[Summary] Joe Bonamassa's equipment [amps, guitars, effects]

Joe Bonamassa was born on May 1977, 5 near Utica, New York. His parents owned a music store, and Gibson and Fender guitars were always lined up in the house. It is said that young Joe started playing a toy guitar at the age of three, and learned simple chords on a real Stratocaster at the age of four. By the age of ten, he was taking lessons directly from "Telecaster magician" Danny Gatton, steadily honing his skills.

At the age of 12, Joe got his big break. He caught the eye of blues giant BB King and was selected to open for him on a 20-city tour of the U.S. He astounded the audience with his ability to play a vintage Les Paul with expressiveness beyond that of a child, and he quickly became the center of attention as a "blues prodigy."

In 2000, he made his solo debut with the album "A New Day Yesterday" produced by Tom Dowd (the master who has worked with Eric Clapton and the Allman Brothers). He continued to release albums while performing over 200 live shows a year, and in 2006, his album "You & Me" reached number one on the US blues charts for the first time. Since then, more than 1 albums have topped the charts, solidifying his reputation as the "face of modern blues."

In 2011, he performed with Eric Clapton at the Royal Albert Hall, making his mark on the world as a successor to the blues guitar that transcends generations. In 2012, he formed a supergroup with Glenn Hughes and others.Black Country CommunionThey formed the band and made their presence felt in the hard rock field.

Bonamassa's collection of equipment is not just a hobby, but a "research" in pursuit of the ideal tone. He owns about 1959 vintage guitars, including a 500 Les Paul "Skinnerburst," and about 500 amplifiers, including Dumble and Marshall. He takes his extensive equipment on tour, and believes in delivering "authentic sound" to the audience. In recent years, he has also been involved in the development of his own signature equipment and pickups, and as a "curator" of blues tone, he is influencing younger players.

His evolution continues into the 2020s. He has released works that combine tradition and innovation, such as "Royal Tea," which features the Royal Orchestra, and "Time Clocks," which reinterprets British rock. He also devotes himself to discovering and supporting young bluesmen through his own label, "Keeping the Blues Alive Records." Joe Bonamassa will continue to lead the blues to new heights with his vast equipment and exceptional playing ability.

When one thinks of Bonamassa, one thinks of Gibson Les Pauls. The highlight of his collection is a 1959 Les Paul Standard, commonly known as the "Skinner Burst." He won this guitar at an auction (Skinner) in 2006, for the high price of about 29 dollars at the time. This guitar has the serial number 2-9, and it is one of his favorite "1951 Les Pauls" that he admires. In 59, Gibson produced a signature model "Skinnerburst 2014 Les Paul" that faithfully reproduced this Les Paul owned by Bonamassa, limited to 1959 units, and it became so popular that it sold out immediately after its release. Bonamassa himself said that "the Skinner Burst is one of my favorite guitars," and that it is a special guitar among the multiple '100 Les Pauls he owns. The thick, sweet sound of the humbuckers and the mellow tone unique to vintage guitars are the core of his blues rock sound, and he frequently uses it in live performances.

The Gibson ES-335 is also an important part of Bonamassa's music. In 19, when he was 1996 years old, he purchased a 1962 ES-335 with a red finish and used it to record his debut album, A New Day Yesterday (2000). The warm tone and tenacious sustain of the semi-acoustic construction brought a depth to his playing that is reminiscent of blues and jazz. However, he reluctantly gave up the ES-2001 in 335 to raise funds to move from New York to Los Angeles. However, around the time of his 20th debut anniversary, the guitar miraculously returned to him. He was contacted by its owner and was able to buy it back. Bonamassa vowed to keep the ES-335 with him for the rest of his life, and has since showcased its emotional sound in live performances. The Joe Bonamassa-spec 1962 ES-335 signature model recently released by Epiphone is a reproduction of this beloved instrument.

