Beatles Instruments: the Basics

Tell me why the Beatles used the instruments they did, you have asked?  Here’s why!   

Although the Beatles used the standard guitar/bass/drums instrumentation line-up common to the early Rock ‘n’ Roll genre, the brands of instruments they chose speak as much to their final product as their musicianship itself. Indeed, as emulators and imitators of their music quickly discover, the texture and timber (quality of tone) of their songs was the result of purposeful instrument selection. And accordingly, as their musical genius expanded, so did their choices of expression.   

For many fans and fellow musicians, it was Paul’s Hofner semi-hollow “violin” bass that first drew the attention in publicity shots and live performances. Custom-ordered during one of the band’s early stints in Hamburg, Germany, this beautiful left-handed instrument was his weapon of choice until late in 1965 when he switched to a Rickenbacker model 4001S for the recording of RubberSoul, its distinctive sound easily distinguishable on singles like “Paperback Writer.” While Paul briefly used a Fender Jazz bass during The Beatles/“White Album” and Abbey Road sessions, the Rickenbacker became his primary instrument for the remainder of his Beatles career—though he revisited his trademark Hofner during rehearsals and recording of Let It Be, wielding it masterfully during the famous “Rooftop Concert.” (Paul is said to have also recorded with an old upright bass once belonging to Elvis’ bassist Bill Black.)   

Although John used a wide variety of guitars in post-Beatles years (including Gibson “Les Paul” JRs and SGs and Fender “Telecasters”), while a Beatle, his primary instruments were his Rickenbacker 6- (325) and 12-string, Gibson J-160-E acoustic (with added base-of-fretboard pickup), Framus “Hootenanny” 12-string acoustic, Epiphone “Casio,” a ’65 Martin D-28, and Fender Bass VI (a six-string bass he is often seen using in studio shots). Additionally, according to a number of insider sources, John typically preferred one of a number of other guitars when writing at home including a Hofner “Senator” and Guild “Starfire” XII—though his Martin D-28 was apparently his across-the-board favorite. (This list in no way reflects the number of guitars that came into his possession as a Beatle.)   

Like John, George began using a Gibson J-160E acoustic early on (with a base-of-fretboard pickup built in), but was initially identified during his Cavern days by his large, semi-solidbody ’57 Gretsch 6128 “Duo Jet,” and later the semi-hollowbody Gretsch 6122 Chet Atkins “Country Gentleman” and 6119 “Tennessean.” For many stage performances, George used his ’65 electric Rickenbacker 360-12 (a prototype 12-string said to have inspired Roger McGuinn and the subsequent Byrds’ sound), Ramirez Classicalguitar (demonstrated in A Hard Day’s Night), and as seen in the now-famous video for “Paperback Writer,” a Gibson SG Standard. From 1967 until early 1969, George’s most favored axe was a ’61 Fender “Stratocaster” (originally Sonic Blue until George painted it psychedelic), but then was usually seen with a ‘57 Gibson “Les Paul” (given to him by famed Rock guitarist Eric Clapton). George also purchased an Epiphone “Casio” when John did–used mostly for recording, is often remembered for the rosewood ’68 Fender “Telecaster” used during the famous “Rooftop Concert” and Let it Be sessions, and also used a Gretsch 6131 “Jet Fire Bird,” Maton Mastersound MS-500, ’62 Rickenbacker 425, Gibson ES-345-TD, and Gibson J-200 acoustic, while a Beatle.   

If Ludwig drums weren’t already popular by the time the Beatles came to prominence, Ringo certainly made them so. Having used a Premier drum kit until mid-1963, he switched to his trademark two tom-tom Ludwig set, said to have been drawn to the Black Oyster Pearl finish newly available–using both Ludwig and Remo drum heads–seemingly interchangeably. (For his now-iconic drum solo on “The End” on The Beatles/“White Album” as well as for the Let It Be and Abbey Road sessions, he used a special three tom-tom blonde set–seen during the “Rooftop Concert.”) Initially preferring Paiste cymbals, Ringo graduated to Zildjian early on (but sometimes resorted to Paiste since they were more readily available in Europe). With success, Ringo bought several complete drum sets—two of which he kept waiting at Abbey Road Studios.   

Note: According to Beatles lore, John, Paul, and George never left the house without guitar picks in their pockets; Ringo without tuning keys.