[Joe Satriani] How to Recreate the Chickenfoot Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Joe Satriani is renowned as the guitarist for Chickenfoot, known for his technical and expressive playing style. His mastery of techniques such as fast picking, sweep picking, legato, tapping, and the use of wah pedals allows him to create a rich and melodic atmosphere in his music. Collaborating with Michael Anthony and Chad Smith, Satriani’s unique guitar sound shines through in his phrases, making them a defining characteristic of Chickenfoot.

In terms of sound, he navigates a wide range of tones from clean to high gain, with a particular emphasis on clarity in the midrange and extended sustain. The combination of guitar types, pickups, amplifier channel switching, and effects creates distinct nuances for each song. During live performances, he often employs wah pedals and sustainers to imbue his phrases with a unique lyrical quality.

Iconic tracks like “Oh Yeah” and “Get It Up” showcase the expressiveness of his guitar solos and the prominence of melodic lines, highlighting the clarity and transparency that are hallmarks of Satriani’s tone. By understanding his sound design, musicians from beginners to advanced can recreate the dimensionality of guitar work found in Chickenfoot’s music.

▶ Search official YouTube videos of Chickenfoot

List of Amplifiers and Features

Joe Satriani utilizes a variety of amplifiers for both touring and recording with Chickenfoot. Among them, the Marshall JVM410HJS (2014 model) stands out with its four-channel configuration, featuring independent noise filters, presence, resonance, and three-mode switching, allowing for a wide range of sound creation from clean to high gain. This versatility is particularly valuable during live performances, where he can switch channels to alter the expression of solos and riffs.

Additionally, the Peavey 5150 (1992/1993 model) and Mesa Boogie Dual Rectifier provide stronger distortion and powerful midrange, making them suitable for rock and hard rock tracks. Satriani prefers the warm sound of full tube amplifiers, while also ensuring sound stability in live settings by combining them with modern digital equipment and power amplifiers.

He also employs clean amplifiers like the Fender ’65 Princeton Reverb and Roland JC-120 (1985 model), which deliver transparent sounds ideal for arpeggios and clean tones. These amplifiers allow for different spatial expressions in songs due to their varying spring reverb and tonal characteristics.

By combining these amplifiers, Satriani secures a diverse range of tones required for Chickenfoot, covering everything from the presence of solos to rhythm tones. His approach of using both clean and distorted channels also helps to compensate for differences between studio and live environments.

Types of Guitars Used and Features

Joe Satriani is synonymous with the Ibanez JS series, which is his trademark. During his time with Chickenfoot, he frequently uses the Ibanez JS1CR #2 and #3 (2018 models), which were central to the recording of “SHAPESHIFTING.” These models are designed to accommodate Satriani’s delicate touch and high-speed solo work.

He also utilizes the Ibanez JS2410 MCO Prototype #1 and Muscle Car Orange (JS2410 MCO), featuring a combination of DiMarzio Satch Track (neck) and Mo’ Joe (bridge) pickups, allowing for a wide range of tones from clean to distorted. The neck is made of a 3-piece maple/bubinga, and the body is alder, making them well-suited for the diverse musical styles of Chickenfoot. They provide stable sustain and accurate pitch during both live and studio performances.

Additionally, he favors the Ibanez JS1200 and JS2400 (with Sustaniac) for parts requiring extended sustain. In the past, he has also used retro models like the Ibanez JS-6 and 540 Radius, selecting guitars based on specific songs or playing styles.

Custom Shop models such as the Fender Custom Shop 1963 Telecaster, 50’s Telecaster Relic, and 1969 Stratocaster are also employed for live performances and recordings, ideal for clean tones and arpeggios due to their clear single-coil sound. The Gibson Les Paul Custom and 1958/1959 Les Paul are used for songs that demand a thick, warm humbucker tone.

Furthermore, acoustic guitars like the Martin HD-28E Retro, Yamaha APX, and Ibanez N800TB are also incorporated, allowing Chickenfoot to recreate acoustic sounds. Satriani’s meticulous attention to the materials and pickup configurations of his instruments ensures he selects the optimal guitar for each song.

Effects and Pedalboard Setup

Joe Satriani’s sound is characterized not only by the tone of his guitar but also by the diverse expressions achieved through effects. Particularly in live and recording settings, he employs the VOX JS-WAH Big Bad Wah to create dynamic filter effects with the wah pedal, essential for adding nuances to both clean and lead tones.

For drive effects, the VOX Satchurator (OD/Distortion), BOSS DS-1 Waza Craft, and BOSS OD-1 (early 80s model) are prominent, balancing thick midrange with sharp attack. The Satchurator is specially tuned for Satriani, providing smooth distortion with excellent sustain. Modulation effects like the MXR Dyna Comp, EVH90 Phase 90, and MXR EVH117 Flanger are also frequently used, adding unique dimensionality to solos and arpeggios.

In terms of spatial effects, he combines the MXR Echoplex Delay, MXR Digital Delay, BOSS CE-2W Waza Craft Chorus, and tc electronic Sub ‘N’ Up (octave) to achieve depth and richness in sound. Past examples include the Even Tide DSP-4000 and Digi-Tech Smart Pitch Transporter, known for adding special effects and pitch correction. Overdrive units like the Chandler Tube Driver and VEMURAM Jan Ray are also utilized to alter the character of distortion.

