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- Hide quoted text — Show quoted text – Guess what Mark – Santana sucks Donkey Balls ok? Get over it. Last time I checked this thread was about how to get Santana’s sound not whether your like the music or not. His guitar playing hasn’t changed since Woodstock. He offers nothing that interests me personally. So why comment. Just keep your mouth shut and move on to something that does interest you. Never once did I say that his sounds wasn’t in his fingers and brain. Don’t make me go back and paste quotes here from your previous messages. You’re all wet sweetheart and now would be a good time to move on or get lost which ever you prefer. Mark Plancke SOUNDTECH RECORDING STUDIOS Windsor, Ontario, Canada http://SoundTechRecording.com "Dozens of people spontaneously combust each year, it’s just not widely reported" – DAVID ST. HUBBINS
No problem, I’ll move on. We obviously don’t see eye to eye – and you seem to have this "i’m the man" sort of attitude. Nice talking at ya. — Brought To You By: http://www.pjspage.com http://www.mp3-audio.com Home Of The Hyper Dimensional Digital Guitar Blender And Drink Mixer —
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An now to throw a monkey wrench in all this discussion… Is the world ready for that new Korean-made PRS model called the Santana SE (SE = Student Edition). Yes, PRS is coming out with their own "Epiphone." http://www.gary-hendershot.com/ Houston, Tejas, Estados Unidos
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An now to throw a monkey wrench in all this discussion… Is the world ready for that new Korean-made PRS model called the Santana SE (SE = Student Edition). Yes, PRS is coming out with their own "Epiphone."
Yes, the world is ready. the world has always been ready for products in different price ranges for different applications. I think your monkey wrench could turn out to be good news for some. Why does that bother you? – Hide quoted text — Show quoted text – http://www.gary-hendershot.com/ Houston, Tejas, Estados Unidos
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Well, I for one find Epiphones depressing. I don’t know what it is, but everytime I see somebody playing one, it makes me a little angry at Gibson. Gibson didn’t have the decency to make the headstock the same shape, and if you notice, the bodies of the SG and Paul are a little bit different in their Epiphone incarnations. Also, the stop tailpiece on the Epi Pauls is further back from the bridge. Why can’t they make identical but cheaper foreign-made guitars like the Standard Fenders? So, I would say the PRS Santana SE has the potential to be a classic bargain (like the Standard Strat) or (more likely) an affront to guitar aesthetics like Epiphones. Just depends on how generous ol’ Paul R. is feeling to the little folks with small bankbooks.
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Well, I for one find Epiphones depressing. I don’t know what it is, but everytime I see somebody playing one, it makes me a little angry at Gibson. Gibson didn’t have the decency to make the headstock the same shape, and if you notice, the bodies of the SG and Paul are a little bit different in their Epiphone incarnations. Also, the stop tailpiece on the Epi Pauls is further back from the bridge. Why can’t they make identical but cheaper foreign-made guitars like the Standard Fenders?
Nobody knows for sure, I suppose. But I think the idea was to make epiphones epiphones. they were always different in some ways. Anyway, why should they knock success? They sell a lot of guitars, the price range is good, and some people may even like the differneces. I, for one, could care less if the headstock matches exactly, nor do I care about miniscule differences in size or hardware placement. So, I would say the PRS Santana SE has the potential to be a classic bargain (like the Standard Strat) or (more likely) an affront to guitar aesthetics like Epiphones.
Calling epiphones an affront to esthetics makes the grand assumption that you set the values for esthetics. You don’t. But I appreciate your opinion. Just depends on how generous ol’ Paul R. is feeling to the little folks with small bankbooks.
You make another assumption, and that is that people who can afford expensive guitars wouldn’t have an epiphone. As time in here has shown over and over again, that’s just not true. But I appreciate your nose length.
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I find the "Teles" more interesting to look at than Stratocasters. Roy Buchanan used a Telecaster and he made incredible sounds and beautiful music with it.
SO true. I like the sunburst tele’s very much, wish i had the coin tho i’d change out the bright pickups. – Hide quoted text — Show quoted text – I find that Strats are boring and depressing.
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I find that Strats are boring and depressing.