Bonamassa also uses a Fender Stratocaster for different songs. The sharp tone of the single coil pickup, in contrast to the Les Paul, is essential to give a variety of expressions to the songs. He owns several 50s Stratocasters, one of which is a 1955 Stratocaster nicknamed "Bonnie". The name of the American female singer Bonnie Bramlett is engraved on the body of this Stratocaster, and it was named in tribute to her friend. Another 1955 black Stratocaster is the very guitar that Joe admired when he saw a poster when he was just 11 years old, and later acquired by Joe himself. Every year, he plays this black '55 Stratocaster at the Ryman Auditorium in Nashville, and says that he has a special feeling for playing the guitar he dreamed of as a boy. The Stratocaster is mainly used for songs tuned down a semitone or to D, and combined with the thick strings, it produces a thick sound.

Bonamassa's collection also includes Fender Telecasters. One that has been featured recently in live performances is a 1968 Telecaster Thinline with a B-Bender mechanism. The B-Bender is a device that raises the second string (B) chromatically when the guitar is tilted in conjunction with the strap pin, and is mainly used in country music to create a unique pitch change similar to that of a steel guitar. Bonamassa's Telecaster has this modified mechanism built in, and he uses it to add country-style phrases and smooth pitch transitions to his songs. The guitar also has a special Seymour Duncan pickup set (a model called "The Bludgeon"), which was developed to reproduce the sound of his 2 Nordstrom. Bonamassa says, "I always use this Telecaster with the volume turned down, searching for the sweet spot between clean and crunch," and he can easily control it from a lustrous clean tone to a growling overdrive. Many of his electric guitars are strung with Ernie Ball strings, 1951-011 gauge, which is extremely thick, and the Telecaster is no exception. This gives the guitar a taut sound and tuning stability that can withstand even the toughest picking.

Among Bonamassa's guitars, the one that stands out the most is his 1958 Gibson Flying V, commonly known as "Amos." Since he was a child, Bonamassa has admired guitarists who used Flying Vs, such as Albert King and Ronnie Montrose, and he acquired a vintage '58 V himself. The guitar was named after Amos, an American music store owner, who originally owned it. Bonamassa sometimes takes this precious original V to his live shows, but he also uses an elaborate replica made by the Gibson Custom Shop to protect it from the rigors of touring. In 2017, Epiphone released a limited edition "Amos" Flying V signature model, which became a hot topic among fans. The Flying V is particularly popular in his blues sets as a homage to his beloved Freddie King and Albert King. The thick mid-range sound from its sharp looks not only adds depth to backing, but also provides sharp sustain for lead playing. Bonamassa tunes it to open G and also uses it for slide playing, thrilling audiences with classic blues numbers.

Among Bonamassa's amps, the Dumble Overdrive Special is the most valuable. The Dumble is a legendary amp handmade by the late Alexander Dumble of the United States, and only a few hundred exist in the world. Bonamassa owns several Dumbles, for example, he uses a 1979 Overdrive Special head amp and a 2006 Overdrive Special combo on stage. Both of these are characterized by a creamy and smooth overdrive sound, which is the key to supporting Bonamassa's lead tone. He combines the Dumble with a two-cabinet (equipped with a Celestion JB-2 speaker) to get a thick sound with a forward midrange. Dumbles are very expensive and difficult to obtain, but their rich sound seems irreplaceable to Bonamassa. He has so much trust in them that he says, "No matter what guitar I use, if I connect it to a Dumble, it becomes my sound," and the fiery drive sound of the Dumble always resonates during the highlight of his solo.

