[Neal Schon] How to Recreate the Journey Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Neal Schon, the iconic guitarist of Journey, has been a defining figure in American rock since the 1970s. His guitar sound is characterized by its “melodic and soaring” qualities, “crying tone,” and “sustain-rich leads,” which have supported Journey’s unique blend of pop rock and hard rock.

In particular, songs like “Don’t Stop Believin’,” “Separate Ways,” and “Lights” showcase Neal Schon’s beautiful tone, marked by simple yet emotional phrases and powerful sustain. His rhythm guitar work seamlessly switches between clean and crunchy tones, thrilling audiences with improvisational solos during live performances.

One reason his sound garners attention is the “fusion of guitar and gear.” With distinctive guitars primarily from Gibson and PRS, combined with Marshall and EVH amplifiers, he creates a classic yet modern rock sound. Additionally, his incorporation of cutting-edge modeling gear like the Fractal Axe-Fx highlights his continuous evolution alongside the times.

Furthermore, Neal Schon utilizes guitar synthesizers and a variety of effects, allowing him to adapt to everything from grand ballads to intense rock. For guitarists aspiring to recreate the “Journey sound,” studying his gear and sound design is an essential path.

This article will delve into the amplifiers, guitars, and effects used by Neal Schon over the years, exploring how that distinctive sound is achieved. We will also introduce “affordable alternative gear” that beginners can use to emulate his tone, so stay tuned!

▶ Search official YouTube videos of Journey

List of Amplifiers and Features

Neal Schon’s choice of amplifiers has evolved over the years, significantly influencing his sound. In the late 1970s to early 1980s, he primarily used Marshall JCM800 and 1959SLP amplifiers, delivering a powerful hard rock tone. Notably, tracks like “Separate Ways” and “Stone in Love” feature the thick distortion characteristic of Marshall amps.

From the late 1980s, he began incorporating Roland Jazz Chorus models (JC-120 and JC-160), which added a beautiful sound with transparent cleans enhanced by chorus effects. This clean tone is evident in ballads like “Faithfully” and “Lights,” providing a spacious quality.

In the 1990s, Schon adopted rack systems and preamps (Marshall JMP-1, Marshall EL-34 100/100) to ensure stable tones in the studio. The 2000s saw the introduction of modern high-gain amplifiers like Diezel VH-4 and Blackstar Series One 100.

Since the 2010s, he has primarily used the EVH 5150 III S EL34, maintaining a classic Marshall-like tone while achieving a modern, thick drive. He also incorporates Friedman Brown Eye and PRS Archon for live performances, pursuing a more contemporary and cutting-edge distortion. Additionally, the Fractal Audio Axe-Fx III allows him to flexibly use amp simulations alongside real amplifiers.

Moreover, the choice of cabinets is crucial. Using Marshall 4×12, Blackstar 4×12, and Meyersound Powered Cabs, he ensures full-range output and line output from Fractal, enhancing stability from a PA perspective and ensuring sound consistency during tours.

In summary, Neal Schon’s amplifier journey has evolved from “the powerful lineage of Marshall” to “the transparency of Roland JC,” and further to “the fusion of modern high-gain and digital.” As evidenced in live footage and recordings, he consistently seeks a “soaring and melodic lead tone,” adapting his amplifier choices to suit the times.

Types of Guitars Used and Features

When discussing Neal Schon’s sound, one cannot overlook the variety of guitars he has favored over the years. From his Santana days to the formation of Journey and into recent activities, he has utilized various guitars that suit different eras. His mainstays have long been centered around Gibson Les Paul and PRS, while he has also employed Fender Stratocasters and guitar synthesizer models for specific tracks, showcasing a wide range of versatility that supports his musical expression.

In the early days of Journey, he used the Gibson Les Paul Custom (3PU) and Les Paul Pro Deluxe. Modified versions (featuring Floyd Rose and P-90 plus humbucker) allowed him to achieve a powerful and unique tone. During his Santana era, he played the Gibson Les Paul Goldtop, which he later modified to a dual-humbucker configuration, indicating his proactive approach to guitar modifications from early on.

Post-1980s, Schon began to transition to guitars he designed himself and sought more diverse expressions through PRS. Notably, the PRS Neal Schon NS-15 Signature and NS-14 became his main guitars, featuring lightweight bodies, semi-hollow construction, and custom pickups that deliver a one-of-a-kind tone. Since around 2014, he has been touring primarily with this PRS signature model, using D’Addario .009–.042 gauge strings, and switching to a .046 for drop tuning.

