After and, I thought it was time for some virtuoso action with the almighty Joe Satriani. If you don’t know who Joe Satriani is and you play the electric guitar, you probably have been abducted by Aliens in the 70s only to be returned to earth last week (go get “” right now). In this post we will look into his gear and learn how to recreate the same kind of lead tone using just a few common pedals that I will demo in a video. Although his studio albums – especially since the late 90s – feature a lot of different pedals and textures, Satch has a simpler approach on stage.
90% of the time, he uses the same recipe for his tone and the rest, as always, is in the fingers. Photo by CodePoet taken on 2008-10-26 @ Variety Playhouse, Atlanta Guitars Although he played a Kramer Pacer on “Surfing with the Alien”, Satriani quickly became an endorser in the late eighties and remains one today. His Ibanez signature has not stopped growing. The “classic” workhorse model is the. There is a more affordable version named and more esoteric models like the newly released with 24 frets or the without tremolo. The JS1000 that he uses the most has a bolt on neck, 2 Di Marzio custom humbuckers and a floyd rose type of blocking tremolo system with fine tuners. As such, it is very representative of 80s “guitar technology” after Eddie Van Halen took a Stratocaster-like guitar and put a humbucker and a floyd rose on it, making it a bit of a cross between a Fender and a Gibson.
The pickups were specially designed for this line of guitars and I must say I especially like the neck pickup which has a very “glassy” almost Stratocaster-like quality. On the JS1000, the humbuckers can be split to sound like single coils, pretty versatile. The blocking tremolo system allows for much abuse and Satch is a great abuser, he can get the wildest effects out of it and still stay in tune. Amps and Effects In the eighties, unlike many other fellow metal or rock guitarists, Satriani often did not get his big distortion tone from a super cranked Marshall boosted by some overdrive pedal. He used (and still does) distortion pedals in front of a clean amp.
The orange distortion was a very important part of his tone from the eighties all the way to about 2009 when his own distortion pedal was released. I went to his “Super Colossal” tour show in Paris in 2006 and I distinctly remember seeing him switching from clean to his signature lead tone by pressing on the little orange pedal in front of him. I am 99% sure it was a DS-1. This surprised me because it was not long after his own line of amplifiers (the ) had been released and there were quite a few behind him on stage.
Although these amps are highly capable of providing lots of gain, he was obviously just using them clean and getting his distortion from the DS-1. Now on the topic of the DS-1, it is loved by some and loathed by others.
Some find it synthetic sounding or thin, etc. Let me tell you that it is not the kind of pedal that will sound great through any rig, it works well with some guitars and amps but can sound horrible used with others. Also, it does not have 100 sounds but one so if you love it, you’re in luck, if you don’t, you will be tempted to throw it out of the window.
That said, a lot of pros use it and get great tones out of it and it has been in the BOSS catalog for over 30 years now! This controversial aspect of the DS-1 tone explains why it is one of the most modified pedals on the market. There are great mods by, etc. It seems that in more recent years, Satriani was using a Keeley version (like his pal Steve Vai) although I am not finding any hard evidence of it. Update Feb 2012: in on.
Satch answers this question: “ Well, I would use clean channel of the JFX. I’d get a slightly altered, vintage Boss DS-1.
I can’t tell you the alteration, though, that’s a secret!“. That settles it but as far as what the alteration is, the question remains. The BOSS DS-1 Distortion: love it or loathe it It is funny to see that tone purists on forums are quick to qualify Satriani’s tone as bad, you know the “he should use a Les Paul 59 and a bassman from 1756 instead of an Ibanez and a cheap BOSS distortion” kind of remarks.
Let me tell you that I have seen lots of great guitarists on stage and Satriani’s tone is one of the best I have heard. It really serves the songs and compliments his playing.
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There are two other effects that are an important part of Satriani’s tone: delay and wah. He has used up to 3 delay units in series in the 90s. He has never been a fan of rack mounted gear and all his effects were usually pedals placed in front of him. The exceptions were two rack mounted chandler delay units that he would use on top of an old BOSS DM-2 analog delay or DD-2 digital Delay (see this ). His settings for the three delays were interesting: the first delay was quite short, the second delay longer and the third even longer.
