How to Get the Tones and Effects of Andy Summers

Explore the guitar sounds behind The Police’s classic hits.

In this video, Voodoo Lab’s James Santiago shows you how to recreate Andy Summers’ guitar tone on classic Police songs using a Voodoo Lab Giggity Analog Overdrive + Preamp as the foundation.

Discover how Giggity’s EQ curves and harmonic overtones can replace the natural compression and vibe of a vintage Marshall JMP — even through a stompbox solid-state power amp.

The Andy Summers “Walking on the Moon” Toolkit:

Signal Chain: MXR Bass Compressor → Way Huge Echo-Puss → TC Electronic Vortex Flanger → Voodoo Lab Giggity → EHX .44 Magnum

The Squeeze: MXR Bass Compressor standing in for Summers’ MXR Dyna Comp. Placed at the end of the chain to add the characteristic squash that glues the whole sound together.

The Echo: Way Huge Echo-Puss Analog Delay set to a single repeat. This mirrors Summers’ use of a simple slapback echo to add dimension without clutter.

The Flange: TC Electronic Vortex set to its Flanger Toneprint — not chorus. A common misconception is that Summers relied on chorus, but his signature modulation came from an Electro-Harmonix Electric Mistress. The Vortex’s Toneprint nails it. Speed low, Depth moderate, Feedback pulled back for a gentle sweep.

The “Amp:” Voodoo Lab Giggity dials in the scooped mid-range character and top-end sparkle of Summers’ ’70s JMP rocker-switch Marshalls. Loudness adds just enough grit, Body is rolled back for some mid scoop, and Air brings in the high-end shimmer. Master to taste.

BONUS: This same rig handles Summers’ Lenny Breau-inspired harp harmonics heard on tracks like “Can’t Stand Losing You.” Engage the full chain and dig into those harmonics for instant Police authenticity.

—Darrin Fox