Hallo guitar fans. This month I am presenting JamUp XT Pro iOS app developed by Positive Grid. This is not only one of the best guitar amp simulators out there in my own opinion, it is much more than that. JamUp XT review by Daddo Oreskovich Some time ago, with the appearance of the first iOS apps for guitarists, iPad, iPod, or iPhone were merely a tool for great practice, warm-up or hotel room jam. Android is still not even close to iOS because of its latency issue. I remember almost two years ago when I bought my audio interface. I downloaded free AmpliTube app and I was amazed with an opportunity to practice virtually anywhere without harassing my neighbors with Progressive Metal and Rock music by turning my amp and the full gear on 🙂 The sounds were decent and the app served its purpose ->to be used as a practice tool.

Wipedrive 5 Serial more. After I found out about JamUp, honestly, I thought this is just one of the many variations of the same thing. I was so wrong 🙂 It is not only the perfect practice tool, it is truly every guitarist’s “ Swiss army knife” app. All magazines like: MacWorld, Guitar World, Guitar Player, Guitarist and Premier Guitar were reviewing the app with high appraisals, introducing the best seen symbiosis of Apple iOS and actual musical instrument.

Joe Satriani Discography [1984. 2 Little Wing 3 Rockin' in the Free World Check. Rent Movies and TV Shows on DVD and Blu-ray. Make your movie list and get Blu-rays and DVDs conveniently delivered to you with free shipping. Download our app.

What is JamUp? It is guitar amp and FX simulator, multi track recording device, loop/phrase sampler, guitar tuner and professional backing track player with tempo and pitch tweak possibility. What makes possible using this app live is ability of pairing with a third party MIDI controller pedals. Amp simulators Virtually almost every amp is emulated here; Fender, Marshall, Messa Boogie, Orange, Peavy, Laney are just to name a few. Regardless of what version of JamUp you downloaded (free or pro version), all additional amps and stomp boxes can be obtained through the “in app purchase”. There are 3 categories of amps: acoustic, electric and bass guitar amps.

Stomp boxes There are 6 stomp box groups in JamUp: • nosie gate FX • modulation FX (chorus, flanger, wah, phaser) • reverb FX • delay FX • EQ • Compression and overdrive/distortion group All effects and amps can be moved in the signal chain order. For example, you can drag the Tube Screamer stomp to be the first in the signal chain, Noise Gate on the last spot, etc like the “real-world” pedalboard. All parameters are very easy and straightforward. Just use your imagination and tailor to your taste. All settings can be configured as a “patch”. There are 4×16 patch slots including factory presets. Each slot and patch name can be renamed of course.

Jam Player Jam player is professional grade audio file player. You can import your favorite guitar backing tracks and regulate their tempo and speed. This comes very handy if you have string lock on your guitar and the backing track is half step down for instance. Just raise the pitch parameter half step up to “ 1 o’clock” and you can jam without retuning your instrument. This is also great aid for singers. Not every male singer has a vocal range of David Coverdale or Bruce Dickinson, so backing track pitch comes very handy ->great karaoke player as well 🙂 If you are “ one-man-band “, it is great to control both your guitar sound and backing track in the same app, without a need for a separate CD/Karaoke player.

Both volumes (guitar and backing track) are controlled separately. Phrase sampler Let’s say you are on a guitar clinic or you have your guitar solo section on the gig. You can record and loop a phrase, and then play over it. You can also load a drum loop from your iPod library and jam with it and also save it for later exploit. Loop and instrument levels are controlled separately. 8-track recorder One of the best tools in JamUp.

I use it frequently when filming lessons for Live4guitar. I record video on the HD camcorder, I play backing track on iPad and record live guitar track on iPad. This eliminates dragging the computer to the best spot in my apartment for video recording. Lets say you have your ProTools or any DAW session. You can export each track and the drums stem, and import into 8-track recorder for better control. You can also copy audio file from another app such as Garage Band as well.

You can also record your guitar or bass in another app on the same iDevice using “ Audio Bus” app. I briefly explain it how in the review video.

Many, many possibilities and options. This is why I claim JamUp to be the “ Swiss Army Knife” music app. Tone/Patch sharing This is one of the unique features in JamUp. You can share your patches on-line with JamUp community.

People can like or comment your patch. I am truly honored to be chosen by Positive Grid as their featured artist. You can download and jam with my signature “ Preset Pack“. More about my Preset Pack in this video: Using JamUp live There are vast possibilities of connecting your guitar to JamUp and your iDevice to your pedal board. I am using Griffin pedal controller with JamUp.

