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

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Introduction (Overview of Tone)

Aerosmith’s iconic guitarist, Joe Perry, has captivated rock fans worldwide with his unique sound rooted in blues rock since the 1970s. His tone is characterized by a blend of “roughness with smoothness” and “the presence of riffs.” Notable tracks like “Walk This Way” and “Sweet Emotion” showcase his ability to infuse simple phrases with overwhelming groove and nuanced distortion, creating a one-of-a-kind guitar sound.

Perry is also renowned for his slide guitar skills, utilizing distinctive guitars like the Ampeg Dan Armstrong and Supro Ozark to reflect a strong blues influence in Aerosmith’s sound. His live performances often feature a “multi-amp setup,” where he simultaneously uses multiple amplifiers, such as Marshall and Hiwatt, to create a thick and three-dimensional soundscape.

In terms of effects, he skillfully employs devices like the Klon Centaur and Ibanez TS9 to craft a drive sound with a strong midrange presence. By adeptly using wah and delay effects, he creates rich tonal variations for different songs.

What draws attention to Joe Perry’s sound is not just flashy techniques but a style that allows “the tone itself to speak.” His equipment choices and playing style are essential in supporting Aerosmith’s robust groove.

In the following sections, we will delve into the amplifiers, guitars, and effects that Joe Perry has used, as well as how to recreate his sound.

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List of Amplifiers and Features

Joe Perry’s amplifier setup for Aerosmith is characterized by a “multi-amp configuration” that combines classic rock staples like Marshall with unique gear from Fender, Hiwatt, and Ampeg. The centerpiece of his high-gain sound since the 1980s is the Marshall JCM800. This amp, with its raw yet midrange-emphasized tone, is essential for expressing Aerosmith’s hard rock elements.

Additionally, he employs vintage models such as the Marshall Plexi 1959 and Marshall Major 200W to recreate the thick sound of classic rock on stage. The Marshall JTM-45 reissue serves as a backup, delivering a vintage-like crunch tone.

For bluesy tones or cleaner sounds, Perry combines Fender Vibroverb and Vibrolux combo amps, which provide a warm crunch. Historical records indicate that he used Ampeg V-2 and Ampeg V-4 during the 1970s, which are closely associated with the tones of “Walk This Way” and “Sweet Emotion.”

In recent years, to achieve a wider range of sounds on stage, he has incorporated the EVH 5150 Combo and Dave Friedman Dirty Shirley. The Morris “Mo-Joe” Custom Amp, designed specifically for him, has also been confirmed for live use.

Furthermore, he utilizes the Jet City JCA20H as a dedicated amp for driving his talk box, showcasing a unique approach to amp settings tailored for specific songs. It is assumed that sound engineers employ multiple miking techniques during live performances to construct Joe Perry’s distinctive three-dimensional sound.

Types of Guitars Used and Features

When discussing Joe Perry’s appeal, his guitar collection is indispensable. He skillfully switches between classic Les Pauls and uniquely modified guitars, selecting the optimal tone for each song.

One of his signature guitars is the Gibson Joe Perry Signature “Boneyard” Les Paul, which features a green tiger pattern and occasionally includes a Bigsby. This model frequently appears in live performances. In the 1990s, he used the original signature model, the Gibson Joe Perry “Translucent Blackburst”, which was customized with a mid-boost circuit to create a heavy sound of that era.

Another iconic guitar is the white Gibson B.B. King “Lucille” modified (Billie), named after his wife. This model, based on Lucille, has been uniquely modified and is a long-time favorite on stage. It embodies Joe Perry’s identity as a guitarist.

Among his unique choices is the transparent acrylic-bodied Ampeg Dan Armstrong, which serves as a slide and open tuning guitar, producing a smoky tone. The 10-string B.C. Rich Bich “Ruby Slipper” was used in “Livin’ on the Edge,” supporting its thick sound.

Perry also employs several Gretsch guitars, including the Duo Jet ’57, used in “Dude (Looks Like a Lady),” and the White Falcon, gifted to him by Fred Gretsch Jr., which achieves a dazzling tone. Early on, he used the Gibson Les Paul Junior (P-90) to support the rhythm guitar in “Walk This Way.”

In recent years, he has incorporated custom shop Fender Stratocasters (including the Burnt Strat) and a range of Telecasters (including B-Bender models), as well as vintage Supro Ozark guitars specifically for slide playing. Unique models from Echopark (Ghetto Bird, Blue Rose, etc.) have also been confirmed for both live and studio use.