He is also known for using Fender Stratocasters for specific songs. A prominent example is the 60s-style Strat used in the music video and live performances of “Lights,” which has been modified to HSH or SSH configurations, along with custom shop relic models. These guitars feature reverse bridge pickups and reverse heads, providing bright high-end tones and a unique attack. Backup models like the Michael Landau Strat have also been spotted on stage.

Additionally, he has utilized guitar synthesizer models like the Roland G-505 and GS-500 in the 70s and 80s, and more recently, the BOSS EURUS GS-1. These allow him to produce not only traditional rock guitar sounds but also synth-like leads and pad sounds, adding a grand dimension to the band’s sound.

Japanese-made models like the ARIA PE and Burny RLC-85 have also been part of his history, and there are models designed by Schon himself, showcasing his ongoing exploration of guitar sounds. Overall, Neal Schon has adeptly utilized “the thickness of Les Pauls,” “the modern balance of PRS,” “the brilliance of Stratocasters,” and “the expansiveness of synthesizers” to support the Journey sound.

Effects and Pedalboard Setup

Neal Schon’s pedalboard has undergone significant changes over the years. In the 70s and 80s, it was relatively simple, primarily featuring wah and overdrive pedals. However, from the 90s onward, he actively incorporated rack systems and digital multi-effects, culminating in a hybrid board that integrates both digital and analog elements centered around the Fractal Axe-Fx.

In the early days, he often combined Dunlop Crybaby wah pedals with the Boss SD-1 Super Overdrive, creating a classic setup. Schon emphasizes sustain in his leads, often using Boss CS-1/CS-3 (compressor/sustainer) alongside Fernandes Sustainer-equipped guitars to achieve infinite sustain.

In the 80s, he utilized echo effects like the Roland RE-301 Chorus Echo and Boss RE-202 Space Echo, emphasizing expansive spatial sounds. He also introduced fuzz effects such as the Electro-Harmonix Big Muff Pi (Germanium version) and Fuzz Face, adding a unique thickness to his lead tones.

From the 90s onward, he adopted rack and multi-effects units like Eventide Eclipse and TC Electronic G-System, utilizing complex delays and modulation. This era also saw the active use of EQ (Boss GE-6/GE-7) and Xotic RC/AC Boosters for fine-tuning his tone.

In the 2000s, he focused on the Fractal Audio Axe-Fx II/III and FM9, building a large MIDI-controlled system in conjunction with MFC-101 and RJM Amp Gizmo. This setup allows for instant switching of settings for each song during live performances, ensuring both reproducibility and flexibility. For classic tracks like “Don’t Stop Believin’” and “Separate Ways,” he meticulously adjusts reverb and delay settings to faithfully recreate the original tones live.

Moreover, in recent years, he has utilized the Roland Fantom XR + GI-20 for synth control and the Boss RC-50 Loop Station to expand his solo performances and improvisational playing style. This enables him to construct entire pieces with just one guitar. Overall, Neal Schon’s effects history has evolved from “classic distortion + wah” to “rack-based spatial processing,” and finally to “digital integrated systems.”

Tone Settings, EQ, and Mixing Approaches

Neal Schon’s sound design goes beyond a simple “Les Paul + Marshall” concept; it is completed through meticulous EQ and effect adjustments tailored to each song. Here, we will discuss amplifier settings, EQ, effects usage, and mixing techniques in detail.

Starting with amplifier settings, his basic sound balances “thick, soaring lead tones” with “brilliant cleans.” When using Marshall JCM800 or EVH 5150 III, he typically sets the gain around 5-6, avoiding excessive distortion to retain the nuances of his picking. He emphasizes midrange (around 6-7) while keeping presence moderate, achieving a smooth lead tone that is not piercing. The bass is usually set around 4-5 to prevent excessive low-end that could interfere with the overall mix.

For clean tones, he leverages the transparent character of the Roland Jazz Chorus, setting treble around 5 and bass around 4. A light chorus adds depth to the spatial quality, creating dramatic sounds like those in “Faithfully” and “Lights.” Live, he has developed a system that allows for instant switching between clean and lead tones using amp channel switching and A/B boxes.

Effect settings, particularly for delay and reverb, are crucial. For lead solos, he typically sets a delay time of around 400-450ms, with 2-3 repeats to ensure the sound resonates without becoming muddled. Reverb is chosen from plate or hall types, set to a moderate depth to balance grandeur and definition.

Moreover, mixing techniques are essential. Neal Schon’s guitar occupies a “presence right after the vocals” position in Journey’s sound, so engineers must ensure the guitar frequencies are well represented. Specifically, they slightly boost the 2kHz-4kHz range to blend with the vocals while maintaining clarity. Conversely, low-end frequencies (below 100Hz) are suppressed to avoid clashing with the bass and kick drum.