The blending of the three gives a very spacious tone. If you don’t have three delays you can try this with your favorite recording software, this sounds a bit like a reverb without using a reverb. In the last decade, he went back to using one good delay pedal, often an old BOSS DM-2: see photos of. Of course, Satch now has his own delay pedal made by VOX, the. As to wah pedals, he used an old VOX model in the early days and a few years back he was using a, but he now has his own model made by VOX:.
This is no coincidence that the first three pedals he designed with VOX are a distortion, a delay and a wah because these are the basics of his tone. An overdrive called has just been announced by VOX in the same range. On the subject of amps, as I mentioned before, he rather uses them clean. In the 90s, he was using a Marshall Anniversary head and later on switched to his own line of Peavey JSX.
Joe Satriani Guitar Rig Preset Download
Apparently, he is going back to Marshall after his short stint with Peavey. To summarize, a good wah, a distortion and a delay plugged into a good clean amp is the basis for Satriani’s tone on stage. I am not saying that it is all you need to reproduce Satriani’s every tone, I am saying that this is the recipe for the lead tone he uses live about 90% of the time, especially on classics like “Surfing with the Alien”, “Satch Boogie”, “Ice 9”, and so on. Amongst the remaining 10% of the songs, some can be heavily reliant on one particular effect like the used on “Cool #9”; the used on “Super colossal” for that super fat tone; or the for several other numbers.
I must also mention the use of modulation effects like a BOSS CH-1 chorus, a BOSS BF-2 Flanger or a univibe clone such as the This is especially obvious on his clean tones although his pedal board has not been consistent in that respect. Pedals come and go with the different tours and albums. Let’s redo Satriani’s Lead Tone For this endeavor, I have used a, a stock distortion and a plugged into my trusty Fender Silverface Champ set fairly clean. I don’t have an Ibanez-style guitar so I have used my Gibson SG 61 Reissue since humbuckers are a must for Satch’s lead tone (I accept donations in the form of JS1000s ? ). A pity I don’t have a floyd rose kind of tremolo, I should not have sold my shredding guitar. If there is one thing that I have discovered, it is that Satriani has an extremely clean technique (emphasis on extremely clean) that my gruff style cannot match in a million years.
Also, I am not able to reproduce the super smooth legato runs that Satriani is a specialist of as I am used to picking every note. Nevertheless I sure had lots of fun getting my old DS-1 out of the closet! The settings were:. BOSS DS-1: DIST almost on max but not quite, LEVEL at 12 o’clock and Tone quite low at 8/9 o’clock. BOSS DD-3: LEVEL at 10 o’clock, FEEDBACK at 12 o’clock, TIME at 2 o’clock and MODE at 800ms. On the amp: Volume at 3, BASS at 10 and Treble at 2.5 (the amp is fairly bright as a lot of fender amps are).
'I couldn't do without the JS1200. This one is a bit modified because we put a sustaining pickup. I use that on a couple of songs on the new record. Live I'm using it for the song 'Why' in just the regular single-coil tone. The 'Wind in the Trees' solo act uses the sustainer, and you can actually pick to sustain in the low, mids or high frequencies. That's fun to play with - it's very liberating. Of course, the neck and the body are identical to the 2400, so the playability is there.
It has the same neck that is one the 1000s. It's a great guitar and it's beautifully red.' 'This is one of the two prototypes that I had when developing the JS2400.
So 24 frets instead of the usual 22, extra cut away. It has a new single coil pickup by DiMarzio and a Mo' Joe here in the bridge position. It pretty much functions like the JS1000s, except in this particular case without all the particular stuff I mentioned, the body is older and it's got a Bubinga stripe in the neck, and it's orange! I wanted to get it to look like this '73 Camaro that was painted in a hugger orange color. We decided not to put in the white stripe. But in the end it came out looking like Halloween candy.
We just figured not many people would want to buy an orange guitar, but because it's older wood than I usually use it has just maybe 2% extra warmth to it or something. It doesn't cut as well but it's a little fatter sounding. It was done down at the LA custom shop. I think we made the right decision in sticking with bass wood and taking out the Bubinga stripe.
I think it ultimately is a bit more musical sounding. Now, the problem that I've always found with 24-fret guitars is that when you take this whole ensemble here of pickup and pickup ring and you put it on here, it actually winds up moving your prime position back towards the bridge, not where it was originally placed. The tone suffers.
