; JC-120 reverb set low or off, most ambience from pedals or studio.
  • ⚠️No evidence of compression, EQ, or other effects in the signal chain for this riff section.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Andy Summers used a clean, compressed tone with his Roland JC-120 and Fender amps, favoring a bright, chimey, and mid-forward sound for the iconic riff. The settings reflect a pristine clean with subtle warmth, moderate bass, strong mids, and a touch of chorus and studio reverb typical of early '80s production.

Sources