Al Pitrelli, the long-time west coast tour Music Director and guitarist for the Trans-Siberian Orchestra (TSO), is a name synonymous with exceptional guitar work and musical direction in the world of rock and orchestral music. His journey with TSO has been marked by ambitious projects, intricate studio recordings, and electrifying live performances. In this in-depth exploration, we delve into the world of Al Pitrelli Guitar, uncovering his approach to his instrument, his gear, and the pivotal role he plays in shaping the signature sound of TSO, particularly highlighting his experiences during the monumental 2015 winter tour and the groundbreaking Wacken Open Air festival performance.
In the summer of 2015, Pitrelli faced a challenge unlike any other: leading two bands simultaneously across two stages at Wacken, Germany, in front of 80,000 fervent music fans. Reflecting on the meticulous preparation for this event, Pitrelli’s earlier words resonate, “If you’re prepared and an opportunity arises, you have a better chance of making something out of that opportunity than if you’re unprepared.” This philosophy underscores his approach to every musical endeavor, from live shows to studio recordings.
That same year also saw the release of Letters from the Labyrinth, an album where Pitrelli’s guitar skills reached new heights. Working closely with TSO creator Paul O’Neill and Jon Oliva, he sculpted some of his most compelling guitar riffs and solos to date. Coupled with a brand-new winter tour production featuring the live performance of their multi-platinum selling film, The Ghosts of Christmas Eve, 2015 proved to be an exceptionally demanding yet rewarding year for Pitrelli and TSO.
During the winter tour, Brad Parmerter caught up with Al Pitrelli to unpack the emotions and technical intricacies behind the Wacken spectacle, the studio magic woven into Labyrinth, his preferred studio guitars, the nuances of the current tour, the adoption of in-ear monitors, strategies for handling on-stage contingencies, a detailed breakdown of his guitar gear, musical aspirations, and his humorous take on being told he looks tired.
The Wacken Whirlwind: Orchestrating Musical Mayhem
When asked about Little Rock and the tour’s progress, Pitrelli’s initial response is characteristically upbeat, “Well, I got up early and did a little bit of radio this morning. Then I went down to the TV station and now I’m looking forward to speaking with you for a bit. How’s everything? How’s the family?” This affable demeanor belies the immense pressure and responsibility he carries, particularly when recalling the logistical labyrinth of Wacken.
The seeds of the Wacken performance were sown in late February or early March of 2015 when Paul O’Neill first unveiled the ambitious plan. Initially presented as a headlining slot, the full scope of the challenge—two bands headlining simultaneously on stages separated by a hundred yards with no direct line of sight—was a detail initially omitted, much to Pitrelli’s initial alarm. “That sounds like fun. Awesome.” he recounts of his initial reaction, before the simultaneous performance aspect was revealed. “That’s when I had an anxiety attack.”
Al Pitrelli performing with Trans-Siberian Orchestra, showcasing his Les Paul guitar
The sheer impossibility of synchronizing two bands across such a distance became immediately apparent. “In all actuality it was a logistical impossibility,” Pitrelli states. It was a puzzle demanding innovative solutions. Teaming up with engineer BJ Ramone, Pitrelli embarked on a four-month endeavor to design a workable program. Rehearsals provided a testing ground, but the true trial by fire awaited them in Germany. A rained-out soundcheck on arrival in Wacken, coupled with the setup of complex pyro, laser, and video systems, amplified the anxiety. “That’s when I got scared for the first time in a long time, because we hadn’t tried this and it’s raining, it’s windy, it’s cold. Well, we’re here, we might as well do it.”
Despite the daunting circumstances, the performance was a resounding success. “It went off without a hitch, thank God,” Pitrelli admits, with a palpable sense of relief, adding, “but I really don’t want to do anything like that again very soon at all.”
The setlist curation for Wacken was another significant hurdle. With vast catalogs from both Savatage and TSO, selecting the right songs was a complex process involving numerous opinions. Pitrelli wisely chose to remain somewhat detached from the initial song selection process, recognizing the strong visions of Paul O’Neill and Jon Oliva, alongside the Savatage band members. For TSO’s set, Pitrelli advocated for a heavier, darker selection, believing it would resonate best with the discerning European audience. “Let’s keep it to the darker, heavier side of TSO. I think that’s what they’ll enjoy. There are such rabid music aficionados over there and they’re so well versed in the classics, so let’s go over there with our strengths and really dig into that side of the TSO catalog.” This strategic approach paid off, delivering a powerful and memorable performance.