I wouldn’t go that far, but they aren’t high on my list of wanted. I’d probably have two teles before I had a strat. They are all over the place. I wouldn’t know where to shop for one. They all look cheap. It’s impossible to tell if the Strat some people have is a good one or not. It’s impossible to tell if the Strat is made of wood or pressed chips.
You have to check serial numbers, and I’ve run into far too many strat owners that I KNOW replaced parts and forth. I think if it matters, if you want a strat, you could check it all out though. To me there is nothing uglier than a sunburst pattern on a flat guitar. Sunburst is supposed to be found on an arch-top guitar.
not me. *G* I just love it when people say…."I’ve got 72 U.S. made Strat" For all I know, it could be a 2001 Taiwan thingy. Fender even sells new guitars that are dinged, chipped, and yellowed with age. I’ve got a Fender catalog full of the things and they still all look the same. Imagine if I had catalogs from Hamer, Squier, Yamaha, Shlitz, Warthog, Acme, Barbie and what have you.
More people do that than fender… I don’t like it either. Certainly,every argument against epiphone you read in here can be made against almost every other manu who imports, and most of those who aren’t usa in the first place. On the other hand.. sales seem up for fender and epis, too.
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I find that Strats are boring and depressing. They are all over the place. I wouldn’t know where to shop for one. They all look cheap. It’s impossible to tell if the Strat some people have is a good one or not. It’s impossible to tell if the Strat is made of wood or pressed chips. To me there is nothing uglier than a sunburst pattern on a flat guitar. Sunburst is supposed to be found on an arch-top guitar. I just love it when people say…."I’ve got 72 U.S. made Strat" For all I know, it could be a 2001 Taiwan thingy. Fender even sells new guitars that are dinged, chipped, and yellowed with age. I’ve got a Fender catalog full of the things and they still all look the same. Imagine if I had catalogs from Hamer, Squier, Yamaha, Shlitz, Warthog, Acme, Barbie and what have you.
– Hide quoted text — Show quoted text – Well, I for one find Epiphones depressing. I don’t know what it is, but everytime I see somebody playing one, it makes me a little angry at Gibson. Gibson didn’t have the decency to make the headstock the same shape, and if you notice, the bodies of the SG and Paul are a little bit different in their Epiphone incarnations. Also, the stop tailpiece on the Epi Pauls is further back from the bridge. Why can’t they make identical but cheaper foreign-made guitars like the Standard Fenders? So, I would say the PRS Santana SE has the potential to be a classic bargain (like the Standard Strat) or (more likely) an affront to guitar aesthetics like Epiphones. Just depends on how generous ol’ Paul R. is feeling to the little folks with small bankbooks.
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I find the "Teles" more interesting to look at than Stratocasters. Roy Buchanan used a Telecaster and he made incredible sounds and beautiful music with it.
– Hide quoted text — Show quoted text – I find that Strats are boring and depressing.
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I find the "Teles" more interesting to look at than Stratocasters. Roy Buchanan used a Telecaster and he made incredible sounds and beautiful music with it.
Yeah, I agree. I’m actually starting to think of Fender strats as an "amish" guitar…they never change, they look the same as they did 40 years ago…however, some custom strats do look pretty cool. I guess that is sort of the same as the Gen-X amish that I knew before I moved…couple of amish boys playing in a KISS cover band!! *Sits in wait for the nuclear flame winter* I find that Strats are boring and depressing.
– "Ding-a-ding-dang-a-dang-a-dong-ding-dong-ding-a-ding-dang-a-dong." -Ministry
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It’s impossible to tell if the Strat some people have is a good one or not.
If they like it, then it’s a good one. -Dan
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He relies heavily on dorian mode. Hi How does Santana get ‘that’ Santanna sound, i don’t mean equipment. What scales does he use? and does i construct the rhythm etc?
Shades of Frank Zappa’s "The Secret Carlos Santana Chord Progression"!!! — Personal replies welcome – but no flames or spams. * Personal website: http://homepages.tig.com.au/~avanstar "The best personal site on the Web"- Sydney Morning Herald http://smh.com.au/9909/25/showcase.html *Streaming video site – "A Virtual Serenade – 50 Popular Songs in RealVideo": http://www.geocities.com/avanstar
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Guess what Mark – Santana sucks Donkey Balls ok? Get over it.
Last time I checked this thread was about how to get Santana’s sound not whether your like the music or not. His guitar playing hasn’t changed since Woodstock. He offers nothing that interests me personally.
