[Al Di Meola] How to Recreate the Return to Forever Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Al Di Meola, the guitarist of Return to Forever, is a prominent figure in the fusion scene of the 1970s. His playing is characterized by astonishing speed, rhythmic precision, and a melodic approach that incorporates classical elements.

His signature sound is evident in albums like “Romantic Warrior” and “Elegant Gypsy,” showcasing a tone that blends sharp, precise picking with the smoothness of jazz. Particularly in “Mediterranean Sundance,” the fusion of acoustic and electric elements stands out, establishing a unique sound world that combines Spanish music with Latin rhythms.

Moreover, his sound is not merely about speed; it is built upon a meticulous attention to tonal clarity and depth. Centered around the Gibson Les Paul, his choice of amplifiers and effects reflects a clear direction, allowing him to navigate smoothly from jazz-like smoothness to rock-like sharpness.

Di Meola’s sound design during the Return to Forever era has paved the way for his subsequent solo career and fusion with world music, serving as a significant example of the “possibilities” of guitar sound. While often described as a speed guitarist, the essence of his artistry lies in “tone selection” and “expressiveness.”

In the following sections, we will explore the amplifiers, guitars, and effects that contribute to the sound he crafted with Return to Forever.

▶ Search official YouTube videos of Return to Forever

List of Amplifiers and Features

Throughout his career, Al Di Meola has utilized a variety of amplifiers, adapting his sound to different eras. His sound is primarily characterized by a “tight and punchy tone based on the Les Paul,” but the choice of amplifiers adds significant depth to his tonal palette.

One of his most notable amplifiers is the Fuchs Overdrive Supreme 100, which he has used as his main amp in recent years, often paired with two units in stereo and a Feiten 2×12 cabinet. This setup, combined with his 1971 Les Paul Custom, is said to yield the “punchiest tone” that Di Meola favors.

During the golden age of Return to Forever in the mid-1970s, he used the Marshall 50W (Model 1987 JMP50, 6550 tube version, manufactured between 1972 and 1975). This was paired with a cabinet featuring Celestion G12M speakers and was documented as the setup used during the recording of “Race with Devil on Spanish Highway.” This amp provided a more rock-oriented, aggressive sound, perfectly suited for the jazz-rock genre.

Additionally, Di Meola has employed Mesa/Boogie Mark V and Mesa Boogie Stiletto Ace Combo amplifiers, which offer a wide range of modern distortion and British-style punch. He has consistently updated his amplifiers to pursue the best sound for each project.

He is also known to have used the legendary Dumble Overdrive Special (50W), which contributes to his smooth clean tones and beautiful harmonics. On acoustic stages, he has utilized the AER acoustic amp via Roland VG-88, allowing him to connect nylon-string and MIDI-compatible guitars seamlessly to the PA system.

Other amplifiers like Elmwood Modena M90 and Sewell amp have also been explored, showcasing his tendency to choose gear that aligns with his musicality rather than sticking to “standards.” As a result, he has been able to create a wide range of sounds, from the hard-edged rock tones of the Return to Forever era to the fluid, world-music-inspired tones of his solo career.

These amplifiers were used selectively across different periods and projects, and it is assumed that there were subtle differences based on the settings and recording environments. Therefore, please consider this as a “reference organization” of both confirmed and assumed information.

Types of Guitars Used and Features

At the core of Al Di Meola’s sound is undoubtedly the guitar. He has utilized a wide range of instruments, primarily focusing on the Gibson Les Paul, but also incorporating acoustic and synth guitars throughout his career from the Return to Forever era to the present. His choices reflect a clear connection to the “songs he performs” and the “tones he seeks,” embodying the diversity of guitar tones in the fusion genre.

One of his most notable guitars is the 1971 Gibson Les Paul Custom, equipped with DiMarzio pickups and modified for coil tapping. This guitar has been a staple in his performances, used in albums like “Elegant Gypsy” and “Land Of The Midnight Sun,” as well as during live shows with Return to Forever. It remains a lifelong mainstay for Di Meola, even appearing in Beatles tribute performances.

He has also used a 1959 Les Paul Custom (including reissues), which is lighter and offers a sweeter tone compared to the 1971 model, making it a favorite for solo work and studio sessions. During tours, he has incorporated 1961 and 1965 Les Paul Deluxes, showcasing their tones in tracks like “Casino” and “Romantic Warrior.”

Notably, he owns a signature prototype Les Paul with an f-hole, a vintage sunburst model lent by Gibson, and his own Gibson Al Di Meola Les Paul and hollow body models. He has a deep connection with PRS, featuring signature models like “Prism” and single-cut black models made by Paul Smith, as well as Private Stock McCarty guitars.