As Musical Director for both stages, Pitrelli’s responsibilities were amplified at Wacken. While acknowledging that Savatage members were inherently familiar with their material, Pitrelli’s role was to ensure the cohesive sound and technical execution across both performances. “MD just meant that I went in and kind of rehearsed the band – everybody in Savatage knew those songs better than I did. At the end of the day I knew how it needed to sound in that situation. I knew the technology that we were performing with.” His rehearsals focused on synchronizing the bands and preparing for potential technical issues. At Wacken, his role shifted to initiating and concluding songs and troubleshooting any problems, supported by a dedicated communication network.
One such technical glitch occurred during the show, forcing Pitrelli to halt a song mid-performance. “I immediately had to stop the song. Everybody on both stages, they do what they do, they know if I say, ‘Stop,’ they freeze. That’s it. Don’t move. Don’t do anything until I find out what’s going on.” To fill the unexpected silence, he directed Jon Oliva to improvise on the piano, showcasing the band’s improvisational skills and professionalism in handling unforeseen circumstances seamlessly. This incident highlighted the critical importance of rehearsal and communication in managing the complexities of the simultaneous performances.
Reflecting on the Wacken experience, Pitrelli confirms he would repeat the same approach, emphasizing the hard work, professionalism, and dedication of everyone involved. The immense pressure leading up to the performance was palpable. In a rare moment of pre-show anxiety, Pitrelli recalls, “For the first time in about thirty-some-odd-years I’ve been doing this, I sat with a guitar in my lap and just put my head down and practiced. I just kept playing and playing a couple songs over and over and over again. I got really quiet and Oliva’s like, ‘I’ve never seen you like this.’ I said, ‘Well, we’ve never done anything like this together.'” This intense focus underscores the magnitude of the event and Pitrelli’s commitment to perfection.
The atmosphere before taking the stage was heightened by the pre-show music – “Karn Evil 9” by ELP. Pitrelli describes the surreal moment: “I felt like I was getting into the ring before a fight, with the robe on, and I remember that song started and I remembered the first time I heard that song. It was in 1973 and how my heart started to pound when that song came off my father’s stereo.” This nostalgic reflection grounded him before the immense performance. His guitar tech, Moby, handing him his Les Paul with the encouragement, “Go kill this,” served as the final push before he walked on stage and launched into the show with the words, “Here we go, let’s dance!”
The audience’s reception was overwhelmingly positive. “They were such a gracious bunch of people, dude. They didn’t care if it was raining or if they were cold or knee deep in mud. They were just there for a good time.” The magical atmosphere culminated in a full moon appearing through the clouds at the set’s end, a seemingly orchestrated detail by Paul O’Neill, adding to the unforgettable experience.
Studio Guitar Magic: Crafting Letters from the Labyrinth
Transitioning from the live spectacle of Wacken to the studio environment, Pitrelli discusses the creation of Letters from the Labyrinth. The album was born from a wealth of material penned by Jon Oliva and Paul O’Neill. Pitrelli joined them in Tampa in early 2015, where they began shaping the album. “Jon and Paul wrote a huge amount of material. They had so much material ready for this and when I got down to Tampa about the second week of January or so they started playing me tracks that they’d started mapping out and we just basically started recording a lot.” The recording process spanned from January to early September, marked by meticulous work and intricate compositions. Pitrelli describes it as “the most difficult record we’ve done in a long time because most of the stuff is really, really intricate and deep.”
Despite the complexity, the studio sessions were creatively fulfilling. “It was a whole lot of fun because you’d walk into the studio, make a cup of coffee and open the score to a Beethoven symphony or whatever piece it is, and watch these children come to life.” This analogy underscores the classical influences interwoven within TSO’s rock framework.