You can configure 4 different stomp switches from the app. This controller also has an expression pedal input, so you can control volume and Cry Baby wah. At the time of this writing, Positive Grid is developing emulation of Digitech Whammy so stay tuned for that one 🙂 There are many different third party external MIDI pedals that can be used with JamUp. For complete list visit In the next video, I’m showing my Griffin controller and talking about my hybrid pedalboard in details. The Verdict I am giving JamUp 10/10 points. This is universal “ guitar Swiss army knife app” for every guitarist and bassist.

It can very astoundingly emulate all vintage amps and stomp effects. It can be used for making music, recording and sharing the ideas and patches. It can be used as a source of recording in other apps via “ Audio Bus” app, so you can use JamUp sounds in Apple Garage Band for instance. With third party MIDI controllers, it can be used live on stage.

What else one needs? It’s all in there, in iOS app called JamUp XT.

Download free version and see it for yourself. Here is direct iTunes link: (by in 08. Hughes & Kettner’s Tubemeister has a few new tube heads. The 5 watt mini amp, the 18 and 36 watt.

I was impressed of the feature set and huge sound of the 5 watt. The Tubemeister 36, with 36 watts of output and three channels, offers considerably more features in a compact package that’s only about twice the size of the Tubemeister 5. The Tubemeister 36 may still qualify as a mini amp, but the only things small about it are its physical dimensions and affordable price. It offers versatility, performance and functions that aren’t available on many three-channel amps nearly four times its size. FEATURES The Tubemeister 36 is a stylish amp head featuring chrome handles on its sides and a clear Plexiglas faceplate that lets you see the transformers and glowing tubes inside. The interior is also illuminated with cool blue LEDs when the amp is powered up.

Four EL84 tubes drive the power amp section to provide 36 watts of output, while three 12AX7 tubes drive the preamp section. To keep the size as small as possible, the Tubemeister 36 features onboard digital reverb instead of a bulky spring reverb tank. The reverb is also programed to sound full and lush with clean tones and become less pronounced with crunch and distortion tones to avoid the smeared mush that often occurs when using reverb with high-gain sounds. The front panel is logically laid out.

It has separate gain and master volume controls for the Clean, Crunch and Lead channels, three-band EQ (treble, mid, bass) controls for the Clean channel, and three-band EQ controls that are shared by the Crunch and Lead channels. Each channel has its own push-button selector switch, although you can also switch channels with an optional footswitch controller or via MIDI. The rear panel reveals most of the Tubemeister 36’s “secret” weapons, which include its Power Soak feature, Red Box DI output and TSC (Tube Safety Control) self-adjusting bias feature. The Power Soak reduces power to 18 watts, five watts or one watt and provides a speaker-off setting that allows guitarists to use the head without an external speaker cabinet or load box.

The Power Soak is also MIDI programmable, allowing users to program different settings for each channel (such as 36 watts for the Clean channel for maximum clean headroom, 18 watts for the Crunch channel to produce full-bodied power amp overdrive and five watts for the Lead channel to generate singing sustain at lower volumes). Up to 128 different combinations can be saved.

The Red Box is an XLR DI output with 4×12 speaker emulation for sending the preamp and power amp tone to a mixing console or recorder. The TSC automatically adjusts optimum bias, and rear-panel LEDs indicate if the power tubes are malfunctioning. A MIDI input lets guitarists use an external MIDI controller to switch channels, reverb, effect loop and Power Soak settings, and a MIDI Learn switch makes it easy to assign amp settings to a program-change number. The seven-pin MIDI connector also provides up to 20 volts of direct current for powering a MIDI controller without an external power supply.

PERFORMANCE I thought the Tubemeister 5 sounded huge, but the Tubemeister 36 sounds absolutely colossal, especially when connected to a 4×12 cabinet. Like most Hughes & Kettner amps, it has its own sonic personality, so you’ll want to try a variety of cabinets to find the best match.

With 1×12 cabinets, the amp sounded best through speakers with scooped midrange characteristics, as the Tubemeister 36’s inherent midrange is quite pronounced and assertive. I use it with the Carvin Legacy 2 x 12 speaker cabinet. The Clean channel offers more than ample undistorted headroom, and it can generate lush, gorgeous tones with the reverb dialed in. The Crunch and Lead channels deliver plenty of supersaturated gain and sustain, but if you prefer muscular power amp thump you can get that even at low volume levels thanks to the Power Soak. Don’t let the Tubemeister 36’s small size and 36-watt output fool you—this is a truly gigworthy amp that’s more than loud enough for the stage. And if you need more volume you can feed its glorious tone to the house PA via its impressive Red Box DI. THE BOTTOM LINE The Hughes & Kettner Tubemeister 36 may be a mini amp head, but it provides outstanding tones, versatile professional features and distinctive innovations that many full-size amps don’t offer.

