这次采访最初于2010年发表。
Guitar Whiz Joe Satriani的最新光盘，创造引擎既是最前沿的，又是有争议的，挑战者，以扩大自己的思想，释放脚步，并在狂喜的新光明中看到世界上最成功的摇滚乐手。在萨特里亚尼（Satriani）的世界中，大约在2000年，这不一定是您的即兴演奏方式，而是您的狂欢方式。
乔很好地狂欢。在任何技术燃料的舞厅中，“魔鬼的幻灯片”或“ borg性爱”的震撼凹槽听起来都不适当。搅动的节奏和鞭打的音色似乎像Y2K一样，就像神童或乔什·眨眼一样。然而，令人惊讶的合适吉他零件是如此明显是大师的作品，这真是一个奇迹，化学兄弟很久以前就没有呼吁萨奇（Satch）抨击某些人可以称为21世纪迪斯科舞厅。
和萨特里亚尼的烦恼创造引擎，从催眠，脉动节奏到灼热的独奏，都在灼热。当然，他和联合制片人埃里克·卡迪（Eric Caudieux）将一些音调调整为几乎无法识别的罪恶和锯齿。但是，现场直播和演唱了这些相同的波形，贯穿乔的正常延迟和失真踏板的浮力，并与Satriani标准一起放置，例如“ Satch Boogie”或“ Summer Songs”，在7月四日的时候像鞭炮一样亮起。因此，绑带并准备大胆地走。这是我们乔·萨特里亚尼（Joe Satriani）致敬的第二部分。
Guitar.com：您是如何调和您可能不接受粉丝不接受Electronica的任何担忧的’
乔·萨特里亚尼（Joe Satriani）：我认为这是我们对音乐是最难改变的看法。这样，乔·萨特里亚尼（Joe Satriani）和街上的普通人几乎是相同的。两者都将做那种人类的事情：抵制改变。我也许可以在那个水平上推动自己的水平，而那不是音乐家的普通人说，‘为什么我要改变主意？为什么要推我自己的信封？’这不是他们的工作。但这是我的。这就是为什么我发现自己不断解释自己做的每一张唱片的原因。电子与其他任何样式一样可行。
Guitar.com：但是，您会意识到许多特定的核心追随者，就像他们对任何小组一样，都期望您更多。
Satriani：在您发布的每一张记录中，您都会遇到不寻常的事情。我记得在1988年与米克·贾格尔（Mick Jagger）一起巡回演出时，我们会对这一点进行有趣的对话。这是一个21岁的人，他已经做到了这一切。他的记录定义了摇滚乐的生活方式。他经历了一切，您可以走的高度。And he knew, as most of the guys in the band knew, ‘If this ever lasts, people are still going to want us to do what we did between the ages of 17 and 21.’ But even though you know that’s coming you say, ‘I’m not going to let it affect my drive, as a musician, an entertainer, an artist?, whatever you want to call yourself. For years, when I was completely unknown I was free of it. I could play what I wanted and when I changed my mind no one cared. [laughs] I was a nobody.
但这是一个很小的代价。当我与外星人的冲浪时，我以为我去了商业化，因为他们认为不是这个地球是我做过的最好的唱片。然后，当我将蓝色的梦想飞行时，人们说：‘你怎么能唱歌？You ruined the whole thing.’ So the next record of course I didn’t sing and people said, ‘How come you didn’t sing?’ I should just write their names down, because it’s a short list of people, but they really don’t want you to change. One day I should have like a convention or party somewhere and invite them all and just play them the old stuff. [laughs] But it’s okay, because I’m the same way. Going back to Jagger, I remember laughing about it but saying, ‘It’s really funny, but I like Exile on Main Street and I just got stuck there with you guys. I’ve bought every Stones record and liked parts, but I don’t know why I have this special connection to Exile on Main Street.’ And that’s the kind of thing the Stones don’t want to hear, especially coming from somebody like me, that I like this old record they did.
Guitar.com：那么，应该因为不希望自己喜欢的乐队发展而受到批评吗？
萨特里亚尼：我认为，一旦任何艺术家都这样做，就会创造出您认为只是最伟大的作品的东西，您必须减少他们的懈怠。When I really look at it I say, ‘Do you know how hard it is to come up with just one really great song in your life let alone one great album that millions of people are into worldwide?’ And so for that, when I feel myself doing that to some other artist, I say, ‘I’m gonna cut the artist slack because at least they did it once.’ And that is, in itself, an incredible accomplishment. Very few people have ever done that. It’s really only a handful of people that create successful records, and I’m not talking about the first week in Billboard, I’m talking about a record selling continually, decade after decade. That is a very important kind of record, because that means that it’s turning new people on year after year. It’s not like a funny trend where a certain age group goes out and buys a record and the artist has no career two years later. It’s a phenomenon. The Stones created that. And the Beatles, and Pink Floyd, and Jimi Hendrix. Their records go platinum every year and you never hear about it. It’s not news. But they’re classic records and they turn new people on all the time. And unfortunately they get reminded about it every time they put out a new record.
