Dial Tone

Tom Petty and the Heartbreakers have been making some of the finest and most memorable rock music for decades now. Though half of their catalogue can unquestionably be labeled “classic rock,” all of their music is timeless. The writing is about as perfect as pop writing gets, and the arrangements and production serve the song first and foremost. Throughout the band’s impressive career, the dual guitar work of Petty and first mate Mike Campbell has provided the foundation for the band’s earthy sound. For 1991’s Into the Great Wide Open, Petty continued his collaboration with producer Jeff Lynne (who also produced 1989’s Full Moon Fever). The album was another critical and commercial success as it generated two big hits in the title track and “Learning to Fly.”

TOM PETTY AND MIKE CAMPBELL’S SOUND
Noted collectors of vintage amps and guitars, Petty and Campbell possess a drool-inducing array of instruments. One listen, however, lets you know that their affinity for gear is certainly not an affectation. The tones that grace their albums are some of the most glorious of all; from the chiming octaves of “American Girl” to the gritty blues of “Mary Jane’s Last Dance” and the raw, edgy chromatic riff of “Runnin’ Down a Dream,” Petty and Campbell have consistently delivered sonic bliss like few others. Under the helm of Jeff Lynne, however, the more polished side of the two came out: shimmering 12-strings, clean-toned arpeggios, and layers of subtle ear candy. This is the recipe the Heartbreakers chose for the tale of Eddie Rebel.

For the main acoustic part, Petty most likely strummed his trusty 1970s Guild D25 12-string. The part makes full use of many droning open strings, providing a lush bed of sound. For the stinging slide work, Campbell relied on his custom-made Rickenbacker. It contains a semi-hollow body and a hotter-than-usual treble pickup. The decorative arpeggios were coaxed by Campbell out of his trusty Rickenbacker 360/12, a classic 12-string electric most famously employed by George Harrison. For amplification, his tweed Fender Deluxe is a safe bet, although Petty and Campbell do experiment quite a bit in the studio in this regard.

HOW TO MIMIC THE SOUND
Assuming you can find someone else to strum the acoustic part, you’ll most likely have to forego the 12-string electric and play the arpeggios on a sixstring. In fact, this is precisely what Campbell does live. Though you won’t be able to find Campbell’s custom model (it’s one of a kind), you can grab a Rickenbacker 360 (six-string) or get pretty close with a Telecaster.

Fender has reissued the Tweed Deluxe as a handwired amp, so that would be a great place to start. Otherwise, you’ll want to look for a low-powered tube amp such as a Vox AC15 or something similar. If necessary, you can run through a compressor, such as the Keeley Compressor, to provide a bit of boost and sustain for the slide parts. Use the bridge pickup and set the amp’s volume so that it’ll break up a good amount when you dig in but remain relatively clean for the delicate arpeggios.