That neck pickup sound, I think, is so important for all guitar players. I certainly use it a lot in my music. I just thought, 'Well I'm not going to give up my sound just for those two extra frets.' So I brought it to those guys to see what could we do to solve that problem. The realization is that you don't need a whole lot of wood after that last fret. Usually they put in a generous amount for another fret being there then you add the ring to this and this whole section would be back here - completely different tone.
So this allows us here to get this pickup here right where a Humbucker's range of picking up the sound would be. It really makes the pickup function incredibly well.
It sounds like a high-powered Strat; you can dial it down, put the high-pass filter in there and you do get a very beautiful Strat tone.' 'This is a new idea that we've had at Ibanez, which is try to bring the Ibanez line to a more affordable level.
This is really important. Of course, we're always struggling to get the same quality that I demand from those guys because I want to be able to play these things. One of the most important things is the neck and the feel.
This is a three-piece maple neck with a Bubinga stripe through it. We've got the benefit now of having the Bubinga stripe adding a stronger tone and complete stability, which is really important. The fretboard is Rosewood, and it's kind of what I really prefere for all of my playing because it has that fantastic sound. Again, the balance between the bite and the warmth is an important thing, especially with all the melodies and solos that I'm playing on stage and in the studio. I think that ultimately it makes for a guitar that lasts longer and feels the same all the time, decade after decade. Of course, the frets are 6105 - I really like those.
The edge of these frets is really nice, we give it that nice edge treatment. So whether you're playing some crazy acrobatic guitar or just playing some chilling chords it's going to feel comfortable. We've got the EDGE tremolo bridge - my favorite - for ease of use, for stability and tuning, and a great tone that you get out of all these kinds of bridges. One more thing I want to say about the bridge is that, of course, if you want you can get the Ultralite Tremolo Arm on here also if you like that style. Either one will work and they sound great, of course. The body is Basswood, just like the old JS1000s, which is great because Baswood has got a fantastic balanced tone and it's got a real singy tone as well. It's got one of those real successful marriages between the body's contour shape and the sound of the wood itself.
In the neck we got the DiMarzio Chopper pickup, which I've been using for several years now. It's got a great whop to it, a great clarity when you're playing through a clean amp, and a lot of power when you got the gain up. The bridge pickup, the Mo' Joe, which is something I've been using a lot, it's just beepier, it's got a smoother combination between the mids and the bases - I think more power.
I just love the pickup, and the two together are just really a powerhouse. So there you have it: it's affordable and it sounds awesome too.' 'The new JS2410 in Muscle Car Orange - this is a great color. I have found it to be very inspirational in the last couple of years as I've been working on it, and we've been perfecting the colros of both the body and the pickups.
You're probably wondering why I came up with this orange color. Well, this goes back to a couple of years ago, I was at a Chickenfoot rehersal at the studio and right across the street there's this place where they're working on cars. I walked in there and there's this beautiful '73 Camaro in this color with a lot of chrome coming out of the hood, and I look at it and I took a picture of it and I thought 'That looks just like a guitar if you're staring down from the bottom up.' I then thought to myself, 'We've got to get this thing going,' so I e-mailed it right away to the guys at Ibanez's custom shop. That started the long journey of trying to replicate this color. There's a lot about this guitar that's new and innovative for the JS line. The body itself is an Alder body.
I was looking for a body that would give me a bit more punch and maybe the ability to cut through the mix a little bit more. Alder is the perfect wood for that. It has a Rosewood fretboard. The frets are what I've always used, the 6105s, because I really like them. The Prestige fret edge treatment is very important for ease of playing so that you can play like crazy or you can cruise - either way it's always going to be comfortable. The neck is a three-piece Maple neck. The addition this time is the Bubinga stripe.
We've added it in there for a couple of reasons. Coming from a players view, I was looking for a little bit more clarity, a little bit more strength from chunky rhythms to singing melodies and searing leads. I'm always looking for just a little bit more presence. I really think we've hit on something with this Bubinga stripe running right through the neck. Of course, it adds a lot of stability, which really helps anytime that you've got 24 frets. We've got the EDGE tremolo bridge, which is still my favorite.
I just think this things sounds the best and the action on it is just really beautiful. I really do like it.