Bonamassa also has a Fender Twin Reverb-type amp at his feet. He uses a signature model of a modified Fender Twin Reverb, and drives two specially designed Twin amps in stereo, with vintage-style tweed-covered cases covered in black Tolex. The Fender Twin Reverb is a powerful clean amp with 2W x 85, and Bonamassa uses it as the foundation for his clean tone. He plays the clear clean sound of the Twin amp at high volume and adds distortion with a pedal on top of it, achieving both separation and thickness. His Twin also has a high-output speaker JB-2, which has a very wide headroom and sound pressure even when left clean. This means that the sound does not get crushed even when boosted with a pedal, and a drive tone with a core is obtained. Bonamassa describes the clean sound of the Twin as being like a canvas, and says that he creates a marbled tone by layering the coloring of other amps on top of it. This is truly a feat of blending multiple amps, and the rich sound that combines the brilliant clean sound of Fender with the distortion of other amps supports his live performances.

The Marshall Silver Jubilee 2555 (100W) head gives Bonamassa's sound a rock-like power. The Silver Jubilee was produced in limited quantities in 1987 to commemorate the 25th anniversary of Marshall's founding, and is known as a legendary model that was also used by Jimmy Page and Slash in the past. Bonamassa owns four Silver Jubilees, and during live performances he lines them up behind the stage. Although he only uses two of them at the same time, the 4W x 2 Marshall sound is still intense. He mainly uses the Silver Jubilee as a distortion for rhythm guitar, and in combination with a Gibson guitar, it produces a thick British crunch tone. The Marshall's unique low-mid range push and high-frequency edge add an aggressive character that cannot be obtained with Fender or Dumble. Bonamassa also uses a Dutch Van Weelden 100x2 cabinet, with a 4x12 stereo setup inside, feeding the Marshall head. The cabinet is fitted with EV EVM2L speakers, which deliver the full power of the Marshall with a clear, punchy response. He describes the Marshall sound as "rough yet elegant," and he often uses the Silver Jubilee's roar in his blues/rock crossover playing.

The wah pedal is the secret ingredient of Bonamassa's sound, and he uses the Jim Dunlop JB95 Joe Bonamassa Signature Cry Baby. This pedal has a vintage-style "halo inductor" inside, which produces a warmer wah tone with more harmonic content than the classic Cry Baby. Bonamassa uses the wah pedal at the climax of a solo in a song to produce a wailing tone. At his request, the pedal's exterior is finished in a copper color on the top and a glossy black body, giving it a luxurious look. Bonamassa's recent boards have this wah refinished in a custom Pelham Blue color, which shows his attention to detail in its appearance. He places the wah on the edge of his board so that he can always turn it on and off, and for some songs, he also uses the "half wah" technique, where he adjusts the tone by slightly pressing the pedal.

Bonamassa has also released his own signature Fuzz Face from Jim Dunlop. It is the JBF3 Joe Bonamassa Fuzz Face, a model that adds the improvements he wanted to the classic disk-shaped fuzz. It uses germanium transistors, but is designed to be resistant to temperature changes, and has a high output level, so it can push the amp hard. Bonamassa mainly turns on this Fuzz Face when using a Les Paul + Marshall combination to produce a thick lead tone with infinite sustain. For example, in the solo of the song "Just Got Paid," he steps on this fuzz to create an intense sound like a slide guitar. The pedal has a classic copper-colored case (Copper Edition), and its austere design reflects his vintage taste. In recent years, he has also used the smaller **Fuzz Face Mini (FFM4 Bonamassa model)** to save space on his board. He has said, "The Fuzz Face is difficult to use, but once you get the hang of it, there's no substitute," making it truly an indispensable secret weapon for creating the thunderous sound of blues rock.

Of note in the overdrive category is the limited edition Overrated Special, developed in collaboration with Wayhuge. This model is a modified version of the company's popular overdrive "Pork Loin" at Bonamassa's request, and has been adjusted to boost the frequencies that are lacking in his live equipment. Specifically, it gives punch to the low-mids while mellowing out the highs, adding that extra bit of thickness that is needed when connecting a Les Paul to a Marshall. Bonamassa often uses this pedal almost always on, layering it over a crunched amp for a more sticky distortion. The model name "Overrated Special" is infused with his humor, meaning "a special pedal that is just right in the way it is overrated." It is currently difficult to obtain due to its limited production, but it has become popular among fans as a pedal that brings you closer to Bonamassa's sound. Bonamassa himself has praised it, saying, "This pedal can serve as both a TS type and a clean boost," and it has become a pillar of his live performances.