Product Description Inspired by Steve Vai, Ibanez has created another excellent playing guitar which is the Universe UV70P. Featuring DiMarzio pickups for great tone and jumbo frets on a Wizard 7 neck, the UV70P Universe guitar has easy playability and an awe-inspiring tone.

The iconic Steve Vai has influenced guitar players all over the world and now the UV70P Universe is designed to break boundaries. Specs – Neck: Wizard-7 5pc Maple/Walnut with KTS TITANIUM rods – Body: American Basswood – Frets: Jumbo with Premium fret edge treatment – Fretboard: Rosewood – Inlay: Green dot – Bridge: Edge-Zero II-7 – Hardware: Cosmo black – Pickups: DiMarzio Blaze. One of the best wah these days is the Gig FX Megawah. Not only a wah, but it has also five other features. Product Description The Gig FX Megawah is much more than great-sounding classic wah.

You can adjust the gain, resonance peak, bass response and trigger sensitivity to produce the ultimate in wah sounds. And with two independent channels, you can run your signal in stereo for one-of-a-kind wah sounds.

The Megawah is Six Wah’s plus a volume pedal – Classic Wah: The original analog classic Wah sound, mono or STEREO in a lightweight, noise-free optically controlled package – Mega-Wah: Gig FX took the classsic wah and put it on steroids. Tons more OOOMPH on the bass frequencies and a tooth-rattling upper end – Trig-Wah: The Mega-Wah sound triggered by a note.

Sounds awesomely funky – Auto-wah: Auto-wah: Why buy a pedal wah, envelope filter and auto-wah? Thispedal does them all – Stereo-Wah: Two circuits give twice the Wah and can be used in a stereo effects train – Stereo-Reverse-Wah: Flick a switch and reverse one channel for a neat melodic effect – Foot-volume control: At the flick of another switch, the pedal becomes a foot volume control Fed up with trying to master the wah pedal? Turn it on auto-wah and set the tempo as you wish. Don’t want to be limited by tempo and want every note to be wah’d? Set it to trig-wah and every note will trigger a wah so you can fire your synth player. Then you can switch it to become a volume pedal.

Keep pressing and it adds up to 3dB of clean gain. Even the cleanest amp will start to rip and burn (with no loss of frequency response that distortion pedals give). Bored with all that? Hook it up in stereo and switch to reverse the wah on one sideCHECK IT OUT.

This is no ordinary wah. It is the ultimate in wah and volume / gain pedal technology. For the most extreme wah tone ever, plug the output of the left channel into the input of the right channel and hear the most extreme wah sounds on the planet. How it works The Megawah has two entirely independent Wah circuits in one package giving stereo in, stereo out capability. The effect also will accept a mono input signal automatically provide a stereo output. If the pedal is stepped on and rocked from the off position (all the way back), the optical linkage will automatically and noiselessly turn the unit on and then provide the classic wah or wah of choice as pedal is pressed down. The resonance control allows adjustment of the peak value of the wah determining how much wah range the pedal provides.

The gain control allows control over how much gain the pedal provides to allow soloing at higher volume levels. (Author: zZounds).

Stipt op tijd klinkt vanaf een donker podium de AC/DC-hit “Highway to hell” in een bluegrass (!) uitvoering als Joe Bonnamassa het podium opkomt. Zoals altijd strak in het (Armani) pak, voorzien van zonnebril en met gitaar in de hand. Helemaal klaar voor het platspelen van de Heineken Music Hall. De eerste nummers worden akoestisch en sober uitgevoerd met alleen conga’s en een honky-tonk-piano als begeleiding. Bij elke nieuw nummer wordt hem een andere gitaar aangereikt, de een nog mooier dan de ander.

Hij verzamelt ze ook, inmiddels heeft hij er honderden. Niet zo verwonderlijk als je bedenkt dat Bonamassa praktisch opgroeide tussen de gitaren in de muziekwinkel van zijn vader. Op jonge leeftijd kreeg hij les van blueslegende BB King waarmee hij ook toerde. Bij het zesde ‘unplugged’ nummer (Woke up Dreaming) breekt hij een snaar en wordt het tijd voor het elektrische vuurwerk en verschijnt de voltallige band op het podium.

De geweldige band komt meteen goed uit de startblokken met een stomende uitvoering van ‘Slow Train’ gevolgd door ‘Dust Bowl’. Met elk nummer toont Bonamassa zijn klasse, iedere toon is raak en wordt strak uitgevoerd. Hij kan zijn gitaar de ene keer laten klinken als een viool en het andere moment als een grommend monster. Zijn gitaargeluid komt uit een ‘muur’ van Marshall-buizen versterkers. Perfectionist Bonamassa maakt er geen geheim van dat hij voor een ‘vet’ gitaargeluid kiest voor de ouderwetse analoge versterker. Zijn fenomenale gitaartechniek komt goed tot z’n recht als hij op de Gibson Les Paul een subtiele uitvoering van ‘You better Stop’ ten gehore brengt als eerbewijs aan die andere gitaarheld, Gary Moore.

