Joe Satriani Guitar Rig Preset

Determining Your Setup The 'Setup' filter helps you to focus on those presets best-suited for how you use your Axe-Fx. FRFR/Direct presets (like all of the Factory presets) are designed for 'full-range flat-response' systems such as studio monitors, PAs, headphones, etc. Amp + Cab presets use real power amps and guitar speakers. 4-Cable Method (aka:4CM') presets require a special setup with connectors both in front of and in the effects loop of a real amp.

Joe Satriani Guitar Pickups

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.

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.

Anda juga dapat merangkai sendiri efek guitar rig. Nah, bagi anda yang kesulitan merangkai sendiri efek guitar rig, atau yang bosan dengan presets yang sudah ada, anda bisa mencoba koleksi presets dari berbagai artist atau gitaris. Anda dapat mendownloadnya dan meloadnya dari guitar rig anda.

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.

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.

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.

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.

'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.

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 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.

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.

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.

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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.

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!

Page 1 of 2 Joe Satriani is one of the guitar gods. We thought it was only right for us to do some research into what guitar gear rig Satriani uses (and has used).

Joe Satriani Guitar Pickups

This is a total redo of my previous Satriani Preset. I tried to match all of the settings and equipment Satriani uses as closely as possible based off information from videos and off the web from amp settings to effects. This preset is a general Satriani sound not based on any specific song other than the Pitch block which is based off of Satriani's song 'Why' I am using a Matrix FR212 and a Matrix 1600fx. The basic sound for his rhythm is without the drive engaged. Satriani rolls back his volume knob to get a much cleaner sound when needed, with the drive engaged it is based off of the Boss DS-1, not the Satchurater. The second drive is based off of the Proctavia pedal that he uses in the video below with the first drive pedal disengaged.

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 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. 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 ).

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.

'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.

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.

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. 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.