Bonamassa also uses the classic Ibanez Tube Screamer. He is particularly fond of the vintage TS808, which he uses to push the amp and add sweet distortion to the midrange. The TS808 is a standard pedal for blues rock guitarists, but Bonamassa uses it in a unique way. He uses it as a "booster" by setting the gain knob low and the level knob high. This allows him to take advantage of the TS808's unique mid-hump effect while adding thickness and stickiness to the distortion created by the amp. He mainly uses the TS808 with a Fender amp + Stratocaster combination, turning it on to make the single coil sound more prominent without thinning it out. He also uses it in solo parts when he wants a more clear sound, and although the setting is subtle enough that the audience doesn't notice, it is actually a meticulous sound creation. By the way, it seems that he sometimes tries a different version of the Tube Screamer, such as the TS808, instead of the TS9, depending on the song, but the basic role is the same, and the stickiness of the midrange supports his tone.

The MXR FET Driver is a signature overdrive that Bonamassa developed with the MXR Custom Shop. It uses FET transistors to obtain natural distortion like that of a vacuum tube amplifier, and is characterized by having a 2-band EQ and high cut switch in addition to gain and level. Bonamassa commented on this pedal, "It sounds like a really cranked up vacuum tube amplifier," and it is tuned to provide a warm, harmonically rich drive even when connected to a clean amplifier. At one time, he used this FET Driver as the main distortion pedal on his pedal board. For example, with amps that do not have a distortion channel such as Marshall, he would leave the FET Driver always on to create a foundation for crunch, and would also boost it with the aforementioned TS808 or Overrated Special as needed. It depends on the time period whether it is currently on his board, but it is still used in recordings, and it seems to be useful when he wants a thick and smooth lead tone even with a single-coil guitar. With its sturdy construction and ease of use that are typical of MXR, this pedal is highly rated not only by Bonamassa fans but also by those who are not fans of Bonamassa.

To add a swaying sound behind the guitar solo, Bonamassa uses a Fulltone Supa-Trem tremolo pedal. This pedal is an optical tremolo with an analog circuit, and features an organic and smooth modulation like the tremolo built into vintage Fender amps. Bonamassa sets this tremolo at a very modest depth, and sometimes leaves it on all the time, barely audible. This gives the clean tone a very slight pulsation and adds depth to the sound. The Supa-Trem is especially useful when playing clean sounds in ballad-like songs and mid-tempo blues songs. According to his technician, "Joe sometimes leaves the Supa-Trem on so that the sound doesn't get thin even when the volume is turned down," and it seems to be a secret weapon for adjusting the response of the amp. Of course, depending on the song, he also applies a deep tremolo effect, and makes the sound swing deeper than the amp's tremolo in slow blues. The Fulltone Supa-Trem is simple to operate and highly reliable, and has been a favorite at Bonamassa's feet for many years.

For delay effects, Bonamassa prefers simple BOSS digital delays. Specifically, he prefers the old model DD-2 and the classic DD-3, because "the sound quality is not too high-fidelity and it is easy to use." He only applies a slight delay to the end of the solo to add reverberation and thickness to the sound, and does not use so-called flashy multi-delay. He keeps the setting to one repeat (the reverberation sound returns only once) and the delay time to around 1ms, and applies it casually with a tone that is reduced in an analog style. This ensures that the sound image does not become blurred even in fast phrases, but fills the silent space and plays a role in highlighting the solo. Bonamassa's board is currently equipped with a BOSS DD-400, which is an early BOSS digital delay and also the model that became the prototype for the famous DD-2. He has been using the DD-3 for a long time, but in recent years has switched to the old DD-3, saying that "the old DD-2 has a slightly milder feeling." Either way, Bonamassa's musicality and artisanal aesthetic can be felt in his choice of a delay sound that is not overly assertive.