Guitar.com：您提到您已经完成了一些新内容，因为您完成了录制创造引擎。你搬到了什么？
萨特里亚尼：我对自己有这种个人膝盖反应。When I’m done with something I just look around my room and say, ‘I think I’ll put the drums over there, and my amp over there instead.’ I just rearrange the furniture, put away the old notes that I’ve been using, get a new book to write new ideas in, and restring some guitars with a heavier gauge, or a lighter gauge, put some new footpedals on the ground, and just start’just start vibing on what it would be like to reinvent my musical desire. And I wind up just getting into something different. I guess I have been playing a lot of older blues. I took some guitars that I had and put some elevens on them, when I’m on tour I play nines. I’ll listen to some old stuff, or some recent records that have nods toward the sound of old blues music. But I simultaneously have been working on an orchestra record, but not like a Metallica [and Michael Kamen] thing. I’ve actually been writing classical sounding music, but with melodies to be played by the guitar, just using my guitar and my [Apple] Powerbook, and a couple of synthesizers. But I may work on that for the next five years and it may never come out. It may just be a quote-unquote, ‘personal growth’ project. Which sounds like a medical condition, but actually, it’s [good practice].
Guitar.com：当您不录制或巡回演出时，如何保持游戏技巧？
Satriani：玩，玩，玩。放上踢屁股的记录。
Guitar.com：您可以轻松找到这些吗？
萨特里亚尼：我可以穿超区域史蒂夫·瓦伊（Steve Vai），只是屏住呼吸，试图跟上他。(laughs) Luckily I can just give him a call and say, ‘How did you do that?’ It’s funny, when you learn about your instrument, and music theory, and how pedals and amps work, what you’re left with is that quirky thing called imagination. And that’s the hardest thing to figure out. It’s like when you’re in the studio and you’re there to record a solo, and they record you messing around on your first take and it winds up being the most brilliant solo you ever played. The song becomes a single, and then you have to go play it live. Then you spend weeks trying to figure out, ‘How did I play that? Why did I play that? What fingering did I use? It doesn’t fit every time I try to copy it.’ That happens a lot to me. Most of the solo work I do is that kind of thing where we just go with whatever happens in the studio. And I try to catch myself off-guard. But then figuring out exactly what I did later is always quite difficult. I think the process of catching yourself off-guard is a great way to maintain your chops. Practicing the usual boring exercises helps too.
吉他：什么样的练习？
Satriani：您学到的所有吉他弹奏的东西。任何色素缠绕的东西。跟踪您的秤和Arpeggios可以提供帮助。那就是您必须扮演它们。如果我要制作蓝调唱片，我不会练习。我真的会更专注于措辞和类似的事情，因为这将更加重要。But when I was going out with Deep Purple and I was going to have do a bunch of things that revolved around Ritchie Blackmore’s incredible playing I thought, ‘Well, I should alter my warm-up routine to include things he built a lot of his solos on.? And it did involve a lot more arpeggio warm-ups because we used to hit the stage playing ‘Highway Star.’ When you hit the stage cold and you’ve got to play a song like that, it’s pretty hard.
Guitar.com：当您说“跟踪自己的秤”时，您是说您坐下来玩七个音尺模式吗？
萨特里亚尼：有时候我会的。有时，我会演奏专业，次要，减少，增强的，悬挂的，在每个钥匙中的两个和三个八度。然后，我将在唱歌模式中进行三个八度音阶，以及我在唱片中使用的一些额外的量表，例如Lydian Proide，或Phrygian Prinesers，例如我在唱片上使用的东西。我也会在每个钥匙中弹奏。
Guitar.com：您是否将鳞片分解为保持四个或五个FRET范围内的图案，从第六个字符串到第一个字符串，将两个八度延伸到第一个字符串？
萨特里亚尼（Satriani）：我花了很多年的时间学习了很多指法，每次我去做一次，我只是选择上次没有使用的版本。但这就是您真正学习这些东西时所做的工作。一段时间后，您意识到它使您感到无聊，因为您可以做到。如果您完美无缺，并且没有犯任何错误，那有什么意义？您没有挑战手指。因此，我会回到一些Lennie Tristano练习[Ed。注意：特里斯塔诺（Tristano）是一位爵士钢琴家和作曲家，萨特里亚尼（Satriani）十几岁的时候就从中上了课。因此，在每个键中，您都会在第一个字符串上进行每个弦乐量表。So you’d start in a different place [for each key, usually on the root note] and you’d go up the neck as far as you could go, then down past where you started, as low as you could go, then back up to the key that you’re in. That’s a really great exercise for really quote-unquote, ‘knowing what they hell you’re doing.’ Usually if you ask someone, ‘Do you know how to play a harmonic minor scale?’ They’ll pick their favorite key and play it in two octaves, and that’s it. That’s not what I’m talking about. I mean knowing like in the Biblical sense. ‘Do you actually know this scale?’ And that’s what the great musicians talk about: To know music is to know that thing inside and out, to know every nook and cranny of the scale, where it exists. And that can take hours and hours and hours of doing it every day.