So why comment. Just keep your mouth shut and move on to something that does interest you. Never once did I say that his sounds wasn’t in his fingers and brain.
Don’t make me go back and paste quotes here from your previous messages. You’re all wet sweetheart and now would be a good time to move on or get lost which ever you prefer. Mark Plancke SOUNDTECH RECORDING STUDIOS Windsor, Ontario, Canada http://SoundTechRecording.com "Dozens of people spontaneously combust each year, it’s just not widely reported" – DAVID ST. HUBBINS
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- Hide quoted text — Show quoted text – Check out the latest EQ Magazine. The cover story is on the guy who produced ‘Smooth’ and a bunch of other hits. There is also a feature on the engineer Carlos has been using for a few years to record his guitar (and band, tho sometimes another engineer is in charge of the entire session, Carlos brings along Steve Fontana to make sure the guitar sounds are recorded correctly). In the article he explains that Carlos currently (mainly) uses 3 amps- a Boogie Mk IIC (IIRC), a Marshall-no model given-and a Fender Twin in the studio. He normally plays through all 3 at once. Steve2000 Thanks Steve. I knew I read that article, but I couldn’t remember where. Mark Plancke
Hi Mark, After I posted this, I checked out an another thread with this link to Santana’s official website and his ‘equipment pages.’ http://www.santana.com/carlos/amps.asp I am pretty sure they are talking about his live rig, and it looks to be written by a non-player, saying that he uses a rack of Boogie heads and power amps. The heads listed as being as MK1 and a Heartbreaker, along with simulclass power amp(s)…so that he might obtain ‘Clean, boogie and crunch sounds.’ There is no mention of what type of speaker cabs or how many. If you click onto a ‘pics’ page (the amps on the first page are nicely drawn, not pictures) you’ll see some real-life shots. There is a Marshall head sitting there patched in with some Boogies-and a bunch of speaker boxes. Dunno if it’s his stage rig or in the studio. Looks a little messy to be a stage rig, but maybe it’s underneath or off-stage. His live pedal board is barebones but looks to have an amp head switching mechanism. On the ‘Santana’ links page that brought me to his official site, there is a link to Marshall amps’ official site. No explanation just a link. My recollection of his recent backline diagram-I think Guitar World or Guitar One runs those features-has a Twin or some kinda Fender in the stage rig, probably no Marshall live. The current EQ magazine article I mentioned originally leaves little question about exactly how Carlos and Steve Fontana are currently getting his studio sounds. It’s very detailed and a good read for anyone interested in the art of recording guitars and mic-ing real amps (as opposed to going direct with a modeling box). Some of the stuff the engineer talks about might be helpful in many situations, regardless of style or specific tonal things. My original mention of Carlos using a MKII-C is just from memory of some old article I read on him around the 1995 tour he did co headlining with Jeff Beck. IIRC, somewhere I read an interview where Carlos said he was using the same old Boogie head he’d been using for years …and (again IIRC) it was a MKII-C..considered by some to be the ultimate Boogie for a certain sound, though I believe the MK4 contains a channel or 2 which have this circuitry. FWIW, the 95 Beck-Santana was a great demonstration of 2 (60s) rock legends who are vastly different. One (Carlos) locked into his basic guitar sound and many of the same licks and music style he’s played his entire career. The other (Beck) being continually innovative and coming up with new licks and a wide variety of unique sounds all night long, endlessly innovative. Complex music, many ’styles’ I guess …but all Beck-ish. Both guys using basically the same equipment they’ve used for years- Paul Reed Smiths and Boogies, Strats and Marshalls - their sounds basically coming from their hands, heads and hearts. Santana was ‘fun party music’ at that show. Beck astounded everyone and got standing ovations after many solos, lots of applause/screams after some particular hot or unique whammy bar stuff, incredibly harmonics, ethereal slide melodies played off the neck-over the pickups, maybe a blindingly fast cascade of fingerpicked notes. All in all, something for everyone at that show <g…and a lotta ‘heart full of soul’ -and spectacular playing from Jeff Beck. I’m pretty sure that very few players picking up a strat and plugging it straight into a Marshall DSL halfstack (Pro-co Rat distortion pedal very optional) are going to come anywhere near the way Jeff Beck sounds with (literally) just a guitar, amp and his hands. No pick. imo Steve .