Het hele concert kent weinig stiltes en het tempo ligt hoog. Bonamassa’s medemuzikanten schakelen soepel over van blue-grass via Lousianablues naar stampende bluesrock. Waarbij de bandleden om de beurt een hoofdrol opeisen. Drummer Tal Bergman is de virtuoze clown van de band. Met zijn baard en lange haar geeft hij een imitatie weg van Animal, de drummer uit de Muppetshow.

Toetsenman Arlan Schierbaum gaat even helemaal ‘los’ met een minutenlange solo op het Hammondorgel, tot groot genoegen van het enthousiaste publiek. Tussen al dat geweld staat de 60 (!)-jarige bassist Carmine Rojas als een rots in de branding. Na twee uur onafgebroken gitaargeweld bedankt Joe Bonamassa het publiek “Thank you Amsterdam, you where great” en verdwijnt van het podium. Voor het, vooral oudere (50+) publiek het sein om massaal te gaan staan. Het hoeft maar kort het vertrouwde “we want more” te scanderen of Joe en zijn band komen het podium weer op. Voor een dampende bluesrock-finale waarbij Bonamassa voor het eerst zijn zonnebril afzet en met een gelukzalige grijns op zijn gezicht de laatst blueslick de zaal inslingert. Ibanez, “The First in Seven, The Leader in Eight” have introduced what some may consider to be a 7-string guitar of flagship stature.

The new JEM 747 is the latest product of the guitar-builder’s long term collaboration with axe master Steve Vai. The JEM 747 ($4,399.99 List) sports a 5-pc maple/wenge JEM-7 Prestige neck featuring Vai’s trademark “Tree-Of-Lif” inlay, made from Pearl Abalone Vine. And among its many other high-end appointments, 7-string fans are particularly fond of this guitar’s DiMarzio Blaze pickups, designed to leverage the 747’s low-end power without allowing the lower-mid to turn to “sludge,” instead providing a well-defined sonic shape. Specs:- White finish – 5pc maple/wenge JEM-7 Prestige – Alder body – Jumbo frets – Rosewood fretboard – Pearl Abalone Vine inlay – Lo-Pro Edge 7 bridge – DiMarzio Blaze neck pu – DiMarzio Blaze neck pu – DiMarzio Blaze bridge pu – Hard shell case includedList: $4,399.99. After waiting for years, Fender decided to honor the work of Ritchie Blackmore; The Fender Stratocaster 1968; a real beauty. The Fender Custom Shop is introducing a replica of Richtie Blackmore’s black Fender Stratocaster, the instrument on which he gave birth to Deep Purple’s legendary “Smoke on the Water” riff. This 2013 limited edition guitar is reportedly as close as it gets to the original used by Blackmore during the early 70s and specifically on Purple’s best selling album Machine Head.

The Fender Custom Shop Ritchie Blackmore Tribute Stratocaster features a lightly worn urethane finished two piece alder body, a 7.25” radius maple fingerboard on a ’69 U-shaped rounded neck and of course medium jumbo frets. Fender guru Abigail Ybarra took personally care of the ’69 custom make hand –wound pickups which are controlled via a three way switch. Other details of the Blackmore Tribune Strat include the typical ¼” tremolo arm (which I’m sure only Ritchie himself would manage to break), Schaller tuners and Micarta nut, rear headstock tribute decal and a certificate of authenticity. Sometimes, just when it seems all styles and techniques for guitar-playing have been exhausted, an album comes along that changes perceptions about what a player can achieve with the instrument. Below are 10 albums that broke new ground for rock guitar and spawned legions of disciples. Please chime in with your own choices in the comments section.

Blow By Blow (Jeff Beck, 1975) Probably no one was more surprised than Jeff Beck when Blow By Blow struck gold with the record-buying public in 1975. The all-instrumental disc, rightly regarded today as a classic, fused rock, jazz and funk in ways that had never been done before, with Beck offering up a dizzying array of interlaced solos, crisp rhythm playing and subtly shaded tones.