Through this diverse selection, Joe Perry has created a distinct tone by blending traditional Gibson sounds with experimental guitars. His meticulous approach to choosing the right guitar for each song contributes to the richness of his sound.

Effects and Pedalboard Setup

Joe Perry’s pedalboard is constructed around a simple yet effective “boost + wah + delay” setup, typical of rock guitarists. He particularly favors drive pedals like the Ibanez TS9 Tube Screamer and Klon Centaur/KTR, allowing him to control the character of his distortion. The TS9 is almost always on, emphasizing the midrange, while the Centaur serves to add gain during solos.

Additionally, he is known to stack gain with the Boss BD-2 Blues Driver, emphasizing a bluesy and rough distortion in certain songs. He also utilizes the MXR Micro Boost (Micro Amp) and Strymon Compadre for volume adjustments and compression, showcasing a practical setup for live performances.

For spatial effects, he has consistently used the TC Electronic Flashback Delay and Hall of Fame Reverb. He also incorporates analog delays like the MXR Carbon Copy and Electro-Harmonix Deluxe Memory Man to add thickness to solos and lead phrases. The slapback delay is frequently employed, fitting well with Joe Perry’s bluesy tone.

As for modulation, the TC Electronic Vortex Flanger is set lightly, adding depth to the overall sound. The Dunlop JH-1/JH-1B Wah is commonly seen in live performances, especially during solos in tracks like “Sweet Emotion.”

For special effects, he has introduced the DigiTech Whammy, which can be operated with a remote controller. To complement vintage tones, the SoloDallas Schaffer Replica is used as a boost/preamp before the amp. His rack system incorporates RJM Music Mastermind and Bradshaw switchers, while the Radial Headbone is used for amp switching, ensuring flexibility on stage.

Overall, Joe Perry’s effects board is fundamentally simple but allows for the addition of diverse pedals to “switch tones for different scenes.” His raw blues-rock tone is supported by this thoughtful selection and usage of pedals.

Tone Settings, EQ, and Mixing Approaches

Joe Perry’s sound design is influenced not only by the combination of guitars and amplifiers but also by settings, EQ, and mixing processes in the studio and live settings. Aerosmith’s music has undergone a wide range of sound changes from the 1970s to the present, but the core design emphasizes “highlighting the midrange and bringing riffs to the forefront.”

When setting up the amp, particularly with the Marshall JCM800 and Plexi models, the gain is typically kept at 6-7 rather than full, relying on boosters (TS9 or Klon Centaur) to push the mids. This approach maintains roughness while ensuring that the sound cuts through during solos. The tone control is adjusted to slightly raise the treble (6-7) while keeping the bass moderate (around 4), and adding presence to achieve a clear tone on stage.

In contrast, when using clean amps like the Fender Vibroverb or Deluxe, Perry operates just at the edge of crunch. The distortion varies with picking dynamics, allowing for a strong blues nuance. During this, a light application of a compressor (like the Strymon Compadre) is assumed to ensure sustain and volume stability.

For slide guitar, he uses the Ampeg Dan Armstrong and Supro Ozark in open tunings (mainly Open-A or Open-E), with EQ settings that slightly cut the lows to avoid muddiness. By bringing the mid-high frequencies forward, the unique sound of the slide resonates clearly in the mix.

Spatial effects are often set with MXR Carbon Copy or Deluxe Memory Man using slapback delay (delay time of 100-150ms, 1-2 repeats). This tightens the rhythm and emphasizes the groove of blues rock. For lead solos, the Flashback Delay is set around 400ms, with light reverb (Hall of Fame) added for depth.

The wah pedal (Dunlop JH-1B) is primarily used for EQ purposes, often emphasizing specific frequency bands for filtering effects. In tracks like “Sweet Emotion” and “Draw the Line,” the depth of the pedal is controlled to add expression from backing to lead.

In studio mixes, Joe Perry’s guitar is often placed near the center rather than spread wide. This approach emphasizes the interplay with Steven Tyler’s vocals, ensuring the guitar has thickness while EQ separates rhythm and lead. For instance, the rhythm guitar may have frequencies around 250Hz-400Hz lightly cut, while the lead is boosted around 2kHz-4kHz, ensuring frequency separation.