Al Pitrelli in studio, likely with his signature Les Paul
The selection of musicians for each track was a carefully considered process, leveraging the diverse talents within TSO. For “Prince Igor,” decisions on who would play organ or guitar were based on individual strengths and suitability for the parts. “Usually we kind of know who is going to be right for what. Mee Eun Kim played some Hammond on ‘Night Conceives’ because she’d been playing it for a while live with Kayla. She played it really well and had some really nice parts going on so she would come in to do that.” This collaborative approach, guided by musical directors like Pitrelli and Dave Wittman, and Paul O’Neill’s vision, ensured the right musical “colors” were applied to each song.
When it comes to his go-to studio guitar, Pitrelli reveals a cherished instrument: a 1960s cherry sunburst Les Paul. “I have a 1960-something cherry sunburst Les Paul that I’ve had since, I don’t know, 1975? My father bought it for me for a birthday gift or something when I was in the 8th grade.” This guitar, gifted by his father, holds immense sentimental and musical value. It is Paul O’Neill’s favorite guitar and has been used on approximately 90% of TSO recordings, encompassing rhythm guitars and solos. “There’s something about that guitar that has its own personality. It’s the longest relationship I’ve had in my life besides my mother. It’s a pretty special one.” He also utilizes a 1968 Explorer and a 1961 double-cut Les Paul Custom (SG-style) for layering, but the cherry sunburst Les Paul remains his primary studio tool.
The process of recording guitar solos varies. Sometimes, a solo is captured in a single take; other times, it requires numerous attempts. “That question has several answers. It’s been one take in the past. It’s been five-hundred takes in the past. It all depends.” The synergy between Pitrelli and Paul O’Neill often dictates the efficiency of this process. When their musical visions align, solos can materialize quickly. If interpretations diverge, more time is spent refining the solo. Pitrelli views solos as integral parts of the song, citing “Hotel California” as an example where the solo is inseparable from the song’s identity. He describes his approach as “the solo is already written I just need to go find out where it is; the melody or whatever it’s going to be.”
Collaboration is key in solo creation. Sometimes, Jon Oliva provides demo solos that Pitrelli adapts. Other times, Pitrelli has free rein. Paul O’Neill ultimately has the final say, but trusts Pitrelli’s musical judgment. “It’s such a democracy until it’s not a democracy. At the end of the day Paul O’Neill has final say. But he trusts Jon, he trusts me, he trusts Dave Wittman that we’re going to do what the songs need anyway.”
An example of a solo crafted independently by Pitrelli is on “Ornament” from Christmas Eve & Other Stories. He recalls disagreeing with initial ideas and proposing his own lyrical, less-note-heavy solo, which was ultimately embraced. “I remember, going back to the first record, the song ‘Ornament’ where Paul and Jon had an idea of something and I kind of looked at them and said, ‘Yea, no. I’m gonna dig my feet in the ground on this one, dig my heels in. This is how I’m hearing it in my head.'” Conversely, for “The Dark,” Paul O’Neill sang the melody he envisioned for the solo, which Pitrelli then interpreted on guitar, illustrating the diverse collaborative dynamics.
One-take solos, while less frequent, do occur. Pitrelli recalls “This is the Time” from Dead Winter Dead and “This Christmas Day” as examples. “Forget About the Blame” from Letters from the Labyrinth also came together quickly, showcasing his ability to capture spontaneous musical ideas effectively.
Live Guitar Arsenal: Touring with Power and Precision
Shifting focus to the live arena, Pitrelli details his guitar setup for the winter tour. Unlike previous tours centered around a specific album, this tour showcased The Ghosts of Christmas Eve film and incorporated songs from various albums.
Al Pitrelli performing live, showcasing his black Les Paul
Pitrelli’s live guitar collection is diverse. “In no particular order, I have a brand new Fender Strat that was built by the custom shop earlier this year. I’ve wanted one of those guitars and it’s a total balls out, awesome Strat.” This custom shop Strat is a recent addition and a favorite for starting the show. He also brought out a 1962 Les Paul Junior that had been a long-time home piece, alongside another Les Paul with tiger stripe flame, his main black Les Paul, his black Explorer, and his clear Dan Armstrong guitar. Acoustic guitars complete his touring arsenal.