Depending on the song, the octave effect is also used. The Electro-Harmonix Micro POG is used for this purpose. The POG (Polyphonic Octave Generator) is a pedal that layers sounds one octave above or below the original sound, and is characterized by its ability to create a thick, organ-like sound. Bonamassa mainly uses the Micro POG during guitar solos to add a sense of heaviness to the sound. For example, he plays a riff on the low strings while blending an octave up on the high strings, creating a spacious sound like a 1-string guitar. The Micro POG is polyphonic and can process chords in octaves cleanly, so the effect can be applied seamlessly even to Bonamassa's fast phrases. Especially when playing in a power trio, it seems that POG is sometimes used to fill the range with one guitar. Bonamassa's board previously had a large POG, but it has now been replaced with the space-saving Micro POG. This pedal has excellent tracking capabilities and is one of the few pitch-based effects that meet his standards. Although it is not used frequently, it is a powerful effect that provides a thick support for the guitar sound when it really counts.

• Specializes in vacuum tube drive circuits and rotary speaker simulation (independent rotor and drum speeds).
• The three modes - FAST/SLOW/STOP - can be instantly switched with the foot switch, and rotation acceleration and deceleration are also realistically reproduced.
• The Drive control adds the compression feel unique to the B3 organ.
• Equipped with stereo output and relay-type true bypass, it is compatible with both amplifier input and line.

　Joe Bonamassa does this during the clean and crunchRotosphereI set it to always ON and added a slightly flickering rotary to the chords to create a "thickness like an organ layered on top". The standard usage is to give the lead tone a sense of air with a slow setting, and then kick it to FAST just before the solo to accelerate. In live performances, I split the stereo output to the left and right amps of a twin rig,A three-dimensional swirling chorusIt is being used as such.

• A four-stage phaser that recreates the legendary MXR Phase 90.
• Handwired in the USA, high-durability pots and true bypass specifications.
• The "undulation" can be controlled simply with the RATE knob, and it follows changes in guitar volume.
• The low noise design minimizes hiss even at high gain.

　Bonamassa sets this phaser as an extra "spice" just before a solo. The rate is set to 9-10 o'clock, and by applying it lightly, the chords shake lightly, and when you step on the lead, the harmonics pop out three-dimensionally. He highly values ​​the fact that it is more resistant to noise than the MXR Phase 90, and is easy to use on the spot while maintaining a vintage feel.

• A compact flanger based on the famous 80's M-117.
• The two knobs, SPEED and REGEN, allow you to instantly adjust the jet strength and oscillation range.
• True bypass and 9V center negative power supply make it ideal for modern boards.
• Output level can be fine-tuned with internal trim.

　Bonamassa turns on Micro Flanger when aiming for a sweep effect like "Unchained." SPEED is set to around 12 o'clock, and REGEN is set to around 1 o'clock to create a jet-like "whoosh" sound, which is used as an accent for the riff. By stepping on it alone, without layering it with Rotosphere or a phaser,Aggressive modulation in the style of 80s rockThe key point is that we are aiming for this.

• A standard power supply with 8 isolated outputs (9 x 12/6V variable, 2 x SAG function).
• Each output has a completely independent transformer winding to eliminate ground loops and hum noise.
• SAG knobThe voltage can be adjusted from 4 to 9V, giving Fuzz Face and old wahs a vintage battery-powered look.
• Supports 110 to 240V worldwide input, no transformer required even when on tour.

　Even with Bonamassa's boards, which are equipped with a huge number of pedals,Countermeasures against power supply noise are of utmost importanceThe isolated output of Pedal Power 2 Plus supplies each pedal individually, minimizing noise even when pushing a tube amp to high gain. The SAG function is used to adjust the soft nuance of a Fuzz Face (JBF3) with 3% battery remaining.Stable supply and tone tuningHe is the behind-the-scenes force behind this.

