Rebuilding the Perfect 80s Clean Tone with RJ Ronquillo
PodcastWhat Makes an 80s Clean Sound Work
There’s a reason the 80s clean guitar tone still feels unmistakable: it’s wide without being messy, glossy without being harsh, and somehow both simple and larger than life. In this session at Carter Vintage Guitars in Nashville, our host teams up with guitarist RJ Ronquillo to piece the sound together from scratch — not with a giant rack system, but with a focused rig built on intention.
RJ doesn’t chase dozens of pedals. He goes straight for what really matters: a clean amp, a lush chorus, a subtle digital delay, and a guitar that knows how to sit in that hi-fi space. The moment he plugs in and starts dialing, the room shifts back a few decades.
Chorus and Delay — The Two Pillars
RJ walks through the gear that shaped 80s pop and rock records. He points out that the tone isn’t about being flashy or drenched in effects. It’s about movement — the small detuning that a chorus adds, and the space that digital delay quietly creates behind the notes.
His philosophy is simple:
- Let the chorus stretch the sound just enough
- Let the delay extend the trails without becoming rhythmic
- Let the clean tone stay clean
It’s a rig that breathes, not one that overwhelms.
Why the James Tyler Guitar Matters
A big part of the tone comes from the James Tyler guitar they use for the session — not only for its look or legacy, but for its midboost preamp. With a single switch and the control set to zero, RJ shows how the guitar steps into that hi-fi world: more shimmer on top, more support in the low mids, and a clearer, more present clean attack.
Once the chorus and delay join in, it’s instantly recognizable. That’s the sound.
Building Tones the Way Engineers Did
RJ keeps the delay on a straightforward digital setting around 350 ms, low in the mix so it behaves like an ambient tail. Then he walks through the MXR Stereo Chorus — width high, speed low. Just enough modulation to feel alive without becoming seasick.
When he switches over to tape, lo-fi, or reverse modes on the Timeline, it becomes a nod to the studio techniques producers used in the 80s. Not every guitarist touched the tape machines back then, but those textures made it onto the records.
A Musical Life That Still Loves the 80s
Toward the end of the session, RJ talks about Transatlantic Radio, the melodic rock band he formed with friends from his days at the University of Miami. Spread across Nashville, LA, Las Vegas, and Sweden, the group built songs remotely until they found a sound that felt true: AOR-inspired, melodic, and unapologetically 80s.
Their album is in mastering, with videos and a summer release on the way. Like the gear breakdown earlier, it’s another example of RJ leaning fully into the sound that shaped him.
Why These Conversations Matter
What makes this episode resonate isn’t only the gear. It’s RJ’s clarity about what makes music feel good — the movement, the space, the detail you don’t hear until someone points it out.
These are the same ideas that sit at the heart of the learning culture at Sonora. The platform exists around conversations like this one: musicians sharing what actually matters, how sounds are built, and why certain choices make us feel something.
This session captures that spirit beautifully.