The album helped pave the way for future virtuosic efforts by the likes of Joe Satriani and Steve Vai. The album cover art, which featured a painting of Beck playing his beloved 1954 Les Paul “Oxblood,” was a nice touch as well. Are Your Experienced (Jimi Hendrix, 1967) No one unleashed the possibilities of the electric guitar in the way Jimi Hendrix did. Taking blues and jazz as his springboard, Hendrix used controlled feedback and six-string poetry to create music that was luminously organic and technically dazzling. Jeff Beck, Eric Clapton and Pete Townshend all recall being mesmerized by the sounds Hendrix elicited from his guitar when they saw him perform in London. Van Halen (Van Halen, 1978) Much like Hendrix had done a decade earlier, Eddie Van Halen opened new doors for rock guitar with this seminal album. Blessed with (and having developed) exquisite technical skills, the six-string maestro employed a trove of newfangled techniques to wrestle amazing sounds from his instrument.

Moreover, the whole notion of the shredder might never have gained a foothold were it not for this groundbreaking effort. Paranoid (Black Sabbath, 1970) The term “heavy metal” had already been coined by the time Black Sabbath made Paranoid, but never before had a band painted with such minor-key colors. Rife with thunderous bass lines, sledgehammer percussion, and, most significantly, some of the most menacing guitar riffs ever committed to tape, the album burst open the doors for bands to explore the darker side of riff-driven rock.

“Iron Man,” “War Pigs” and the title track established a new type of music, one that guitarists as varied as Kurt Cobain and Kirk Hammett later drew upon. Led Zeppelin (Led Zeppelin, 1969) By assimilating the blues into deftly-crafted hard-rock arrangements, Led Zeppelin gave heavy metal a sophistication it had never had before. With dazzling versatility, Jimmy Page moved easily between psychedelic blues, big-scale folk balladry and thunderous rock and roll. Small wonder that, after hearing this album, guitarists everywhere aspired to write bigger and better riffs, making the ‘70s one of the best decades for memorable guitar hooks. King of the Delta Blues Singers (Robert Johnson, 1961) The history of rock guitar would look altogether different were it not for the brilliant recordings of Robert Johnson.

Eric Clapton, Jimmy Page and Keith Richards are among those who have cited Johnson’s guitar work as a seminal influence, with Richards praising Johnson’s intricate arrangements as being “like Bach.” Clapton once described Johnson’s music as “the most powerful cry that I think you can find in the human voice.” After School Session (Chuck Berry, 1957) It’s no exaggeration to say Chuck Berry was the architect of rock guitar. Utilizing the simplest of ingredients – double-stop riffs, memorable intros and well-place slurs and bends – Berry came up with boundless six-string permutations. “If you want to play rock and roll – or any upbeat number – you end up playing like Chuck,” Eric Clapton noted, in the 1987 documentary film, Hail! Rock ‘n’ Roll.

“There is very little other choice. He’s really laid down the law.” Surfing with the Alien (Joe Satriani, 1989) Along with Van Halen’s debut, this pioneering album set the standard for guitar-playing as rock moved into the ‘90s. Satriani’s technical skills dazzled, but he was always more concerned with uplifting the composition at-hand rather than simply being flashy, or stroking his ego. “I was blessed that [ Surfing with the Alien] was the album people took note of, because I really liked that album, and it had a positive vibe to it,” he later told M – Music & Musicians. “That record was totally the truth.” At Fillmore East (The Allman Brothers Band 1971) A tour de force of southern-based blues rock, this live set forged a template from which future jam bands could draw. Fresh from a star-making turn as second guitarist for Eric Clapton, Duane Allman teamed with Dickey Betts to craft beautifully tangled solos that combined blues rapture with the improvisational ethos of jazz. In a 2001 interview, former Allman Brothers manager Phil Walden rightly proclaimed At Fillmore East “one of the foundation albums of modern music.” Boston (Boston, 1976) A pie in the face of the disco crowd, Boston’s debut album reasserted the power of guitar-rock as a commercial force.

It also showcased the role effects-gear could play in creating some of the most wondrous sounds ever wrestled from a six-string. “I was basically a dork who hit the books and liked to build things,” mastermind guitarist Tom Scholz later told Guitar World. “We stumbled onto a sound that worked, and soon everybody was imitating it.” Source: www.gibson.com – Russell Hall. Joseph “Satch” Satriani (born July 15, 1956 in Westbury, New York) is an American multi-instrumentalist, known as an instrumental rock guitarist, who has been nominated for Grammy Awards. Early in his career, Satriani worked as a guitar instructor, and some of his former students have achieved fame with their guitar skills.

Satriani has been a driving force behind other musicians throughout his career, as a founder of the ever-changing touring trio, G3, as well as performing in temporary positions with other musicians. In 1988, Satriani was recruited by the The Rolling Stones’ Mick Jagger as lead guitarist for the singer’s second solo tour.