On the acoustic side, Di Meola has long favored Conde Hermanos nylon-string guitars, using them in works like “Opus,” “World Sinfonia,” and “Winter Nights.” He has a range of modified models, including signature versions and 12-string configurations, equipped with RMC pickups for seamless connections to synths and PA systems. Other notable acoustics include the 1948 Martin D-18, Gibson J-200, Gibson Hummingbird, Guild 12-string, and Ovation signature models. The Godin Multiac Nylon SA and Jazz models are MIDI-compatible, allowing for integration with Roland guitar synths.

His adventurous spirit extends beyond electric guitars, with records of using Synthaxe, Veillette Gryphon, Sigma SDR-28MLE, and Taylor guitars. In the Return to Forever era, he primarily showcased sharp fusion sounds with the Les Paul, later expanding into acoustic and synth guitars.

These guitars were swapped out for different projects and performances, all representing “optimized choices for music.” Given the mix of confirmed and unconfirmed details, please consider this as a comprehensive overview.

Effects and Pedalboard Setup

In Al Di Meola’s sound design, effects play a crucial role, following amplifiers and guitars. His sound balances the “clarity of fast phrases” with the “depth that enriches the song’s space,” supported by his choice of effects and pedalboard configuration.

During the Return to Forever era, his setup was relatively simple, utilizing classic effects like the MXR Phase 90 (’74 Script CSP101SL). In tracks like “Race with Devil on Spanish Highway,” this phasing effect emphasizes the sense of speed, highlighting the jazz-rock drive.

In his modern setup, he has constructed an organized pedalboard centered around the GigRig G2 Switching System, allowing for efficient switching between multiple effects. For volume control, he employs the Hilton Pro Volume Pedal, enabling real-time dynamic adjustments.

For distortion, he uses the Fulltone OCD and Xotic EP Booster. These pedals, when combined with Marshall and Fuchs amplifiers, create a more dimensional and punchy lead tone. The Xotic SP Compressor is used to maintain uniform sustain while ensuring that fast phrases remain clear and distinct.

Spatial effects are also vital, with the MXR Carbon Copy Analog Delay, Skreddy Echo, Way Huge Echo Puss, and Neunaber Wet Reverb being utilized. For some tracks, a Roland Space Echo (assumed) is set to around 165ms delay time, contributing to the three-dimensional sound in “Race with Devil on Spanish Highway.”

Reverb is managed with TC Electronic Hall of Fame and Lexicon 200 Digital Reverb, while chorus effects are created with Diamond Halo Chorus and TC Electronic Chorus for added depth. Taurus Zebu Delay/Reverb and Octaver are also incorporated, playing significant roles in blending synth guitars and nylon strings.

Additionally, guitar synths and modeling systems like Roland GR-30 and VG-88 have been integrated, allowing for the reproduction of acoustic and symphonic tones on the guitar. This versatility supports the complex arrangements of Return to Forever while enabling world-music-inspired expressions in his solo career.

Thus, Al Di Meola’s pedalboard has evolved over time, transitioning from the simple setups of the Return to Forever era to the complex configurations of modern multi-effects and switching systems. All choices are made to adapt to his musicality, and it is assumed that there are mixed confirmations regarding specific details.

Tone Settings, EQ, and Mixing Approaches

Al Di Meola’s sound design goes beyond merely supporting his technical prowess as a speed guitarist; it emphasizes how he asserts his presence within a band ensemble. Collaborating with virtuosos like Chick Corea (keyboards), Stanley Clarke (bass), and Lenny White (drums) in Return to Forever required him to ensure that his guitar sound remained distinct while harmonizing musically.

His basic EQ settings focus on “emphasizing the midrange” and “clarifying the high frequencies.” Since the Les Paul inherently has strong low-end, he boosts the mid and high frequencies through amplifiers and pedals, allowing his fast picking to project clearly. For instance, when using the Marshall 50W JMP, he often kept the bass around 4-5, the mid at 7-8, and the treble around 6. This configuration ensures that the clarity of his fast playing is preserved and that his tone does not get buried in the overall band mix.

In recent years, using the Fuchs Overdrive Supreme 100, he has adopted a more modern EQ approach, utilizing channel switching to distinctly separate rhythm and lead tones. For clean tones, he slightly reduces the midrange to achieve an expansive, acoustic-like quality, while for lead tones, he pushes the midrange forward and adds sparkle to the highs. This allows him to control tonal variations according to the song’s dynamics.

The settings for delay and reverb are also crucial. In “Race with Devil on Spanish Highway,” he applies a short delay of around 165ms to enhance the clarity of his fast playing while adding spatial depth. The analog delay (MXR Carbon Copy) is set with minimal feedback to keep the echoes concise. Conversely, in solo concerts or world-music-oriented tracks, he utilizes Neunaber Wet Reverb and Lexicon 200 to create a deep hall-like ambiance.

His handling of compression is adept, using the Xotic SP Compressor lightly to even out the attack, ensuring that volume differences do not detract from fast passages. Particularly in acoustic duo performances like “Mediterranean Sundance,” he applies stronger compression to unify the notes while using reverb to create a sense of space, allowing a single guitar to convey orchestral richness.