It also comes with this really cool thing, we call it the Ultralite Tremolo Arm bar. This is something that we were working on for an extremely long time trying to figure out the boing out of the whole vibrato system and trying to make it feel better when you're playing. So it's a little bit larger, but the whole thing about it - the angle of it, the length, its weight, and the fact that it's very light - it just behaves more like the way you really want one of these tremolos to behave. It's a great thing to have now. It also comes with a new pickup, a DiMarzio Satch Track pickup. What I was trying to do here was, since I've notice that there are a lot of things that you want to get out of a neck pickup on a guitar like this, and part of the problem many times is going from a clean sound to a sound that's got a lot of gain. Something happens to the low end.
So what it does is it cleans up the low end and makes it a bit more punchier exactly when you need it, even though you're playing a guitar like this. As for the bridge pickup, with this thing here, people who have had my 2400s know that I really like playing the DiMarzio Mo' Joe pickup. It's got, I think, just a bit more chunk, and that's exactly what I was looking for a fuller low end, a fuller mid range to balance out some of those really quirky qualities that the pickup had.
So this guitar really sounds fat. In the new record you'll be able to hear this very guitar because it's featured all over it and you'll see how massive it sounds. It's really a great sounding pickup. And with the two together, like I said, I think we've reached a higher level of matching neck pickup and bridge pickup.' 'Look at this finish - it's beautiful!
It took us quite a while to find the right tones for this color, but I think this thing looks fantastic on stage. This guitar has the JSA body shape and the top is the solid englemann spruce top. That, of course, creates that beautiful sound.
It's very responsive, great tone sounding wood. The JSA20 has got solid Rosewood on the back and sides - it's a beautiful pattern. The neck is a mahogany neck. The JSA line has a very comfortable neck for players of the electric guitar; I think they'll feel right at home.
And you can play up way the neck - the intonation is fantastic! That transition from electric guitar to acoustic in the middle of a show is a piece of cake because of the way we built the neck and the feel of the fretboard. That's a very important point for me. In the JSA20, we've got the Fishman Acoustic Matrix pickup system and also the Fishman Aura Pro preamp, with presets by me.
Of course, it's got an Onboard tuner, which is really cool. This is something that has been a new change for us in the JSA line. I thought that they built this guitar so good that I don't mind them putting a little hole up here and sticking some electronics there. That was my first concern with the original JSA, but I think that we've evolved the design of the guitar.
So now we have this unit in it that sounds fantastic. We've got chrome Grover Tuners on it. They're fantastic, very accurate and got great tension on them. It also has Abalone rosette and body binding. The bridge and the fretboard are ebony. I've always liked that look as well as the sound. I think these guitars actually come strung up, so they use D'Addario EXP strings - which are the best!'
'That is such a great player. I walked into Chris Cobb’s shop, Real Guitars, in San Francisco, one day, not thinking of buying anything. But there were two ’60s Strats – a ’64 and a ’61 – on consignment. I couldn’t believe it, I’d been looking for something like them for 10 years. So then and there, I bought them.
Then Chris said, “If you’re in the mood for buying stuff, I’ve got my Special here.” He brought this thing out, and I could not believe it. I’d owned some nice ones, but they always fought me, as a player. This one, though, is amazing. Talk about mojo!
I couldn’t believe how great it sounded and how easy it was to play. He had bought it from an old rock-and-roll player who told him he was the only owner. My neurosis kicked in, and I had to have it. So that was an expensive afternoon, as I walked out with three cases!' 'I struggled with that guitar. It’s one of those where you open the case, look at it, smell it, and fall in love.
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But if I can’t figure out how to play good music on it, eventually it starts to bother me that I’ve got this expensive guitar and there’s 100 guys out there who could play beautiful music on it. Instead, it’s in my closet. That really bothers me.
It and the Cherry Red Special are on the list labeled “Maybe I should sell them and find another Hagstrom III or something” (laughs) Who knows?' 'This guitar has “it.” You know how when you plug in a Strat, switch on the neck pickup, and play the G string at the 12th fret, you know right away if it’s got that beautiful tubular tone? Not too skinny, not too bright, but not dead. I plugged it in, played two notes, and I went, “Oh, this is it.” The ’61 sunburst Strat does not have that lead-guitar thing, but it has better rhythm sound than this one. That’s why I got both. I thought, “For one or two or three songs, these are gonna be the perfect guitars.”. 'I was in Caracas, Venezuela, one evening and a guy walked up to me in front of a restaurant and said, “I am such a big fan of yours, I would love for you to have this guitar.” So I said, “Well, thank you.” Great, you know?