Later, in 1994, Satriani was the lead guitarist for Deep Purple. Satriani worked with a range of guitarists from many musical genres, including Steve Vai, John Petrucci, Eric Johnson, Larry LaLonde, Yngwie Malmsteen, Brian May, Patrick Rondat, Andy Timmons, Paul Gilbert, Adrian Legg, and Robert Fripp through the annual G3 Jam Concerts. He is heavily influenced by blues-rock guitar icons such as Jimi Hendrix, Eric Clapton, Jimmy Page and Jeff Beck, possessing, however, his own easily recognizable style. Since 1988, Satriani has been using his own signature guitar, the Ibanez JS Series, which is widely sold in stores.

He has a signature series amplifier, the Peavey JSX, and a signature Vox distortion pedal, the Satchurator. He is currently the lead guitarist for the supergroup Chickenfoot. Life and career Satriani playing in Chile, 2003 Satriani was inspired to play guitar at 14 soon after learning of the death of Jimi Hendrix. He has been said to have heard the news during a football training session, where he confronted his coach and announced that he was quitting to become a guitarist. 1970s In 1974, Satriani studied music with jazz guitarist Billy Bauer and with reclusive jazz pianist Lennie Tristano. The technically demanding Tristano greatly influenced Satriani’s playing.

Satriani began teaching guitar, with his most notable student at the time being fellow Long Island native Steve Vai. While he was Vai’s teacher, he was attending Five Towns College for studies in music.

In 1978 Satriani moved to Berkeley, California to pursue a music career, and Vai moved on to study at the Berklee School of Music, soon after graduating becoming a high profile guitarist first with Frank Zappa, and after, other bands. Not long after Satriani arrived in California, he resumed teaching. His students included Kirk Hammett of Metallica, David Bryson of Counting Crows, Kevin Cadogan from Third Eye Blind, Larry LaLonde of Primus / Possessed, Alex Skolnick of Testament, Rick Hunolt (ex-Exodus), Phil Kettner of L??z Rockit, Geoff Tyson of T-Ride, and Charlie Hunter. 1980s When his friend and former student Steve Vai gained fame playing with David Lee Roth in 1986, Vai raved about Satriani in several interviews with guitar magazines. Guitar World Magazine In 1987, Satriani’s second album Surfing with the Alien produced popular radio hits and was the first all-instrumental release to chart so highly in many years.

In 1988 Satriani helped produce the EP The Eyes of Horror for the death metal band Possessed. In 1989, Satriani released the album Flying in a Blue Dream. The album sold well. “One Big Rush” was featured on the soundtrack to the Cameron Crowe movie Say Anything. “The Forgotten Part II” was featured on a Labatt Blue commercial in Canada in 1993.

“Big Bad Moon”, one of Satriani’s few songs to feature his vocals, was a minor hit in late 1989. 1990s In 1992, Satriani released The Extremist, his most critically acclaimed and commercially successful album to date. Radio stations across the country were quick to pick up on “Summer Song”, while “Cryin'”, “Friends” and the title track were regional hits. In late 1993, Satriani joined Deep Purple as a temporary replacement for departed guitarist Ritchie Blackmore during the band’s Japanese tour. The concerts were a success, and Satriani was asked to join the band permanently but he declined, having just signed a multi-album solo deal with Sony, so Steve Morse took the guitarist slot in Deep Purple.

G3 Satriani with G3 in Milan, 2004 In 1996, he founded the G3, a concert tour intended to feature a power trio consisting of three instrumental rock guitarists. The original lineup featured Satriani, Vai, and Eric Johnson. The G3 (tour) has continued periodically since its inaugural version, where Satriani is the only permanent member, featuring differing second and third members.

Other guitarists who have performed in such a G3 configuration include among others: Steve Vai, Eric Johnson, Yngwie Malmsteen, John Petrucci, Kenny Wayne Shepherd, Robert Fripp, Andy Timmons, Uli Jon Roth, Michael Schenker, Adrian Legg and Paul Gilbert. In 1998 Satriani recorded and released Crystal Planet, which went back to a sound more reminiscent of his late ’80s work. Planet was followed up with Engines of Creation, one of his more experimental works featuring the ‘Electronica’ genre of music. During the subsequent tour, a pair of shows at the Fillmore in San Francisco were recorded in December 2000 and released as Live in San Francisco, a two-disc live album and DVD.

Satriani, Steve Vai, and John Petrucci, as G3 Melbourne, 2006 Photo Mandy Hall 2000 and beyond Over the next several years, Satriani regularly recorded and released evolving music, including Strange Beautiful Music in 2002 and Is There Love in Space? In 2006 Satriani recorded and released Super Colossal and Satriani Live!, another two-disc live album and DVD recorded May 3, 2006 at the Grove in Anaheim, CA. On August 7, 2007 Epic/Legacy Recordings re-released Surfing with the Alien to celebrate the 20th anniversary of its release.

