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Joe Satriani Rig10/28/2021
You learn to be succinct, and to put forth ideas without alienating the student. “As a teacher, your job is to—using the fewest possible words, and with the most musical economy you can muster—give the student what they need to move forward. The best places to look for gear usage are typically on the artist's social media, YouTube, live performance images, and interviews.“It doesn’t matter if your student is Kirk Hammett or an eight-year-old kid with an action figure sitting on the amp—teaching makes you get your shit together,” Satriani told GP’s Darrin Fox in 2007. Find relevant music gear like guitar rig, amplifier setup, effects pedalboard, and other instruments and add it to Joe Satriani. This is a community-built gear list for Joe Satriani.
Joe Satriani Rig Software Solutions ForThese video.JOE SATRIANI Guitar Tone Patches Presets Includes 6 guitar sounds. The piece was recorded using AmpliTube Joe Satriani, which offers various software solutions for Satrianis favoured tones and gear. Push your gear (and your credit card) to its limitsHelix Presets.Joe Satriani Rig Plus A BorrowedHe also began using low-wattage Wells and Cornford amps in the studio. Satch recorded the monstrous tones on Surfing armed only with a white Kramer Pacer (loaded with an original Floyd Rose vibrato and two Seymour Duncan pickups— a ’59 in the neck position and one of the first JBs in the bridge), a pair of homemade Strat copies, a Roland JC-120, a ’68 Marshall half-stack modded with a master volume, an original Chandler Tube Driver, a Boss DS-1 and an SD-1, a Scholz Rockman, a Nomad amplifier, plus a borrowed Fender Precision Bass and bass amp.Soon after, Satriani began an ongoing relationship with Ibanez, a fruitful collaboration that started with Satch’s favorite JS-1, Chrome Boy, and which has since spawned at least a dozen different JS models. It’s an overdrive featuring the beloved more-switch, just like the satchurator has one.Over the past two decades, Satriani’s physical “engines of creation” have evolved from a few basic guitars, amps, and effects to a series of signature lines that include everything from soup to nuts. The mysterious white box between the satch and the time-machines is the latest co-op between VOX and Joe: The ICE 9.2c simulates the bass groove that defines the song’s shifting A Lydian and A Mixolydian modalities. 2b, and you’ll hear a pretty convincing approximation of Satriani’s other-worldly Vincent Bell Coral electric sitar intro to “Lords of Karma.” Ex. 2a, apply its rhythmic motif and picking pattern to the A5#11 and A13sus4 voicings from Ex. Wet your feet with the stock, arpeggiated A5 figure shown in Ex. Until then, you’ve gotta.Exotic melodies, shifting modalities, and intriguing song structures are also key to the Satriani oeuvre. As far as financing your solo album on a credit card goes, I’m not sure you could pull this off in our current economy, but you’ll never know until you try. Utilizing the A5#11-A13sus4 progression from our previous examples, Ex. Satriani’s extremely fluid legato technique, and its application to what he calls his “pitch axis” theory—essentially the organization of modalities or chord progressions around a common tone (A, in this case)—has thrilled many a 6-string surfer, and here’s how you can ride along. Surf the boardThe fretboard, that is. Check out the recording for Satch’s exact rhythms and phrasing, and then get ready to. Notated in half-time to conserve space, Examples 2d and 2f both feature precise grace-note slurs and outline the raw melodic materials Satriani used to sculpt A Lydian lines over A5#11—the 3 (C#), the #4/#11(D#), the 5 (E), and the 6 (F#)—while Examples 2e and 2g illustrate the shift to A Mixolydian via G (the b7) and D (the 4/11), plus the A, B, E, and F# inherent to both modes. (Tip: For total authenticity, tie the and of beat two to beat three.)When Satch’s exotic melody joins the mix, it emphasizes key chord and scale tones that define each mode. Try applying this concept to any combination of scales, modes, and/or chords. 