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- Hide quoted text — Show quoted text – I agree with you (Even though your rather rude about it) but in Santana’s case I make an exception. His playing is sure recognizable, but even more* so with his amplification these days.. That’s funny, he’s been using the same Mesa Boogie Mk IV amplifier in the studio for how many years? If you think that a players tone comes from the stuff he uses and not his hands you’re sadly mistaken. But I’ve got nothing to prove to you so keep on believing what ever you want. Oh, your from Canada? Oh, you’re from Duluth Mn and it still doesn’t explain your cluelessness. I won’t go into your vs you’re thing. Mark Plancke SOUNDTECH RECORDING STUDIOS Windsor, Ontario, Canada http://SoundTechRecording.com "Dozens of people spontaneously combust each year, it’s just not widely reported" – DAVID ST. HUBBINS
Guess what Mark – Santana sucks Donkey Balls ok? Get over it. His guitar playing hasn’t changed since Woodstock. He offers nothing that interests me personally. Never once did I say that his sounds wasn’t in his fingers and brain. Your the one who jumped all over my shit for expressing a god damn opinion – oh but your from Canada. — Brought To You By: http://www.pjspage.com http://www.mp3-audio.com Home Of The Hyper Dimensional Digital Guitar Blender And Drink Mixer —
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- Hide quoted text — Show quoted text – Hi How does Santana get ‘that’ Santanna sound, i don’t mean equipment. What scales does he use? and does i construct the rhythm etc? Thanks MuTe If u would be so kind to check out my music at www.mp3.com/iangriffiths. Constructive critisism would be good. Thanks. There were two people…. …..you came secound
But it is equipment that is getting him that sound. His guitar playing hasn’t really changed since Woodstock IMHO. He’s so over rated it’s not even funny. His amplification is where most if not all his sound is coming from. Really. — Brought To You By: http://www.pjspage.com http://www.mp3-audio.com Home Of The Hyper Dimensional Digital Guitar Blender And Drink Mixer —
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He relies heavily on dorian mode.
– Hide quoted text — Show quoted text – Hi How does Santana get ‘that’ Santanna sound, i don’t mean equipment. What scales does he use? and does i construct the rhythm etc? Thanks MuTe If u would be so kind to check out my music at www.mp3.com/iangriffiths. Constructive critisism would be good. Thanks. There were two people…. …..you came secound
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But it is equipment that is getting him that sound. His guitar playing hasn’t really changed since Woodstock IMHO. He’s so over rated it’s not even funny. His amplification is where most if not all his sound is coming from. Really.
[clue mode=on] Where do these people come from? The sound is in his hands, plain and simple. The amps and guitars only serve as an enhancement to what is already there. I guarantee that if you plugged into Santana’s rig you’d sound just like you and if he plugged into your rig, he’d sound like Santana. Amazing how that works. <bg The bottom line, there is no magic bullet. [clue mode=off] Mark Plancke SOUNDTECH RECORDING STUDIOS Windsor, Ontario, Canada http://SoundTechRecording.com "Dozens of people spontaneously combust each year, it’s just not widely reported" – DAVID ST. HUBBINS
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But it is equipment that is getting him that sound. His guitar playing hasn’t really changed since Woodstock IMHO. He’s so over rated it’s not even funny. His amplification is where most if not all his sound is coming from. Really. [clue mode=on] Where do these people come from?
I come from Duluth Mn, well you asked.. The sound is in his hands, plain and simple. The amps and guitars only serve as an enhancement to what is already there. I guarantee that if you plugged into Santana’s rig you’d sound just like you and if he plugged into your rig, he’d sound like Santana. Amazing how that works. <bg The bottom line, there is no magic bullet.