Satriani meticulously arranges his pedalboard, typically in the order of wah → overdrive → delay → modulation, to adjust the clarity and reverb of his sound. For live performances, he incorporates the TONEX One Joe Satriani (AI Modeling Pedal) to switch complex sounds at the touch of a button.

Tone Settings, EQ, and Mixing Approaches

Joe Satriani’s sound design goes beyond merely assembling equipment; EQ settings, amplifier channel switching, and mixing techniques play crucial roles. Satriani typically utilizes three stages of channels: clean, crunch, and lead, selecting the optimal tone for each song. For instance, during live performances, he leverages the four-channel structure of the Marshall JVM410HJS, slightly reducing the midrange while emphasizing the high frequencies on the clean channel to ensure a clear sound that stands out within the band.

On the lead channel, he combines overdrive and compressor effects like the Satchurator and MXR Dyna Comp to enhance midrange thickness and sustain. His EQ settings tend to keep low frequencies in check while focusing boosts on the mid-high range to clarify the outlines of solos and phrases. By routing through the BOSS CE-2W Waza Craft and MXR Flanger, he adds dimensionality and modulation to solo parts. Delay settings (from MXR Echoplex Delay and BOSS DS-1 Waza Craft) are finely adjusted to align with the song’s tempo and space, creating a harmonious sound.

In studio recordings, it is common to use a combination of direct guitar recording (DI) and amplifier miking, applying optimal EQ corrections for each track. Special attention is given to adjusting midrange peaks to avoid clashes with other instruments. Techniques such as using two to three microphones on the amplifier cabinet to create stereo effects are also prevalent, ensuring that the guitar, especially when processed through the Sustaniac-equipped JS2400 and Satchurator, faithfully reproduces subtle picking nuances. During live performances, EQ adjustments on the PA system are emphasized, with different EQ settings for front speakers and monitors to deliver the best sound to both performers and the audience.

When mixing, particularly for guitar solos, reverb and delay are added judiciously, and panning is used to create space so that they do not get buried by other instruments. Sounds created with sustainers or octavers may be adjusted with high-pass filters to avoid frequency overlaps with other guitars or bass. Overall, Satriani’s sound design revolves around “precise tone management and spatial utilization,” suggesting that his distinctive sound emerges not merely from the performance of the equipment but from a comprehensive control of EQ, channel switching, effect placement, and mixing.

Affordable Alternatives to Recreate the Tone

When aiming to replicate Joe Satriani’s sound affordably, it is possible to achieve a similar tone without investing in expensive signature guitars or amplifiers. The key is to understand the characteristics of essential effects such as overdrive, distortion, modulation, delay, and wah pedals, and to connect them in a logical order.

For example, the BOSS OD-1 and BOSS DS-1 Waza Craft are suitable for emulating Satriani’s crunch and lead tones, providing rich midrange and harmonic complexity at a low cost. The BOSS CE-2W Waza Craft is a modulation chorus that adds a sense of depth and spaciousness to solos, making it easy to create spatial expressions during live performances. For delay, selecting budget-friendly models like the BOSS DD series or TC Electronic Flashback allows for easy addition of echoes in solos or arpeggios.

Wah pedals can be effectively substituted with affordable versions from VOX or Dunlop Cry Baby, enhancing picking nuances and phrase expressiveness. Additionally, using multi-effects units like the BOSS GT-1 or Zoom G5n allows for the consolidation of overdrive, chorus, delay, and reverb into one device, simplifying cable management. For amplifiers, modeling amps like the Fender Mustang or Line 6 Spider series can easily replicate Satriani’s sound for home practice, often available for under $500.

The main point is to focus on capturing the essential sound characteristics without fixating on specific equipment. By being mindful of the quality of overdrive, delay, and wah pedals, you can recreate the essence of Satriani’s tone. Even budget-friendly versions of Ibanez JS series guitars or similar spec guitars can suffice, and adjusting setup, string height, and pickup selection can further refine the sound.

Summary and Conclusion

The essence of Joe Satriani’s sound design lies in “maximizing the potential of the guitar” and “freedom of phrase expression.” His tone is not merely the result of a combination of expensive guitars and amplifiers but is crafted through string vibration, picking nuances, and the subtle settings of effects.

In particular, during his performances with Chickenfoot, he skillfully utilizes various guitars from the Ibanez JS series, Fender, and Gibson to color the music according to genre and song. His amplifiers range from Marshall to Fender and Mesa Boogie, and he adeptly employs channel switching and EQ adjustments during live performances while fine-tuning sound character in studio recordings through microphone placement and cabinet selection. His effects, centered around VOX and BOSS, are expertly used to highlight the expressions inherent in each song.

Importantly, Satriani’s sound prioritizes “clarity and expressiveness of tone over volume and flashiness.” To replicate this, one must focus on understanding sound character rather than merely mimicking equipment. Achieving a Satriani-like sound requires attention to guitar setup, effect order, amplifier channel and EQ adjustments, and overall playing technique.

For readers looking to recreate his sound, I recommend prioritizing “understanding sound character over equipment selection.” Satriani’s tone is not solely dependent on the performance of guitars and amplifiers but is a product of the musician’s sensitivity and attention to detail. Thus, to achieve a Satriani-like sound, it is essential that guitar setup, effect order, amplifier channel and EQ adjustments, and performance techniques all come together harmoniously.

▶ Search official YouTube videos of Chickenfoot