• Little Lehle II: True bypass AB/Y looper. High impedance input and Gold-Pt relays ensure zero degradation in sound quality.
• D.Loop SGoSEquipped with 2 loops + buffer & boost. Multiple switchers can be controlled synchronously via MIDI.
• Relay-based switching eliminates clicks and maintains the high-end signal path.
• LEDs and soft relays make preset switching quiet and fast.

　Bonamassa is Little Lehle IIMix and switch between 3 ampsThen, use D.Loop to loop in the fuzz or overdrive.Instantly call up complex combinations such as clean + dumble + marshall with one tapWe are building a system that connects Pedal Power SGoS to each other via MIDI synchronization, and achieves professional routing, such as perfectly linking the pedal boards placed on the left and right sides of the stage. While maintaining the transparency of the signal path, we are improving reproducibility and trouble resistance during live performances.

Bonamassa prefers Ernie Ball's regular Slinky strings (Nickel Wound). The gauge is noteworthy; he uses a heavier set of **.011-.052 on his electric guitars. The reason he uses this gauge, which is thicker than the standard electric strings (.009 or .010 sets), is because he values ​​tone and stability. Thicker strings have stronger tension, so they hold up better to picking, and the sound is fuller and thicker. Bonamassa's bold tone and solid tone that doesn't thin out even with heavy picking are largely due to these heavy gauge strings. They also have the advantage of maintaining a stable pitch without insufficient tension even in songs that are tuned down a semitone. He used a Dean Markley 11-52 set on some of his guitars, but in recent years he seems to have settled on Ernie Ball. For the acoustic guitar, he uses light gauge gold bronze strings from the Dean Markley Alchemy** series. In any case, his finger power to effortlessly hold down thick .011 strings on an electric guitar is truly professional. The rich overtones and sustain provided by the thick strings form the foundation of the Bonamassa sound.

For picks, Bonamassa prefers Jim Dunlop's Jazz III. The Jazz III is a small teardrop-shaped pick with a pointed tip, and is a model that is popular with many guitarists for its suitability for fast playing and accurate picking. Bonamassa uses a custom pick based on this Jazz III, with a custom-made specification that includes his own name logo. The material he chose is a harder Ultem type, and the thickness is about the same as the standard Jazz III. The clarity of the sound, which does not blur even with his fast phrases and sweeping techniques, is largely due to the shape and material of this pick. The Jazz III has a sharp sound rise and is easy to express fine nuances, but it is said that it is difficult to control if you are not used to it. However, Bonamassa has been familiar with this type of pick since childhood, so he handles it with ease. At live performances, he always has several spares on the amp, and sometimes switches to new ones between songs. He also makes ingenious efforts such as drilling holes in the pick to prevent slipping and applying a rosette to the surface. The pick is a small item, but for Bonamassa it is an important factor that determines the tone and feel of the guitar, and his dedication to it is evident from the fact that he has remained faithful to the Jazz III for many years.

Guitar cables are also important when creating sound. Bonamassa uses cables from the German luxury cable brand **KLOTZ**, and has also released his own signature model. Cables are a part that makes a subtle difference in sound quality, but he selects them with particular emphasis on durability and low signal degradation. Klotz cables are resistant to noise and have clear sound quality, and are flexible enough to be easily handled on stage. The internal structure of the Bonamassa model cable has been further optimized, and it is designed to transmit even the subtlest nuances of the guitar to the amplifier. He sometimes uses relatively long cables on stage, but he seems to be satisfied with the fact that the sound does not easily become thin. In addition, the plug of the Klotz cable is engraved with his trademark "JB", giving it a luxurious finish that arouses the desire to own it. When asked why he sticks to wired cables rather than wireless, Bonamassa said, "Just changing the cable changes the tone. Using the best cable for me is also part of sound creation." When you look at his feet on stage, you can see that his cables are always carefully wrapped with cloth tape to prevent them from breaking. It is this attention to detail that makes Bonamassa a first-class musician.