I agree with you (Even though your rather rude about it) but in Santana’s case I make an exception. His playing is sure recognizable, but even more* so with his amplification these days.. Oh, your from Canada? That explains your attitude.. [clue mode=off] Mark Plancke SOUNDTECH RECORDING STUDIOS Windsor, Ontario, Canada http://SoundTechRecording.com "Dozens of people spontaneously combust each year, it’s just not widely reported" – DAVID ST. HUBBINS
– Brought To You By: http://www.pjspage.com http://www.mp3-audio.com Home Of The Hyper Dimensional Digital Guitar Blender And Drink Mixer —
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- Hide quoted text — Show quoted text – But it is equipment that is getting him that sound. His guitar playing hasn’t really changed since Woodstock IMHO. He’s so over rated it’s not even funny. His amplification is where most if not all his sound is coming from. Really. The sound is in his hands, plain and simple. The amps and guitars only serve as an enhancement to what is already there. I guarantee that if you plugged into Santana’s rig you’d sound just like you and if he plugged into your rig, he’d sound like Santana. Amazing how that works. <BG The bottom line, there is no magic bullet. I agree with you (Even though your rather rude about it) but in Santana’s case I make an exception. His playing is sure recognizable, but even more* so with his amplification these days..
Check out the latest EQ Magazine. The cover story is on the guy who produced ‘Smooth’ and a bunch of other hits. There is also a feature on the engineer Carlos has been using for a few years to record his guitar (and band, tho sometimes another engineer is in charge of the entire session, Carlos brings along Steve Fontano to make sure the guitar sounds are recorded correctly). In the article he explains that Carlos currently (mainly) uses 3 amps- a Boogie Mk II-C (IIRC), a Marshall -no model given- and a Fender Twin in the studio. He normally plays through all 3 at once. Santana generally overdubs his solos as he is particular about his tone-obviously with the 3 amp thing. They generally separate and mic each amp, then combine the tones in all kinds of ways, sometimes making a comp on the spot, sometimes recording all 3 amps to separate trax for mixing later. Steve also mentioned there were a couple tracks, notably the Eric Clapton duet, where they each played old strats through twins and that was it. I have read interviews/articles on Santana over the years and though he is very associated with the Boogie sound he has never been afraid to use a Marshall in the studio. I believe I’ve seen a recent backline diagram for his current live rig and (IIRC) he is using the Boogie as his main amp, but also has a Twin there for separate or combination tones. I agree that that Santana’s sound and style haven’t changed much since he came up with it in the early 70s, but his equipment has subtly changed-not dramatically, but there have been Fenders, Marshalls and different Boogies in the picture down the years. So, yeah he needs a certain kinda sustain and the ability to crank in some midrange-but a lot of amps will do that for him. His sound is based on what he’s hearing in his head (and to listen to his ramblings in interviews, what he ‘feels’ or what is being sent down from heaven or whatever). When you read the interview with his engineer and some other interviews where Carlos talks about the hassle of getting the tone he wants onto tape, you realize he really knows the sound he wants…and uses many things to get it. The constants in the whole thing over the years have been his hands and ‘heart.’ —EQ Magazine Feb 2001. Steve Fontano article. Probably more than you’ll ever want to know about Santana tone. imo Steve2000
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He relies heavily on dorian mode. thank you for answering my question
While it is true that he uses the Dorian mode more than any other, so do many other rock and R&B guitarists. In fact, most funk is in the Dorian mode. It is not so much the fact that he uses the Dorian mode, but the way that he uses it, and approaches guitar playing in general that give him his unique sound. — << << << << << << << << << << << << << << << <<
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I agree with you (Even though your rather rude about it) but in Santana’s case I make an exception. His playing is sure recognizable, but even more* so with his amplification these days..
That’s funny, he’s been using the same Mesa Boogie Mk IV amplifier in the studio for how many years? If you think that a players tone comes from the stuff he uses and not his hands you’re sadly mistaken. But I’ve got nothing to prove to you so keep on believing what ever you want. Oh, your from Canada?
Oh, you’re from Duluth Mn and it still doesn’t explain your cluelessness. I won’t go into your vs you’re thing. Mark Plancke SOUNDTECH RECORDING STUDIOS Windsor, Ontario, Canada http://SoundTechRecording.com "Dozens of people spontaneously combust each year, it’s just not widely reported" – DAVID ST. HUBBINS
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Check out the latest EQ Magazine. The cover story is on the guy who produced ‘Smooth’ and a bunch of other hits. There is also a feature on the engineer Carlos has been using for a few years to record his guitar (and band, tho sometimes another engineer is in charge of the entire session, Carlos brings along Steve Fontano to make sure the guitar sounds are recorded correctly). In the article he explains that Carlos currently (mainly) uses 3 amps- a Boogie Mk II-C (IIRC), a Marshall -no model given- and a Fender Twin in the studio. He normally plays through all 3 at once. Steve2000
Thanks Steve. I knew I read that article, but I couldn’t remember where. Mark Plancke SOUNDTECH RECORDING STUDIOS Windsor, Ontario, Canada http://SoundTechRecording.com "Dozens of people spontaneously combust each year, it’s just not widely reported" – DAVID ST. HUBBINS
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georgio schrieb: i do know that he changed from Fender amps to Mesa boogie when he did the Abraxas album… after that, all mesa..
