Joe Satriani – Dreaming #11
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 1988 single Dreaming #11.
Music from Dreaming #11
Artists on Dreaming #11
Gear Used On Dreaming #11
Explore the instruments, equipment, software, and production tools used in the making of Joe Satriani – Dreaming #11 (1988). Click more on each item to see exactly how it was used.
Effects Pedals used by Joe Satriani on Dreaming #11
Avg price: $92.97
Used for the "simulated train whistle" in the outro of "Dreaming Number Eleven", as stated by Satriani in the April 1989 Musician interview "The Devil And Joe Satriani" by Ted Drozdowski. In Strange Beautiful Music: A Musical Memoir (2014), Satriani recounts that it was his first effect pedal.
Musician, April 1989, “The Devil and Joe Satriani” by Ted Drozdowski
MUSICIAN: So the band first played about a year before the live songs on your new EP were recorded in June '88 at the California Theater in San Diego. Where did the title Dreaming #11 come from?
SATRIANI: It was actually the title of a song on my first EP. It was just one of those funny little phrases, like Surfing with the Alien, that pop into my head. I applied the title to a song on that EP that was a strange collection of sounds. It had an Allen wrench on the pick-ups for a kickdrum, slowed-down scratch for a snare, a sped-up tapping on the strings for a closed high-hat sound. I had all these percussion sounds generated just from a guitar plugged directly into the board. And on top of it I had bass, but it was actually a guitar, not even detuned, just playing popping bass. Then I had a rhythm guitar that sounded like an outgrowth of James Brown, but in retrospect it sounds more like what Prince got into with 'Kiss' and 'Sign o' the Times' and 'Alphabet Street' – that sort of dry guitar set-up. And I had this R&B guitar melody over it. The song ended in a simulated train whistle that I did with a Big Muff and a weird technique of pulling strings over other strings and then off the neck. That song was a collection of non sequiturs, and I thought 'The Crush of Love' and the three live songs on the new record didn't really have anything to do with each other. So Dreaming #11 applied.
Strange Beautiful Music: A Musical Memoir (2014)
Chapter 1, pg. 8
My first effects pedal was an Electro-Harmonix Big Muff Pie [sic] fuzz box that I bought through the mail after seeing an advertisement in Circus magazine, and it was the biggest, fattest fuzz ever created. This was the first of many pedals to come.
It was very confusing when I first played with these pedals because I had no idea how to use them, or how to make myself sound like Hendrix! There was no YouTube back then to instantly instruct you how to set things up, or on what sounds you could get out of a new piece of gear—you were pretty much on your own. After starting with the Big Muff, the next thing I got was a Maestro Phaser unit with the three buttons on it, and then the MXR, another phaser unit, and then a wah-wah pedal showed up eventually. I really didn’t have a whole bunch of pedal back then.
Chapter 5, pg. 50
On different moments on that record, I definitely needed distortion, and I think I had my original Big Muff Pi by Electro-Harmonix, which was still working at the time, and DS-1 and OD-1 pedals.