This was a two-disc set that includes a remastered album and a DVD of a previously never-before-seen live show filmed at the Montreux Jazz Festival in 1988. Satriani’s newest album, titled Professor Satchafunkilus and the Musterion of Rock, was released on April 1, 2008.

Controversy This article’s Criticism or Controversy section(s) may mean the article does not present a neutral point of view of the subject. It may be better to integrate the material in such sections into the article as a whole. (September 2009) On December 4, 2008 Satriani filed a copyright infringement suit against Coldplay in the United States District Court for the Central District of California. Satriani asserts that the Coldplay song “Viva la Vida” includes “substantial original portions” of the Satriani song “If I Could Fly” from his 2004 album, Is There Love in Space? The Coldplay song in question received two Grammy Awards for “Song of the Year.” Coldplay has denied the allegation, which has resulted in further legal action from Satriani.

The case has since been settled out of court. Other work Joe Satriani with Stu Hamm in concert, Rijnhal, Arnhem (June 12, 2008) Satriani is also credited on many other albums, including guitar duties on Alice Cooper’s 1991 album Hey Stoopid, Spinal Tap’s 1992 album Break Like the Wind, Blue?yster Cult’s 1988 album Imaginos, band members Stu Hamm and Gregg Bissonette’s solo albums. Interestingly, he was credited with singing background vocals on the 1986 debut album by Crowded House. In 2003, he played lead guitar on The Yardbirds’s CD release Birdland. In 2006 he made appearances on tracks for Deep Purple vocalist Ian Gillan’s solo CD/DVD dual disc Gillan’s Inn. On Dream Theater’s 2007 album, Systematic Chaos, Satriani contributed spoken lyrics to the song “Repentance”. Satriani contributed a guitar solo to Jordan Rudess’ 2004 solo release Rhythm of Time.

He is featured in the Christopher Guest film, For Your Consideration, as the guitarist in the band that played for the late-night show. Ine Multicast Deep Dive Download Firefox on this page. Chickenfoot Main article: Chickenfoot (band) It was revealed on May 29, 2008 that Satriani is involved in a new hard rock band called Chickenfoot with former Van Halen members Sammy Hagar and Michael Anthony, and Red Hot Chili Peppers drummer Chad Smith. The band features Hagar on vocals, Satriani on guitar, Anthony on bass and Smith on drums. Their debut album was released on June 5, 2009. The first single and video released from this album is the track “Oh Yeah”, which was also played on the Tonight Show With Conan O’Brien on June 5, 2009. Satriani received a writing credit on each of the songs featured on the band’s self-titled debut album.

Technique and influence Satriani is recognized as a technically advanced rock guitarist, and has been described as a virtuoso. By some publications. He has mastered many performance techniques on the instrument, including legato, two-handed tapping and arpeggio tapping, volume swells, harmonics, and extreme whammy bar effects. One of his trademark compositional traits is the use of pitch axis theory, which he applies with a variety of modes. During fast passages, Joe favors a legato technique (achieved primarily through hammer-ons and pull-offs) which yields smooth and flowing runs.

He is also adept at other speed-related techniques such as speed picking (a rapid form of alternate picking) and sweep picking, but does not often use them. Satriani has received 15 Grammy nominations and has sold more than 10 million albums worldwide. Many of his fans and friends call him “Satch,” short for “Satriani”. An influential guitarist himself, Satriani has many influences, including jazz guitarists Django Reinhardt, Wes Montgomery, Allan Holdsworth and Charlie Christian, and rock guitarists Jimi Hendrix and Ritchie Blackmore. Equipment Satriani has endorsed Ibanez’s JS Series guitars, and Peavey’s JSX amplifier. Both lines were designed specifically as signature products for Satriani.

The Ibanez JS100 was based on and replaced the Ibanez 540 Radius model which Satriani first endorsed. However, Satriani uses a variety of gear. Many of his guitars are made by Ibanez, including the JS1000, and JS1200. These guitars typically feature the DiMarzio PAF Pro (which he used up until 1993 in both the neck and bridge positions), the DiMarzio Fred (which he used in the bridge position from 1993 to 2005), and the Mo’ Joe and the Paf Joe (which he uses in the bridge and neck positions, respectively, from 2005 to present day). The JS line of guitars is his signature line, and they feature the Edge Pro, which is Ibanez’s exclusive vibrato system, although he’s always used the Original Edge unit on his guitars. The guitar with which he was most often associated during the nineties was a chrome-finished guitar nicknamed “Chrome Boy” (this instrument can be seen on the Live in San Francisco DVD). However, the guitar used for most of the concert was in fact a lookalike nicknamed “Pearly”, which featured Seymour Duncan Pearly Gates pickups.