Santana is one perfect example of a guitar player that always get’s his own tone, no mather which gear he uses. Bernard — www.piller.at
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i believe the first two albums were with the SG and Third/Caravanserai/Welcome were Les Pauls – standard and Custom. Borboletta was a Gibson L6S and thereafter it was the yamaha SG until PRS came along in the early 80s. if you want to check out where i think santana got his main inspiration from listen to John Mayall’s Bluesbreakers album "Hard Road" especially Peter Green’s "Supernatural" – every early santana lick is there and with the long singing sustain. couldn’t have been easy to take over from Clappers (twice!) but Peter Greenbaum pulled it off. the rest as they say is history. – Hide quoted text — Show quoted text – georgio schrieb: i do know that he changed from Fender amps to Mesa boogie when he did the Abraxas album… after that, all mesa.. Santana is one perfect example of a guitar player that always get’s his own tone, no mather which gear he uses. Bernard — www.piller.at
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When(years) and on what albums did he use his red Gibson SG and what amp(s) did he play through, also any modification info, Pickups,etc Thanks
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i do know that he changed from Fender amps to Mesa boogie when he did the Abraxas album… after that, all mesa.. georgio When(years) and on what albums did he use his red Gibson SG and what amp(s) did he play through, also any modification info, Pickups,etc Thanks
– Remove the *NOSPAM* part in my email if you reply..
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Sorry
! Next thing I’ll be checking out is this "Led Zepplin." just kidding, of course.
LOL! You whippersnapper!
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- Hide quoted text — Show quoted text – Ditto. One of the best shows I ever saw was in about 75 when Carlos opened for EC. It was right after 461 Ocean Blvd. came out and we Clapton fans feared for the worst but figured "what the fuck at least Santana will rock." He was tremendous. Then Clapton came on and opened with Layla and tore the place down. If that wasn’t enough the two encored together for about 1/2 an hour on Tell the Truth and Why does love gotta be so sad. Apparently when this tour went to NYC John McLaughlin joined in on the encore. (Hopefully you know who he is). If you are just getting into Carlos the must have album is called Abraxas (I doubt I spelled that right) released in about 1970. Also I think He gave one of the few performances at Woodstock that didn’t suck. There is about 15 minutes of him in the movie that is very good. I’ll be 40 in two weeks and it’s guys like you that make me want to shoot myself. Doug
Your gonna hate me for this, but I haven’t heard any John McLaughlin. I know OF him… I suppose I’ll check him out… anything to increase my influences to draw from. -=Devon Lougheed=- Guitarist, Composer, Arranger to reply remove NOSPAM from email adress
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Shameless Name Dropping… Unsubstantiated-but shameless…
Apologies not necessary. Great stories. More! More!
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<snipped nice Melton/Randall/Princeton/Boogie story Nice job steve! Think you could post that over in rmm… Nevermind. — rct The opinions above are mine and mine alone.
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The original Santana bassist, Dave Brown, IIRC, had a lot to do with the fluidity and motion in their music. Brown reunited with the band on the Clapton/Santana tour a few years back. Bass players make a difference!
That’s true. When I started out (playing bass), I was told by an old blues bar guitar veteran, "Guitar players are usually a dime-a-dozen. A good bass player is hard to find. You have to *want* to play bass and hold down the groove. If you learn to groove and lay it down, you won’t have problems finding work. If you can sing and play, you’ll have to fight off the calls." He was right.