His amplifier rig remains steadfastly Marshall. “Marshalls. Same as it’s been since 1973. Just a lot more of them.” He employs six Marshall heads through six cabinets, each EQ’d and treated slightly differently to achieve a range of tones. Effects are minimal. “In the rack I incorporate – I have six different heads going so a couple of the heads have effects built into them and a couple of them don’t. Six heads through six cabinets and each one is EQ’d a little bit differently and treated just a bit differently. So I have my rhythm sound here, my solo sound here, on the solo just a little bit of delay, onboard delay, and some reverb. That’s it.” He relies on onboard delay and reverb for solos to add depth and sustain, avoiding chorus or extensive effects. His core sound remains rooted in the classic Les Paul into Marshall combination.
Guitar strings are heavy gauge, .11 to .56, reflecting his preference for a robust, full tone and solid feel.
A significant shift for Pitrelli in 2015 was the adoption of in-ear monitors, driven by the Wacken performance requirements. “That got shot to hell because of Wacken. [laughs] That was the end of the wedges as soon as we got to Wacken. There was no way to do it without being on in-ears.” Initially resistant to in-ears, monitor engineer Earl McCoy convinced him to try them. The result was transformative. “Earl came up to me one day and said, ‘Listen, we’ve got to do this so let’s give it a shot.’ I said, ‘Alright.’ And within hours he had it sounding so good I can’t even imagine not using them anymore.” The improved sound quality and stage clarity have made in-ears indispensable for large-scale TSO performances, enhancing his onstage experience significantly. “It’s the most fun I’ve had onstage in years because everything sounds so fuckin’ good.”
Musical Directorship and Onstage Leadership
Beyond his guitar prowess, Pitrelli’s role as Musical Director is crucial to TSO’s live shows. He monitors performances mentally, addressing recurring issues in soundchecks rather than dwelling on minor mistakes. “A mistake made doesn’t bother me at all. A mistake made ten nights in a row I would have noticed anyway.” He trusts the professionalism of the musicians, fostering a self-regulating environment. Subtleties in the music and overall depth are his primary focus.
In situations where vocalists become emotionally overcome onstage, Pitrelli’s MD role transcends musical direction. He emphasizes human connection and support. “Well, I’m not an MD at that point. I’m just a decent human being. It has nothing to do with being musical.” He prioritizes the well-being of his bandmates, ready to offer support and reassurance. “Nobody, nobody while I’m still alive will ever be on that stage and have that happen to them without me holding their hand and putting my arm around them and me saying, ‘Hey, it’s fine. You’re okay. You’re not alone.'”
Pitrelli’s mentorship extends to newer band members. He observes the East Coast band, offering encouragement and guidance to ensure consistency and quality across both TSO ensembles. He sees his role as paternal, nurturing the music and the musicians. “I want to help the next generation along. Unfortunately for people like Billy Hudson I’m gonna live forever [laughs]. He’s screwed.”
Fan Connection and Gratitude
The signing line after TSO shows is a testament to the band’s connection with their fans. For Pitrelli, it’s an opportunity to express gratitude for the audience’s long-standing support. “The people who come to see us put us on the map and they’ve not only have they bought records and bought tickets to the show, they’ve embraced us in a whole different way.” He views it as reciprocal hospitality, acknowledging the audience’s role in TSO’s success. While humorously cautioning against comments about looking tired, he genuinely values the fan interaction. “Listen, sometimes I’m tired and I’m a little pissy. Do not walk up on the line, look at me and say, ‘Hey, you look tired.’ Bad idea.” Ultimately, the signing line is a way to personally thank fans for their dedication and embrace.
Al Pitrelli’s journey with TSO is a testament to his exceptional guitar skills, musical leadership, and unwavering dedication. From navigating the complexities of Wacken to crafting intricate studio albums and delivering electrifying live performances, his guitar is central to the Trans-Siberian Orchestra’s signature sound and enduring appeal. His commitment to musical excellence and genuine connection with fans cements his status as a vital force in the world of contemporary music.
Additional Links:
Audio excerpt I – Taking the stage at Wacken
Audio excerpt II – Meeting fans
Trans-Siberian Orchestra – official site
More in my Trans-Siberian Orchestra Interview series -> here.
