The gear and technique secrets behind a shred guitar masterpiece
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Where he couldn’t afford more instruments, Joe also took some more innovative approaches to tone-seeking, using his so-called Boogie Body Strat.
“I also had a guitar that I had put together from parts. It was a Boogie Body Strat body made out of hard-rock maple. It was an ESP neck that was ’59 vintage style, 7.5 radius, ebony fretboard neck.
“I worked at a vintage guitar store and the owner had ties with a lot of Japanese manufacturers and US manufacturers that were beginning to pop up. So I was ordering parts and screwing them together and contacting local luthiers to finish and do frets and things, and I had put together two guitars, a red one and a black one. The red one I eventually sold, but the black one is the guitar that I wound up using a lot.
“It was a hardtail, so if I didn’t need the whammy bar I’d use that guitar: clean, funky, bluesy. I still have that guitar today. It’s on every record doing something. It’s an odd-sounding guitar because of the wood, and what I did was I had Gary Brawer make me two or three different pickguards that were preloaded with different kinds of pickups.
“So for the ‘humbuckers in the Strat body’ sound I had a black pickguard with two Seymour Duncan pickups in it. It was a ’59 in the neck and a JB in the bridge, and I would screw that one in when I needed that kind of a sound, and then when I needed to do really Stratty kind of sounds, I would tell John Cuniberti to take a break, I’d take the strings off, unscrew the pickguard, put in a new pickguard with the Strat pickups, screw it and string it up, and then do that part. That’s basically because I couldn’t afford to have all these different guitars; I just had three guitars and a bunch of pickguards. The poor man’s guitar arsenal!”