In studio recordings, the PA and engineer’s processing play significant roles. In mixing, he pans the guitar slightly left and right to create a three-dimensional space between the keyboard and bass. He boosts the 2-4kHz range in the EQ to enhance the attack while slightly cutting the low-end to avoid clashing with the bass. Additionally, adjusting the presence range on the console contributes to achieving an elegant and sharp final sound.

Al Di Meola’s sound design is not about “playing flat” but rather about “which frequencies to yield to which instruments and which to bring forward.” While he is often seen as a speed guitarist, his meticulous balance and PA-like approach are the essence of his artistry, supporting the complex sound ensemble of Return to Forever.

Affordable Alternatives to Recreate the Tone

While Al Di Meola’s sound is supported by high-end gear and skilled techniques, beginners and intermediates can still recreate a “Di Meola-like” tone at a relatively affordable price. The key points are “compression that maintains clarity in fast playing,” “overdrive that emphasizes midrange,” and “delay and reverb that expand the sound space.” Below are recommended gear options for each of these elements.

For overdrive, the BOSS SD-1 Super OverDrive is an ideal choice. It can replicate the midrange push characteristic of Di Meola’s Marshall tones, and its price is reasonable. It allows for clear attack even during fast playing.

For a boost and overdrive function, the BOSS BD-2 Blues Driver is also a contender. When used with a lower distortion setting, it can approach the “punchy clean tone” reminiscent of Fuchs or Dumble.

For compression, the BOSS CS-3 Compression Sustainer is effective. Similar to Di Meola’s use of the Xotic SP Compressor, it helps to even out the attack and maintain clarity in fast phrases. Simply incorporating this pedal can significantly enhance the clarity of your playing.

For spatial effects, the BOSS DD-8 Digital Delay is versatile. Setting it to around 165ms can easily recreate the three-dimensional feel of “Race with Devil on Spanish Highway.” Additionally, utilizing the analog mode or tape echo mode can yield textures similar to the MXR Carbon Copy or Roland Space Echo.

For reverb, the BOSS RV-6 Reverb is recommended. Adding a light hall reverb can create the depth characteristic of Di Meola’s sound. If focusing on an acoustic setup, utilizing the “Shimmer” mode can also be effective.

If you prefer a one-stop solution, consider compact multi-effects units like the Line 6 HX Stomp or BOSS GT-1000CORE. These devices come equipped with high-quality amp simulators and spatial effects, allowing you to digitally approach the tones of Fuchs and Mesa/Boogie.

Furthermore, if you want to capture the nuances of acoustic or electric nylon-string guitars, combining them with Yamaha NTX series nylon-string guitars and the aforementioned effects can evoke the atmosphere of “Mediterranean Sundance.”

The key is to focus on “settings that enhance the midrange” and “compression that maintains clarity in your playing.” By keeping this in mind, you can achieve a sound reminiscent of Di Meola’s artistry with gear in a more accessible price range.

Summary and Conclusion

Reflecting on Al Di Meola’s sound design, its essence can be distilled into the “clarity that supports virtuosity” and the “distinct presence that blends into the overall music.” His philosophy, which has persisted since the Return to Forever era, emphasizes not merely showcasing speed but selecting guitars, amplifiers, and effects to create the necessary textures for the music.

The combination of his mainstay, the 1971 Gibson Les Paul Custom, and the Marshall JMP, symbolizes the “sharp guitar tone” in the fusion scene. As he expanded into gear from Fuchs, Mesa/Boogie, PRS, and Conde Hermanos, his consistent approach has been to “optimize for the musical style.”

On the effects side, he has evolved from simple pedals like the MXR Phase 90 and analog delays to advanced systems like the GigRig G2 and Roland VG-88. All these are used to “enhance his performance,” ensuring that the effects themselves do not overshadow the music. Ultimately, the goal of sound design is to make the performance resonate clearly.

For readers aiming to achieve a Di Meola-like sound, understanding the “design philosophy of tone” is more crucial than simply acquiring gear. Specifically, the following three points are essential:

• Utilize midrange to create a tone that stands out within the ensemble.
• Employ compression and EQ to maintain clarity in fast playing.
• Use spatial effects effectively to enhance the overall atmosphere of the music.

To resonate within a virtuoso group like Return to Forever, it is necessary to discern “the coordinates of sound” rather than merely increasing volume. This involves being mindful of frequencies that do not clash with bass and keyboards, sometimes holding back and other times breaking through. This sense of balance is what makes his music unique.

Ultimately, the essence of Al Di Meola’s sound design lies not in “speed” but in “the aesthetics of sound.” No matter how complex the phrases, they resonate pleasantly with listeners. This is supported by his careful selection of gear and tonal design, which has remained a constant throughout both his work with Return to Forever and his solo career. As readers apply this philosophy to their own playing, it is crucial to keep this mindset in focus.