Warren DeMartini

A modified SD-1 was used live in 2009, as stated in the May 2012 issue of Guitar World. This can be corroborated from this Guitar Geek diagram and this April 12, 2010 WoodyTone interview.

WoodyTone, "DETAILED Warren DeMartini Gear Rundown"

The May 2010 issue of Guitar World runs down Warren’s 2009 live rig. It states that he sometimes uses a modified Boss SD-1 overdrive pedal live, as well as an MXR Carbon Copy analog delay, but prefers not to use either.

This source shows that Warren DeMartini used the Soldano SLO 100 100-Watt Tube Guitar Amplifier throughout his career.

Warren described his live rig his Guitar World interview, April 1987: "The output of [Marshall 100-watt amplifier's] preamp section goes into a control board for the effects I’m using, which are a Lexicon PCM-41 delay, a PCM-42 delay, and the Yamaha SPX90."

Ratt only seemed to have custom-made midi or relay switchers on stage instead of pedalboards. As you can see, Warren and Robbin had some similarities in their rigs, with SPX90 being one of them.

Warren DeMartini uses the Analog Man King of Tone Overdrive, as mentioned on the Analogman "King Of Tone" page. He was introduced to this pedal by John Levin of Dokken, describing it as "smoking hot."

DeMartini uses his signature pickups on Charvel guitars, according to Guitar Geek's rig diagram.

Warren DeMartini is shown using the Boss TR-2 Tremolo pedal. This is evidenced by an image available through a Google search, which links to a photograph on Analogman's website.

According to Guitar Geek's rig diagram, DeMartini uses Charvel San Dimas (2 of them and they're custom painted).

In August 2022 edition of the Guitar World, DeMartini mentioned the relationship with Charvel:

That was part of the revolution Ed started, where you could put together your own guitar. A friend of ours happened to get a job at Charvel, and for a little while we could buy guitars and necks that were seconds – the stuff Grover wanted to throw away. You could get a guitar or a neck for cheap, so that's what I did; then I'd buy hardware and pickups and that kind of thing. Skip ahead a few years and I got a message from a friend who was a graphic artist at Charvel: "Grover Jackson wants to see you." I immediately thought, "Oh man, he wants me to rat out whoever was selling me these seconds." Robbin and I drove out to Charvel, and Grover said, "You guys are obviously Charvel fans. I'll build you the best guitars I can, and we'll work something out when you can afford it." Which was awesome. That's right around the time when the "crossed swords" guitar was built.

Warren described his live rig his Guitar World interview, April 1987: "The output of [Marshall 100-watt amplifier's] preamp section goes into a control board for the effects I’m using, which are a Lexicon PCM-41 delay, a PCM-42 delay, and the Yamaha SPX90."

In 1987 Ratt only seemed to have custom-made midi or relay switchers on stage instead of pedalboards. As you can see, Warren and Robbin had some similarities in their rigs, with PCM 41 being one of them.

Used live in 2009, as stated in the May 2012 issue of Guitar World. This can be corroborated from this Guitar Geek diagram and this April 12, 2010 WoodyTone interview.

WoodyTone, "DETAILED Warren DeMartini Gear Rundown"

The May 2010 issue of Guitar World runs down Warren’s 2009 live rig. It states that he sometimes uses a modified Boss SD-1 overdrive pedal live, as well as an MXR Carbon Copy analog delay, but prefers not to use either.

Warren described his live rig his Guitar World interview, April 1987: "The output of [Marshall 100-watt amplifier's] preamp section goes into a control board for the effects I’m using, which are a Lexicon PCM-41 delay, a PCM-42 delay, and the Yamaha SPX90."

In 1987 Ratt only seemed to have custom-made midi or relay switchers on stage instead of pedalboards. As you can see, Warren and Robbin had some similarities in their rigs, with PCM 42 being one of them.

Aside from legato soloing and crunchy riffs, one of Warren DeMartini’s most identifying trademarks is his now legendary snakeskin guitar, which was prominently featured when Ratt was in heavy video rotation during the early days of MTV. At the time, it prompted many young players (including one of our writers) to attempt applying snakeskin to their own guitars (we certainly hope no snakes were harmed in the attempt). With this year’s introduction of the Charvel Warren DeMartini Dinky Snake, you can put the faux snakeskin away — now it’s possible to own the “real deal!”

Besides its stunning serpentine looks, this is premium Charvel stuff. The guitar plays like a dream and has an instantly recognizable tone, especially when played through classic EL34-based amps. Additionally, the guitar sports custom appointments such as an Original Floyd Rose Tremolo, NOS Charvel brass strap buttons, and Schallers tuners. Charvel’s custom shop really outdid themselves when designing this one.

To say we fell in love with this guitar is to engage in understatement. There was little not to like — great tone and playability went hand-in-hand, though we would have preferred a noiseless single-coil pickup at the neck. And we can’t understate how many people used the guitar as a conversation starter with us the one night we took it out to a live gig. Guys thought the guitar was cool, and (more importantly) women thought we were cool. Now that’s rock n’ roll! Our only true disappoint with the instrument? Having to return the guitar, of course!

In this interview, regarding the recording of “Out Of The Cellar”, Warren states:

Did you really use a Fender Super Champ to record the solo tones on Out of the Cellar?

Yes, a Fender Super Champ, and I disconnected the speaker and plugged it into an EV speaker that was loaded in an Orange cab. I had an orange cab with four 200-watt EV speakers – the thing weighed about a million pounds. We went directly into one of those speakers and mic’d that up.

In this article Warren talks about gear he used on Infestation track “Last Call”:

That was a recorded on my Charvel [Frenchie, not currently offered as a production model]. The amps were a Diezel V4 [VH4] and Soldano SLO 100-watt. We plugged them both in and sort of split the frequency spectrum up: the lows of the Diezel combined with the highs and upper midrange of the Soldano, so you have a really nice slash across the spectrum. I used that [setup] on every song except the rhythm guitar track on “As Good As It Gets.” That was the Diezel only through a Diezel cab. [The Soldano also was run through Diezel 4×12. If the cabs were stock – Warren wasn’t sure – they contained Celestion Vintage 30s.]

In this interview with WoodyTone, Warren states:

For strings I’ve been using Rotosound 10s, the nickel Roto Yellows, 10 to 46. For picks I use nylon 73 mm Dunlops.

According to the Rotosound website and article from Guitar.com from 8/31/2020 Warren uses these strings

https://www.rotosound.com/players/