We found that leaving this feature intact ate into the patch’s memory just a little too much for such little payoff, so we leave that addition to you and your favorite delay. Our Soft Focus is not an exact recreation but was exhaustively compared with our own FX500 the difference is that a fairly generic fixed-time digital delay is present on the Soft Focus patch. All controls are "coupled" to the tone of the reverb to give users an expansive playing field of sounds to discover and fine tune.
#JOE BONAMASSA SHRED VIDEO MOD#
The Mod knob controls the rate of the chorus on path one, and the Symphony knob controls the level of the octave on path two. One path contains a “symphonic” chorus modulator, another features a well-appointed octave-up mixed in with the reverb, and the third path leaves the reverb untouched. At its heart, the Soft Focus is a heavily modified plate reverb with adjustable time, which is subsequently split into three. The original unit had a very plug-and-play approach, offering no mix control, a sub-par preamp and a ghastly tone-sucking bypass signal. With its roots in that patch, the Catalinbread Soft Focus is intended to be an instant shoegaze button, while addressing the most glaring issues of the original unit.
#JOE BONAMASSA SHRED VIDEO PATCH#
The Soft Focus patch on the Yamaha FX500 was widely used in the ‘90s by early shoegaze bands, most notably Slowdive on Souvlaki.
From there, the signal goes to the Dunlop Bonamassa Fuzz Face, Way Huge Pork Loin, original Ibanez Tube Screamer (his primary effect for gain), MXR Micro Flanger, and MXR FET Driver, with the Boss DD-3 and Hughes & Kettner Rotosphere in the loop of the Marshall JCM 2000s. The acoustics go into a Vintech X73i compressor and preamp.īonamassa's pedalboard starts with his signature Dunlop Cry Baby wah into a Fulltone Supa-Trem into a Dave Friedman splitter. The plexiglass in front is his signature ClearSonic amp shield to keep the stage volume under control. The amps go through four '68 Marshall cabs with original Celestion Greenbacks. However, he switched back to that combination midway through the show.
When we caught up with him, Joe was testing out the Suhr in lieu of the Marshall/Diaz, which was having noise issues in the venue. He keeps a second 50-watt Marshall, a Suhr SL68, and a Friedman Dirty Shirley prototype onhand just in case. He'd been using one 50-watt vintage Marshall with a Diaz Vibramaster for reverb on the inside cabs, and a Marshall JCM 2000 Dual Super Lead (not pictured, facing reverse) on the clean channel with no EQ for the outside cabs (with delay and rotary effects in the loop). 011–.052 strings with fairly high action-which he's used to from touring extensively-and Herco gold Dunlop Jazz III picks.īonamassa's amp lineup is ever-changing depending upon the night. Runt is a ’60 that once had a Gibson Amps decal on the body, hence the dark marks, and has a slimmer neck than you would see on a ’59.īonamassa uses. Other tweaks include additional thumbscrews under the bridge and the tuners swapped to replicas from Martin Six String Customs for stability.
Skinner (purchased from the Skinner Auction House) is a ’59 that Joe had refretted by Joe Glaser. Spot is a ’59 that’s been refretted and had a Bigsby that was removed in the ’80s. He was traveling with three of his six original golden-era Gibson Les Pauls: Spot (left) Principle Skinner (middle) and Runt (right).
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For acoustics, he has four Alvarez WY1 models with his preferred electronics that came stock in the model, and a Gibson Songwriter as a backup. Among them is a Gibson Joe Bonamassa signature ES-335, a cherry '64 Gibson ES-335, '63 Gibson non-trem Firebird (given to Joe by a fan), '66 Gibson Firebird I, a Historic Makeover Les Paul replicating Paul Kossoff's stripped '59 LP, a Collector's Choice Historic Les Paul modeled after Bonamassa's '60 Les Paul with Bigsby, Ernie Ball Music Man Dark Morse, Historic Makeover Les Paul goldtop with Bigsby, Ernie Ball Music Man baritone/standard doubleneck, and three '59-'60 Gibson Les Paul Sunbursts. Premier Guitar's Rebecca Dirks is on location in Rockford, IL, where she catches up with Joe Bonamassa's tech Mike Hickey who details Bonamassa's current solo rig.īonamassa brings along an arsenal of guitars that includes both vintage and modern models.
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