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- Hide quoted text — Show quoted text -Ditto. One of the best shows I ever saw was in about 75 when Carlos opened for EC. It was right after 461 Ocean Blvd. came out and we Clapton fans feared for the worst but figured "what the fuck at least Santana will rock." He was tremendous. Then Clapton came on and opened with Layla and tore the place down. If that wasn’t enough the two encored together for about 1/2 an hour on Tell the Truth and Why does love gotta be so sad. Apparently when this tour went to NYC John McLaughlin joined in on the encore. (Hopefully you know who he is). If you are just getting into Carlos the must have album is called Abraxas (I doubt I spelled that right) released in about 1970. Also I think He gave one of the few performances at Woodstock that didn’t suck. There is about 15 minutes of him in the movie that is very good. I’ll be 40 in two weeks and it’s guys like you that make me want to shoot myself. Doug
Sorry
! Next thing I’ll be checking out is this "Led Zepplin." just kidding, of course. -=Devon Lougheed=- Guitarist, Composer, Arranger to reply remove NOSPAM from email adress
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I’d recommend Sacred Fire, which he did a couple of years ago, live in Mexico City. Adding Myron Dove was the best thing he’s done in years. The guy thumbs everything and has this huge bass tone ala Marcus Miller, which they wisely mix right up front, and Carlos is still, well, Carlos. Another cool thing about Carlos is his ability to consistently deliver a positive message of peace and love, without being corny about it. He’s still the ultimate vato. As my homeys here in New Mexico say, "He jams like fuck esse…" Panky
I saw that line up live and didn’t know who the bass player was. He blew me away, great groove, great tone-seemed to take the already great band up a notch. Also agree with your comments about Carlo’s continuing positive message. Steve
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I saw that line up live and didn’t know who the bass player was. He blew me away, great groove, great tone-seemed to take the already great band up a notch. Also agree with your comments about Carlo’s continuing positive message. Steve
I always admired Santana’s bassists because they have such a fluid groove. They don’t really groove… they go beyond. I like to think of it as "flow."
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I always admired Santana’s bassists because they have such a fluid groove. They don’t really groove… they go beyond. I like to think of it as "flow." The original Santana bassist, Dave Brown, IIRC, had a lot to do with the fluidity and motion in their music. Brown reunited with the band on the Clapton/Santana tour a few years back. Bass players make a difference!
I agree with the first post and sometimes use ‘fluid’ to describe a bass player, he certainly is that. Shameless Name Dropping Trivia 1: I saw the original Santana many times when they were starting to breaking big. A lot of guys were from the Redwood City area on the SF Penninsula. Every guy in that band contributed something to their refreshingly ‘new’ and great sound. Not sure who led the percussionists (there were 2 or 3), Mike Shrieve was a monster on drums, he was very driving and had great feel and technique but not in the cliche "heavy" way that was popular at the time. He took a great solo, but it owed more to Buddy Rich than Ginger Baker. David Brown on bass had a critical role in holding all that rhythmic activity together. He could have chosen to be a rock, but didn’t. He moved right along with the whole band, very fluid. And watching him onstage, you could tell that he was feeling it. What a great unit that band was…. Even with all the players over the years, Santana maintains headliner status worldwide. Says something about the vision. Seeing Santana in those early days reminds me of the first time I heard him at the Fillmore and while he had a high energy rock guitar tone, it wasn’t the same type of Marshall or cranked Fender tones that everyone else was using, which brings me to.. Trivia 2 (Unsubstantiated-but shameless) I believe I actually played a few notes thru the very first "Boogie" amp. We were playing a club about 10-12 years ago. The club was celebrating a big anniversary, 20 yerars or something. The owner was the original one and had made many contacts and friends over the years by devoting Monday nites to regional or national headliners, with dance bands like mine filling out the rest of the nites. For the anniveryary show he had some of the folks who had been popular in earlier times and moved on, also acts tha were still active, like some of the Tower of Power guys and Elvin Bishop. We were the default back up band, providing equip or players to get guests on. Some had whole or partial bands, some just jammed with us. I had read a an article that said Randall Smith’s first ‘Boogie’ design was the result of a joke played on Barry Melton, guitarist for Country Joe and the fish during their prime. Apparenty, some friends had taken a Princeton Reverb to Smith, who was building a name for repairs and mods on Fenders back then (circa 1968-70 or so). They asked him to make the normally mild amp as loud as he could manage. According to an article I read, Smith installed the first cascading gain circuitry (which he’d been developing), beefed up the power section and put in an EV speaker (I think) to handle it. Result: basically a Boogie-ized Princton that put out about 100w. Not an uncommon occurance in a smaller size amp these days, but back then you needed a twin or showman (or Marshall if you find one) for that kind of volume-not to mention the added bonus of high gain.(I believe Smith also said he worked with the then popular keyboardist Lee Michaels to beta test.) Not only was the amp a success in blowing away Melton with all that power in a small amp, it actually sounded very good and was the beginning of the Boogie empire. Barry Melton (now a lawyer with a band…sound familiar?) was on the bill on our anniversary show. He had some guys and tunes worked out. The first Fish album was a favorite of mine in high school, so I was in a bit of awe. He was a real nice guy, older and mellow. I asked if he wanted to play thru my Musicman or whatever. He said no, he was used to his own amp, it was pretty small, could I just get him power? He set an old Princeton on the stage. I asked if he needed a mic and he said it kicked ass and he usually just turned it up. I asked if this was the (legendary) boogie-ized Princeton. He laughed and and said," You’ve heard the story too? Yeah this is it." I got him power and he let me play a couple of chords thru it. His style is that SF psychedelic type that is a few bluesy type licks combined with a lot of different melodic lines. He was true to his word. He didn’t need a mic. He just turned it up and it sang. Steve
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I always admired Santana’s bassists because they have such a fluid groove.