During live performances, he utilizes the Fractal Axe-Fx and multi-effects to switch presets for each song, closely replicating studio tones. For instance, in the intro of “Don’t Stop Believin’,” he combines chorus with crunch, while in “Separate Ways,” he switches to a distortion that emphasizes midrange.

Additionally, he uses sustainers and compressors to artificially enhance the sustain of lead tones. This is particularly effective for long bends and slides in ballads, supporting his signature “crying guitar” style.

In summary, Neal Schon’s sound design is characterized by “soaring leads that highlight midrange,” “transparent cleans,” and “meticulously designed spatial processing for each song,” all optimized with consideration for the overall band mix.

Affordable Alternatives to Recreate the Tone

To fully replicate Neal Schon’s grand and melodic sound, one might think expensive guitars, amplifiers, and complex rack systems are necessary. However, there are ways for beginners and intermediate players to achieve a similar tone at a relatively low cost. Here, we will focus on gear priced around $100 to $1,000, explaining “why similar sounds can be created.”

Starting with amplifiers, the thick midrange-driven drive sound characteristic of Neal Schon is fundamental. Therefore, modeling amplifiers like the Marshall Code series or BOSS Katana series are recommended. These provide affordable simulations of Marshall and EVH-style distortion, with built-in EQ and effects, making it easy for beginners to create a suitable environment.

For guitars, Les Paul types are the most effective for recreating the desired vibe. The Epiphone Les Paul Standard is an affordable option that allows players to achieve a “sticky sustain” similar to Schon’s. The PRS SE series also offers a tone balance reminiscent of his signature models, making it a viable choice for those seeking modern nuances.

In terms of effects, overdrive, delay, and reverb are essential. The BOSS SD-1 is a classic overdrive pedal that pairs excellently with Marshall amps, enabling players to create a clear and punchy distortion akin to Schon’s sound. For delay, the BOSS DD-8 or TC Electronic Flashback offer great cost-performance, allowing for settings around 400ms to recreate lead tones reminiscent of “Don’t Stop Believin’.” The BOSS RV-6 is a versatile reverb pedal that easily provides plate and hall reverb suitable for ballads.

Furthermore, to recreate the “sustain” that Neal Schon emphasizes in live performances affordably, the Electro-Harmonix Freeze or BOSS CS-3 compressor can be effective. Combining these will yield long, sustaining lead tones and thick cleans.

For a comprehensive cost-effective solution, multi-effects units like the Line 6 HX Stomp or Zoom G5n are also excellent options. These cover everything from amp simulations to spatial effects, allowing players to experience Neal Schon’s diverse sound design easily.

In conclusion, the key to achieving Neal Schon’s sound lies in three elements: “Les Paul-style guitars,” “Marshall-style amplifiers,” and “overdrive plus spatial effects.” Even without expensive signature models, it is possible to recreate the essence of his tone using the aforementioned beginner to intermediate gear.

Summary and Conclusion

In reviewing Neal Schon’s sound design, it becomes clear that its essence lies in “constructing a band sound centered around melodic leads.” His guitar transcends mere accompaniment or riffs, embodying a presence akin to “another vocalist” that dramatically colors the entire song. Particularly in iconic tracks like “Don’t Stop Believin’,” “Separate Ways,” and “Lights,” his soaring and lyrical lead tones continue to captivate listeners.

The source of his sound stems from the thick, sticky tones of Les Pauls and PRS signature models, midrange-focused distortion from Marshall and EVH amplifiers, and the spatial effects created by delay and reverb. Moreover, he has consistently updated his gear over the years, actively incorporating the transparent cleans of the Roland Jazz Chorus and the digital processing capabilities of the Fractal Axe-Fx. This “fusion of classical and modern” is at the core of his sound design.

Additionally, Neal Schon has a particular obsession with “sustain.” By utilizing sustainer-equipped guitars and compressors, he supports the emotional expression of long bends and sustained notes, establishing a style that powerfully communicates feelings to the listener. This approach goes beyond mere gear selection; it represents a strategic effort to maximize musical expressiveness.

Overall, to recreate Neal Schon’s sound, it is crucial to focus on “midrange-rich distortion,” “brilliant cleans,” and “meticulously set spatial effects.” Even without expensive signature models or rack systems, one can achieve a close approximation of his tone using the aforementioned beginner to intermediate gear. Furthermore, in practice and live performance, adopting a mindset of “playing with a soaring, singing quality” will bring one’s sound closer to the essence of Neal Schon.

Finally, it is essential to emphasize that Neal Schon’s sound design places greater value on “how to play” rather than “the gear itself.” Elements like playing style, picking dynamics, and the construction of phrases contribute to making the Journey sound unique. By referencing the gear while honing one’s expressiveness, one can truly approach his sound.