Though he calls using pedals ?cheating?, Jake used an array of Boss units, including: CE-3 Chorus, BF-2 Flanger, DM-2 Delay (rhythm), (2) DD-2 Digital Delays (lead), GE-7 Equalizer (7 band), SCC-700 computerized pedalboard, and a Variac (set between 90 and 100). I like it loud and I like it coming right out of my cab into my face.? I like to stand in front of the cabs an have it blow my hair back. ?I guess it?s weird, most people don?t do that. Jake stands in the studio when running down solos because he does not achieve the same feedback or response from a studio monitor as he does from his own amplifier speaker. These latter speakers constitute a narrow frequency response and break up quicker Lee likes amplifier distortion as opposed to distortion from the speaker.Īll the solos on The Ultimate Sin? were played through the Marshall 50-watt with the exception of ?Killer Of Giants?, which was performed with an old Rockman and a Rat Distortion unit. All the Marshall bottoms are of a straight design (the slant cabs, in his estimation, tend to lose bottom) and he has realized that the EV speakers are more efficient for bass response than the Celestions. Jake normally doubles and triple-tracks all his rhythm parts (?Rock N? Roll Rebel? had four). The 100-watt gives him the edge and distinction of sound he is seeking while the 50-watt smooths out the tone with a warmer quality. He couples this with a Marshall 50-watt top (circa 1964) powering the same cabinet for his recorded rhythm sound. Lee plugs the ?Charvel? into a 1977 Marshall 100-watt head (stock) powering a Marshall 4x12 cabinet with EV speakers. The bridge pickup is a Seymour Duncan Allan Holdsworth prototype (he has used other Duncan units but never found one quite so warm-sounding). Jake found that pickups started losing clarity on the low E and A strings when the neck pickups were switched on and this new positioning seemed to solve the problem. Two single-coil DiMarzio SDS-1 pickups have been slanted opposite the normal position so that the pole pieces for the bass strings are closer to the bridge, producing more bite and less mushiness. Lee feels they produce a warmer sound than those bodies sporting vibrato assemblies. The neck is made of maple with a rosewood fretboard and the body is one allowing the strings to run entirely through it.
The headstock was carved down courtesy of Charvel and the neck has been shaved (it is now thinner and narrower) by the same company. This guitar is a circa 1974 (it may be a 1975) Fender Stratocaster which has been Charvel-ized, featuring Gotoh tuners, brass bridge and Gibson frets. Lee has used guitars without a vibrato arm, structuring his style around virtually one singular instrument.
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