They don’t really groove… they go beyond. I like to think of it as "flow." The original Santana bassist, Dave Brown, IIRC, had a lot to do with the fluidity and motion in their music. Brown reunited with the band on the Clapton/Santana tour a few years back. Bass players make a difference!
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I’d recommend Sacred Fire, which he did a couple of years ago, live in Mexico City. Adding Myron Dove was the best thing he’s done in years. The guy thumbs everything and has this huge bass tone ala Marcus Miller, which they wisely mix right up front, and Carlos is still, well, Carlos. Another cool thing about Carlos is his ability to consistently deliver a positive message of peace and love, without being corny about it. He’s still the ultimate vato. As my homeys here in New Mexico say, "He jams like fuck esse…" Panky
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Anyone else here into Santana?
NO one in the world plays with as much passion and fire as Carlos. as far as I know, he was the first guy to include classical influences in rock(he was a trained violinist before he took up guitar), and still managed to retain the warmth and emotion of the blues, which is something the neoclassical metal guyas seem to have lost. If you can find it, check out the third Santana album. It’s just called Santana, and has some sort of dark, psychedelic wahoo stuff on the cover, and features Neal Schon (at about 19 years old as the second guitarist). The side that starts with "Batuka" has the most fire, anger, and desparate emotion I have ever heard recorded on one album. He was really hurting at that time, and the resolution of it shows up on the next album, Caravanserai, which is amazingly serene and joyous. Mike Vande
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- Hide quoted text — Show quoted text – Just got Santana – the best of from columbia house. At first listen, I’d have to say that the man is a melodic genious. Europa is freekin’ genius, and soul sacrifice is so incredibly latino cool…. This is the first thing I heard from Santana, except for a promotional tape. Anyone else here into Santana? -=Devon Lougheed=- You just made me feel really old. How is it somebody could miss hearing Santana? : ) In my mind, it’s unfathomable, but, like I said, I’m getting old….. I’m bummed……
Ditto. One of the best shows I ever saw was in about 75 when Carlos opened for EC. It was right after 461 Ocean Blvd. came out and we Clapton fans feared for the worst but figured "what the fuck at least Santana will rock." He was tremendous. Then Clapton came on and opened with Layla and tore the place down. If that wasn’t enough the two encored together for about 1/2 an hour on Tell the Truth and Why does love gotta be so sad. Apparently when this tour went to NYC John McLaughlin joined in on the encore. (Hopefully you know who he is). If you are just getting into Carlos the must have album is called Abraxas (I doubt I spelled that right) released in about 1970. Also I think He gave one of the few performances at Woodstock that didn’t suck. There is about 15 minutes of him in the movie that is very good. I’ll be 40 in two weeks and it’s guys like you that make me want to shoot myself. Doug
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Aye matey! I’ll be swabbin’ the decks from bow to stern after I’m tied and flogged by me scurvy shipmates…. Aar! Oncte was a punke what called me olde n I carried his wee head upon a pike and pisst out me bladder in his bloody stumpe. Tis Keef Richards what be olde, squire.
Damn! You did that really good! I’m not worthy!!!!
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