It has the adjustable bridge and is a beautiful guitar. I loved it immediately, and I wrote songs on it right away; I wrote “Bitten By the Wolf,” that wound up on the first Chickenfoot record.
I think I wrote “Different Devil,” too, on the new Chickenfoot record. The bridge was a mistake for Gibson, but the guitar is a beautiful example of the magic they can create with their acoustics. I had Gary Brawer put on a new bridge, and man that guitar sounds great – best Gibson acoustic I’ve ever owned.' 'Michael Pearce got that for me.
Joe Satriani Guitar Setup
I’d mentioned to him I wanted one. I had a Rickenbacker and he said, “A lot of people who say they used the Rickenbacker, actually used Fender XII.” So he shows up one day with this beautiful Candy Apple Red XII, and I put it on just about every record. It’s just an amazing-sounding guitar.
I learned that it does what the Rickenbacker doesn’t – but it doesn’t do what the Rickenbacker does (laughs)! The Rickenbacker goes “twang” like nothing else. Put it into an AC30, turn it up, and it’s the ultimate “fairy dust” guitar, for if you need a little sparkle for a bridge or chorus. Anytime I have difficult parts to play that need to be mellow, and not overtly twangy, I use the Fender. There’s a song called “Cool New Way,” on the Super Colossal record that’s just guitars with harmonics – no chording – and I put the Fender on the left channel and the Rickenbacker on the right, and they complemented each other so well. It led me to create the Ibanez JS-1200, and I actually took detailed pictures of this guitar’s finish and told Ibanez, “It would be nice to have a JS with this color.”.
'That’s an all-original Olympic White/maple-cap Strat. It’s really beautiful; take off the pickguard and you see the original color, it’s pretty stunning. I used that for the melody on “Two Sides to Every Story” on my last solo record. Fender guitars had all sorts of tonal qualities in different years, as their pickups got hotter or weaker, they used different woods and stuff. I relate to the ’60s Strats more than I do to ’50s Strats. I was kind of brainwashed earlier in my collecting career, thinking, “You had to have a ’55 and a ’56 or whatever.” But after owning so many, and getting rid of all of ’em, my Strats now start at ’60 and I’m still looking for perfect examples of ’64 through ’69 models, because that’s what I heard on records when I as a kid.' In Joe Satriani's reddit ama, a fan asks him: 'Have you ever played a scalloped-fret guitar?
If so, what was it like? I know says he finds it gives you more control, but I’d be interested to know what your impression was.' Satriani responds: 'Yes, I've owned a Malmsteen Stratocaster. Found it a little overt, it how it affects the tone. Because it takes away the connection between the string and the wood. So you lose that element to play with. 's 7 string Universe guitars in the last 10 frets and that's interesting.
Are all Steve's like that? I'm not sure, but mine is.'
Joe Satriani Guitar Rig Preset
PG's Rebecca Dirks is On Location at the Chicago Theatre, in Chicago, IL, where she catches up with guitarist Joe Satriani before his 'Black Swans and Wormhole Wizards' Winter 2010 tour. In this Rig Rundown segment, Satriani walks us through all the gear and equipment he's using during the tour.
Also, he talks about how this rig differs from the one he uses with supergroup Chickenfoot. For his effects, Satriani uses a Vox Satriani Big Bad Wah Wah, Vox Satriani Ice 9 Overdrive, Vox Satriani Satchurator Distortion, two Vox Satriani Time Machine Delays, a Voodoo Lab Proctavia, a DigiTech Whammy, and a custom true bypass switch built by amp guru Ben Fargen (Fargen Amplification and Sonic Edge Effects).
For his amps, Satch is using three Marshall JVM410 heads that have been converted into working prototypes for a future signature Marshall head that should be released sometime in 2011. The heads are based on a JVM410 format, but each one has been tweaked and altered throughout his current tour. And for his guitars, Satriani has been using two different Ibanez signature models-the JS1000 and the new JS2400. All of his Ibanez guitars are loaded with DiMarzio pickups.
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