3c, and the wild, quarter-note-triplet-based, hammer-on/pull-off excursion shown in Ex. 3b requires similar adjustments, plus changing all G#s to Gs to fit the progression, and the same principle applies to both the tapped legato runs depicted in Ex. Thus, we only have to change D# (the #4/#11) to D (the 4/11) to make the transition.The elongated run in Ex. The only difference between A Lydian and A Mixolydian involves the 4 and 7, so these are the only tones that need adjustment when switching between modalities. “It’s a simple I-IV-V progression, but I subverted it a bit by giving every chord a suspended tonality,” Satch recalled in 2007. 4 shows the opening melody and rhythm figure, and reveals not only how nearly every note has some sort of physical “Joe stuff” smeared on it (slurs, vibrato, pick harmonic, palm muting, etc.), but also how he imposes a unique harmonic imprint on an otherwise pedestrian chord progression. The fourbar excerpt transcribed in Ex. The melody and accompaniment may sound simple at first, but don’t be fooled—closer scrutiny reveals Satriani’s obsessive attention to detail. Romance the wood and play some shweet stuff“Always with Me, Always with You,” perhaps Satriani’s most recognized composition outside of the immediate guitar community, confirms how much beauty can be coaxed from a basic B major scale. Syncbird pro for windowsThe first approach is illustrated in bar 2 of Ex. Determined not to repeat what had already been done, Satch devised an ingenious way to bring the piece to life by employing two different two-hand tapping patterns to play arpeggios and broken chords. Take tapping into the fourth dimensionSatriani’s “Midnight” (which was composed on manuscript before making its way to the fretboard) was an epiphany for two-hand tappers. Charlie chaplin videos5a to approximate the song’s intro. 5c to the tapping pattern you learned in Ex. First, apply the “voicings” in Ex. (Tip: Think castanets!)Now, here comes the fun part. 5b breaks an impossible C chord (bar 1) into a rhythmic blaze of easy-to-manage, two-hand, tapped intervals. (Tip: Use a string mute or tie a piece of cloth around the fretboard just above the nut to eliminate unwanted and untempered overtones from occurring behind tapped notes.) Likewise, bar 2 in Ex. From screaming, near-dog-whistle harmonic dive bombs (that super-high A harmonic on the 3rdstring/ 2nd-fret is a favorite), and the “lizard-down-the-throat” sound (a warble- y, whammy effect achieved by sliding a note up a string while simultaneously depressing the bar to maintain the same pitch), to hooking the B or G string under his ring-fingernail and yanking it off the side of the neck (a Steve Vai fave), and using the side of his pick to tap hyperspeed trills, Satriani always manages to transcend gimmickry and find truly astounding musical applications for even the wackiest sounds and techniques.On a more note-y level, have fun surfing the electric hoe-down stylings in the I-IV lick in Ex. Go nutsAnyone who has witnessed his live show can attest that one of Satriani’s most endearing qualities is how the guy just cuts loose with some of the craziest licks ‘n’ tricks you never thought of. 5b to simulate the main theme, which maintains a constant fingering and tapping pattern throughout. 5dand the tapping pattern from Ex. Read it and weep, and then. And of course we all know Satch is a master of deep electric blues à la Hendrix’s “Red House,” as heard in the busy but tasty turnaround notated in Ex. (Shades of Tommy Bolin!) Pick every note if you like, or play it as written. Take your time, follow the repeat, D.S., and Coda instructions, and the occasional odd-time measure, and you’ll be navigating the cosmos before you know it. 7 lays out the entire head, from the Buddy Rich hi-hat intro right up to Satch’s first solo. The song certainly requires chops to spare, but its primary component is attitude. 8a demonstrates how Satch’s concept can be applied to an A minor scale motif, while Ex. As a result, the notes that make up the two-handed arpeggios in that section create some very odd tonalities that you wouldn’t hear on a ZZ Top album.”Ex. “But the devil on my shoulder urged me to do more, so I used pitch axis theory again. “I started out taking a ZZ Top/Van Halen-style boogie, and injecting this warped two-handed tapping thing in the middle,” explains Satriani. When Satch takes his signature boogie to the bridge, all heaven breaks loose in a fearless cascade of flange-y, tapped arpeggios played entirely on the A string. Just ask the axisThe pitch axis, that is.
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