Satriani uses a number of other JS models such as the JS double neck model, JS700 (primary axe on the self-titled CD and seen on the 1995 tour “Joe Satriani”, which features a fixed bridge, P-90 pickups, and a matching mahogany body and neck), JS600 (natural body), JS1 (the original JS model), JS2000 (fixed bridge model), a variety of JS100s, JS1000s and JS1200s with custom paint work, and a large amount of prototype JSs. All double locking bridges have been the original Edge tremolo, not the newer models, which point to a more custom guitar than the “off the shelf” models. Joe played a red 7-string JS model, seen in the “G3 Live in Tokyo” DVD from 2005.He also has a prototype 24-fret version of the JS which he has used with Chickenfoot. Satriani and the band Satriani has used a wide variety of guitar amps over the years, using Marshall Amplification for his main amplifier (notably the limited edition blue coloured 6100 LM model) up until 2001, and his Peavey signature series amps, the Peavey JSX, thereafter.

The JSX began life as a prototype Peavey XXX and developed into the Joe Satriani signature Peavey model, now available for purchase in retail stores. Joe Satriani has used other amplifiers over the years in the studio, however. Those include the Peavey 5150 (used to record the song ‘Crystal Planet’), Cornford, and the Mesa/Boogie Mark IIC+ (used to record the song ‘Flying in a Blue Dream’), amongst others. His effects pedals include the Vox wah, Dunlop Cry Baby wah, RMC Wizard Wah, Digitech Whammy, BK Butler Tube Driver, BOSS DS-1, BOSS CH-1, BOSS CE-2, BOSS DD-2 and a standard BOSS DD-3 (used together to emulate reverb effects), BOSS BF-3, BOSS OC-2, Barber Burn Drive Unit, Fulltone Deja Vibe, Fulltone Ultimate Octave, and Electro-Harmonix POG (Polyphonic Octave Generator), the latter being featured prominently on the title cut to his 2006 Super Colossal. Satriani has partnered with Planet Waves to create a signature line of guitar picks and guitar straps featuring his sketch art. Although Satriani endorses the JSX, he has used many amps in the studio when recording, including the Peavey Classic.

He used Marshall heads and cabinets, including live, prior to his Peavey endorsement. Most recently Satriani used the JSX head through a Palmer Speaker Simulator.

Joe Satriani has also released a Class-A 5-watt tube amp called the “Mini Colossal”. He is currently working with Vox on his own line of signature effects pedals designed to deliver Satriani’s trademark tone plus a wide range of new sounds for guitarists of all playing styles and ability levels. The first being a signature distortion pedal titled the “Satchurator”, and recently, the “Time Machine” which will be a delay pedal, with more to follow in 2008, including a wah pedal called the “Big Bad Wah”. Recurring themes Satriani’s work frequently makes references to various science fiction stories and ideas. “Surfing with the Alien”, “Back to Shalla-Bal” and “The Power Cosmic 2000” refer to the comic book character Silver Surfer, while “Ice 9” refers to the secret government ice weapon in Kurt Vonnegut’s Cat’s Cradle. “Borg Sex” is a reference to Star Trek, which features a homogeneous cybernetic race known as the Borg.

His albums and songs often have other-worldly titles, such as Not of this Earth, Crystal Planet, Is There Love in Space?, and Engines of Creation. On the album Super Colossal the song titled “Crowd Chant” was originally called “Party on the Enterprise”.

“Party on the Enterprise” featured sampled sounds from the Starship Enterprise from the Star Trek TV show. But as Satriani explained in a podcast, legal issues regarding the samples could not be resolved and he was unable to get permission to use them.

Satriani then removed the sounds from the song and called it “Crowd Chant.” “Redshift Riders”, another song on the Super Colossal album, is “based on the idea that in the future, when people can travel throughout space, they will theoretically take advantage of the cosmological redshift effect so they can be swung around large planetary objects and get across universe a lot faster than normal,” Satriani said in a podcast about the song. On the album Professor Satchafunkilus and the Musterion of Rock the song “I Just Wanna Rock”, is about a giant robot on the run who happens upon a rock concert. Philanthropy In 2006, Satriani signed on as an official supporter of Little Kids Rock, a non-profit organization that provides free musical instruments and instruction to children in underserved public schools throughout the U.S.A. Satriani has personally delivered instruments to children in the program through a charity raffle for the organization and, in common with Steve Vai, sits on its board of directors as an honorary member. Awards and nominations Nominations Satriani has the most Grammy Award nominations of any artist (15) without winning.

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