Good Vibrations was recorded across months and several studios, then spliced together from the best pieces of each - which is why it changes character every thirty seconds. The famous high line is an Electro-Theremin, not a guitar, and the guitars are part of the bedding.
What makes the tone. Several tones rather than one: clean, dark rhythm guitar in the verses, brighter strummed textures in the choruses, and almost nothing in the breakdown. All of it clean, all of it mixed to blend rather than stand out.
The analogue recipe. Clean amp, tone rolled back, playing the verse figure with the fingers, then a brighter strummed part for the choruses. The real lesson is arrangement: change the instrumentation between sections rather than the amp settings.
On a Boss GT-100 / GT-1000 / GX-100. Two or three clean patches with different EQ and reverb rather than one compromise. Verse dark and dry, chorus bright with a plate. For the theremin line, a synth or octave block gets you closer than a guitar tone does.
On a Kemper. One clean profile with performance slots for each section. The temptation is to hunt for the sound of the record; there isn't one - there are four.
Get it dialled in. The Soulster Tonebook for fans of The Beach Boys → has the chords, capo positions, tempos and dialled-in settings for this one.
See all 16 Beach Boys prints →
Off the record, onto the wall. The "Good Vibrations" Paperback print → is the same song, printed. Also on the Practice print → and the Studio print →.
Good Golly, Miss Molly Guitar Tone: Guitar Behind the Piano
Heat Wave Guitar Tone: Funk Brothers at Full Tilt