• Any rigs free available for Satriani sounds ? Prefer the Surfing with the Alien era. Any guidance is greatly appreciated. Sorry I’m a new Kemper user. The patches and presets are known as Rigs in the Kemper world I think. Just getting used to the jargon. Thanks, Ben

  • For reference, here's what he used on the title track:

    “I was using that Black Boogie Strat into a very early Chandler Tube Driver. I had three or four of them at the time, and I would go right into an early-'70s Marshall 100-watt head, into a 4x12, and that's how we pretty much did that particular song. And we just made adjustments to the amount of distortion that was generated from the Chandler Tube Driver.

    I hadn't plugged in a wah-wah pedal in five or six years. And I'm leaving my apartment and I'm looking around like, ‘Shall I bring something else?’

    “When we went to do the melody, there's a funny story with that. We were looking for a sound, and the day that I was leaving to go into the studio, I hadn't plugged in a wah-wah pedal in five or six years. And I'm leaving my apartment and I'm looking around like, ‘Shall I bring something else?’ And there's the dusty wah-wah pedal in the corner and I just looked at it and I thought, ‘Maybe I should bring that. Maybe that's what I need.’

    “I got to the studio, I remember I said, ‘I've got this wah-wah pedal.’ And John looked at me like, ‘You haven't played a wah-wah pedal since I've known you.’ But I said, ‘Well, let's just try it.’ So I plugged that into the Tube Driver and that's going into the Marshall, and then we said, ‘We need something else.’ So he goes, ‘Well, we've got this Eventide 949 [Harmonizer] here.’ And John dials up that weird stereo sound where it was like a straight signal on the left and I think on the right it was like minus 11 cents or something like that.

    “We had 20 minutes left of the session that afternoon at Studio C in Hyde Street, and we were so excited with the sound, we did this one big pass from the beginning all the way to the end while people were standing at the door, the client with their arms folded looking at us like, ‘Stop playing guitar and get out of our studio. We've got four o'clock.’

    For Ice 9:

    “On that one, I'm using a Boss DS-1 and the overdrive, OD-1, I think. I'm playing my ’60s P-Bass, but I think that's where the rhythm guitars are the DS-1, so they're a bit crunchier. For the solos, I believe it's a Rockman [headphone amp], and we just used one channel of the Rockman and put it up on the middle, flat and dry. I mean, that's about as dry as I've ever recorded. Simple legato technique and just crazy all over the place.

    Satch Boogie:

    “That’s the Kramer into a DS-1 into the Marshall 100-watt. The main head of the song John used a shotgun mic, and then when the solos come in, we use a 57 right up against the grille cloth - that's why it becomes more in your face.


    “But that's what I did. So I played my black Boogie Strat direct into a mic preamp, right to the tape machine and then we used some sort of stereo chorus and some beautiful reverb, and I recorded all the pieces. I used a little Casio CZ-101 to record the flute, if you can believe it.

    “We used a [Roland] JC-120 for almost all of Echo. John had a very clever way of recording the JC-120 with six different microphones, an [AKG] C12A and this and that, and using the DS-1. It was just really interesting how we got a lot of mileage out of that amp. It was the perfect antidote to the Marshall stack or the little Silverface Pro Reverb or Princeton that was there that we used for a lot of the album, too.

    That should get you started. Based on some other things I've read, Boss DS-1 into a clean Marshall 6100 is the core tone.


  • They're great Satch recordings from that era....

    Formula = big frets, big mid-range hum bucker, Floyd + plenty of swagger.

    Big Marshall with the delay up in your face is pretty well all you need amp-wise

  • I appreciate all the reply’s but I’m still looking. I’ve tried the RM but came up empty. Does anyone know of a website the perhaps sells profiles?


    When you say you "came up empty", does that mean you didn't find any Satriani tones or you didn't find any that you LIKED? What are you using to listen back to auditioned tones? Headphones? Studio Monitors? FRFR setup? Traditional guitar cabs? These all have impact on whether what you hear is what the profile was meant to capture and play back.