During live mixes, the Radial Headbone is used for quick switching between Marshall and Fender tones. This is blended with multiple miking (like SM57 and ribbon mics) to achieve thickness and depth. Especially in large arenas, it is assumed that low frequencies are reinforced through the PA, while the amp sound on stage is tuned to emphasize mids, balancing the overall sound.

Overall, Joe Perry’s sound design does not rely heavily on effects but instead emphasizes the inherent character of the amp and guitar. His EQ and mixing techniques achieve a “thick and cutting” sound, which is the essence of his sound design.

Affordable Alternatives to Recreate the Tone

While Joe Perry’s sound is built around high-end vintage Gibsons and Marshalls, it is indeed possible for beginners and intermediate players to recreate his tone at a relatively affordable price. Here, we will introduce alternative gear around the 50,000 yen mark and explain how each can approximate Joe Perry’s sound.

For the drive section, a great alternative to the Ibanez TS9 Tube Screamer is the BOSS SD-1 Super OverDrive. The SD-1 has a characteristic of lifting the midrange, which, when combined with Marshall amps, can create a crunchy tone reminiscent of Perry’s. If you’re looking for a solo boost, the recently popular JHS Bonsai is also a viable option.

While the legendary Klon Centaur is hard to obtain, its most famous alternative is the Electro-Harmonix Soul Food. This affordable pedal possesses Klon-like boost characteristics, allowing you to recreate the “push” that Joe Perry excels at.

For spatial effects, BOSS DD-8 Digital Delay and NUX Analog Delay are effective and budget-friendly alternatives to the MXR Carbon Copy. By setting a shorter delay time, you can easily replicate slapback or add thickness to solos. For reverb, the BOSS RV-6 is versatile enough to serve as a substitute for the Hall of Fame Reverb.

Regarding amplifiers, while authentic Marshall Plexi or JCM800 models are expensive, you can get closer to the sound with the Marshall DSL20CR or BOSS Katana series. The Katana, in particular, is versatile for both home practice and live performances, making it easy to achieve Joe Perry’s rock tone when paired with TS-style pedals.

For guitars, you don’t need high-end models; the Epiphone Les Paul Standard or Epiphone Les Paul Junior offers excellent cost performance. Choosing a simple P-90 model can help you recreate the choppy riffs of “Walk This Way.” If you’re looking for a dedicated slide guitar, affordable options like the Gretsch Electromatic Duo Jet or Epiphone Casino Coupe are also available.

By combining these alternative pieces of gear, you can approximate Joe Perry’s essential sound of “midrange-driven distortion,” “blues rock groove,” and “presence in slide playing” at a relatively low budget.

Summary and Conclusion

Reflecting on Joe Perry’s sound design, its essence can be summarized as “the rawness of rock based on blues” and “expressiveness through diverse equipment choices.” From Gibson Les Pauls and semi-hollows to Fender Strats and Telecasters, as well as unique instruments like the Ampeg Dan Armstrong and Echopark, he has consistently pursued the optimal sound for each song across different eras.

His amplifier setup, primarily featuring Marshall and complemented by Fender and Ampeg, employs a multi-amp configuration that simultaneously achieves a “thick” and “cutting” sound, showcasing Joe Perry’s unique presence both on stage and in the studio. His effects are not overly flashy; instead, they focus on core boosters like the TS9 and Klon, with wah and delay added as needed for a simple yet effective configuration.

The characteristics of his sound lie not just in the strength of distortion but in the careful consideration of “which frequency bands to emphasize” through EQ and mixing. He highlights midrange in riffs and extends high frequencies in solos, clearly defining the role of the guitar throughout the song. By actively incorporating slide guitar and special tunings, he creates a rich array of nuances within the blues rock framework, which is quintessentially Joe Perry.

For readers looking to recreate Joe Perry’s sound, it’s essential to understand his “philosophy of selection” rather than merely acquiring expensive gear. This means using boosters to refine the amp’s rawness, emphasizing a bluesy feel, and strategically placing slide and spatial effects for each scene. By following this approach, you can achieve a sound reminiscent of Joe Perry with your existing equipment.

Aerosmith remains one of the world’s leading rock bands, and Joe Perry’s guitar sound continues to influence rock guitarists across generations. Understanding his sound design is not just about learning gear but also about touching the essence of rock guitar.

Whether you’re a guitarist practicing at home or a player supporting a band live, there is much to learn from Joe Perry’s sound design. His raw yet calculated approach, combined with a simple yet profound tone, represents the “heart of Aerosmith,” resonating rock music for over half a century.