THE STARS AND THEIR GUITARS CARLOS SANTANA
This Mexican American maestro burst on to the scene at Woodstock and seems to have been around forever with his signature singing sound. Here’s a look at the guitars he’s been using over the years in order to create his noise… Gibson Les Paul
Special (1969 – 1971) This was his guitar of choice when making his first two albums, although he mostly chose an SG for live performances. Originally equipped with P-90 pickups and later standard humbuckers, this helped him achieve a raw sound that really helped boost his status in the early years.
Gibson SG
(1969 – 1972) This guitar is most fondly remembered for its appearance at Woodstock, where Santana truly made a name for himself, having not yet released his debut album. This now iconic red model also featured P- 90 pickups and another version with humbuckers was also commonly seen in his hands in the early 1970s.
Gibson Les Paul Standard
1982 - Present
(1971 - 1976) Santana used this model to record his third album, Santana III, as well as occasionally switching back to the SG. This
led to a very noticeable change in tone, but at this point he had still not established the unique sound for which he has become known today.
Yamaha SG2000
(1976 - 1982) His trademark tone started to emerge during this period (particularly on the 1978 album Moonflower) with the combination of this guitar and the Mesa Boogie amps he began using at this time. The SG2000 was based on the Yamaha SG175 model and was a collaboration between Santana and the manufacturer.
Various PRS Signature guitars
(1982 - Present) Santana’s love for the Paul Reed Smith brand began when he borrowed one to record his 1981 record, Zebop! These days he can be seen playing any one of three PRS models – The Santana SE One Abraxas, Santana I or Santana II. The former features a mahogany body, PRS designed Stoptail bridge and tuners and a peace symbol on the 12th fret.
1969-1971 MI ICON
t may not look like much, but over the six years that the Korg M1 was in production, it became the world’s best selling synthesizer workstation. A built-in MIDI sequencer and rich variety of sounds that included never- before-seen samples as standard might not seem much compared to today’s synths, but at the time these features would have been a breakthrough, as the M1 sold 250,000 units since its inception in 1988. At the time, the likeness of artificial
I
sounds on similar products were poor, but the M1 actually offered acoustic guitars that resembled the instrument and it was a similar story with the oboe, strings, bass and piano sounds. It was also one of the first to include a worthy selection of drum kit sounds. Up to eight programs could be made into a combination and along with the added sequencer and two
1969-1972
1971-1976
digital signal processing chips, which produced a remarkable range of effects, the M1 allowed for bags of creativity. In fact, it was so ahead of its time that there are a few die-hards around today that still use it, despite its age.
The M1’s retro controls were a lot
more basic than modern synths, such as the 40x2 character LCD, data slider and four-way joystick. Sounds and sequences could also be saved using the two expansion slots.
Korg M1 Workstation As its lifetime progressed, a number
of different versions emerged. These included rackmount versions, such as the M1R. Its synth engine was so good that it remained until the release of the Korg Trinity in 1995, which offered several keyboard variations – a disk drive and a better selection of samples and an improved sequencer. Like everything, it was eventually
surpassed as technology advanced, but it was remarkable how long it stayed as the synth benchmark.
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1976 - 1982
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