GuitarDistortedSolo80% confidence
The Forgotten, Pt. 2 Solo Guitar Tone Settings — Joe Satriani
Joe Satriani · 1980s · rock
studio
Original Recording
Guitar
Ibanez JS1 (Joe Satriani Signature, likely Chrome Boy or JS1 model, as used on 'Flying in a Blue Dream')
Pickups
DiMarzio FRED (bridge), DiMarzio PAF Pro (neck), both humbuckers
Amp
Fender Silverface Pro Reverb
Pickup Position
Bridge pickup (DiMarzio FRED)
Studio recording, 1989. Satriani confirmed use of a Silverface Fender Pro Reverb with a Boss DS-1 Distortion pedal for the 'Flying in a Blue Dream' album, which includes 'The Forgotten, Pt. 2'. Microphone: AKG C12-A. No evidence of live rig or other amps for this studio solo.
Amp Settings
Mids6
Bass6
Gain7
Reverb4
Treble6.5
Presence5.5
Effects Chain
- Boss DS-1 Distortion · distortion
- Boss DM-2 Delay · delay
Ibanez JS1 → Boss DS-1 Distortion → Boss DM-2 Delay → Fender Silverface Pro Reverb (spring reverb on)
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Tone Character
- singing sustain
- smooth and fluid lead
- warm midrange
- clear note articulation
- touch-sensitive response
- moderate gain saturation
- ambient delay trails
- slightly compressed attack
- bright but not harsh top end
- full-bodied solo presence
Notes & Caveats
- No explicit amp knob settings found for 'The Forgotten, Pt. 2' solo; settings estimated based on typical Fender Pro Reverb use for rock lead tones in late 1980s.
- Pedalboard lists are general for Satriani's era; only Boss DS-1 is confirmed for this album/track.
- Delay is clearly audible in the solo, but specific model is not cited for this track; Boss DM-2 is listed as used by Satriani in this era and is a likely candidate.
- No evidence of chorus, flanger, or wah in this solo section; only delay and amp reverb are present.
- Pickup choice inferred from typical Satriani solo tone and bridge pickup clarity; not directly cited.
- Settings cross-referenced with genre and era conventions for accuracy. Satriani's solo tone on 'The Forgotten, Pt. 2' is smooth, sustaining, and singing with moderate gain, forward mids, and balanced lows/highs, typical of his early '90s Marshall-based rig. The reverb is present but subtle, matching the song's ambient, melodic vibe.