Ultimate Guitars CD Booklet - Sweetwater
ULTIMATEGUITARSmusician’s guide
ULTIMATEGUITARSFILE INDEX by manufacturer, file name, description and sizeFENDERCHRD CLN Strat/Dimension D Chords 8858Clapton Strat major, minor, 7th and minor7th chords through Roland Dimension Danalog chorus and then into a FenderDeluxe Reverb amp (with direct box)CHRD DST Distorted Strat Chords 8931Clapton Strat major, minor, 7th and minor7th chords through a Mesa/Boogie DC-5amp set to produce fairly heavy distortion(with direct box)STR 12CLN Clean 12-String Strat 2440Stratocaster XII (clean) through SansAmpSTR 12DSDistorted 12-String Strat 4576Stratocaster XII through Deluxe Reverb withan Ibanez TS-9 Tube Screamer set to a milddirty tone (Shure SM57)STR DIRTDirty Stratocaster 18931972 Strat through Fender Deluxe Reverbamp plus Ibanez TS-9 plus ChorusSTR DRTYDirty Stratocaster Two 7558Clapton Signature Strat throughMesa/Boogie DC-5 (via recording outs)with fairly heavy distortionSTR FUNKFunk Strat (w/fret buzz) 14681957 Strat through a Super Reverb Amp(recorded via direct box)STR LEADStratocaster Lead 32531988 Strat through Roland Distortion pedaland into Deluxe Reverb (Shure SM57)STR NECKStratocaster Neck 60061963 Strat with neck pickup (clean) throughFender Deluxe Reverb (Shure SM57)STR POS2Strat Pickup Position 2 71671963 Strat with pickup position two (neckand middle clean) through Deluxe Reverbwith velocity switching between mediumand hard picking (Shure SM57)STR POWR Stratocaster Power Solo 29541988 Strat with bridge pickup throughIbanez TS-9 Tube Screamer and intoFender Deluxe Reverb amp (Shure SM57)STR SNAPSnapped Strat 18961988 Strat with bridge pickup (clean) directinto the mixer played by snapping thestrings with thumb and index fingerSTR THINStrat “Out-of-Phase” 17741972 Strat with out-of-phase bridge andmiddle pickups (clean) through Mesa/BoogieDC-5 amp via recording outsSTR TRBOStrat Turbo 43691988 Strat with bridge and middle pickupthrough Mesa/Boogie DC-5 (Shure SM57)STR TRFXStrat Turbo 5ths FX 2760Same as above, but just power 5ths and f/xSURF JAGSurf’s Up (Fender Jaguar) 2876Fender 1960s Jaguar with both pickups(clean) through Fender Deluxe Reverb fordistinctive “surf tone” (Shure SM57)TELE CHRD Telecaster Chords (chuffs) 7941970s Telecaster playing fast chord strumsthrough Fender Deluxe Reverb (Shure SM57)TELE CLNTelecaster Clean 2241Same as above, but with single notesTELE FZZ1Telecaster Fuzz 1 4092Same Telecaster as above but using a Rolanddistortion pedal (F/X heard below C2)TELE FZZ2Telecaster Fuzz 2 4674Same as above but using a vintage MaestroFuzztone pedal (F/X below C2)TELE LEAD Telecaster Lead 4814Same Telecaster as above but playedthrough a blond vintage Bandmaster ampand miked with AKG D-1200WAH BITSWah-Wah Bits (Strat) 770Clapton Strat and Vox Wah hitsWAH RIFFS Wah-Wah Riffs (Strat) 2036Clapton Strat and Vox Wah full riffsWAH ALL Wah Bits and Riffs (Strat) 2278Clapton Strat and both Wah files togetherGIBSONCHAINSAW Chainsaw Guitar (LesPaul) 61791968 Les Paul Custom with bridge pickupthrough Marshall JCM-800 (Shure SM57)— includes power 5thsCHAIN FBChainsaw LP Feedback 104161968 Les Paul Custom with bridge pickupthrough Marshall JCM-800 (Shure SM57)— with power 5ths — use the mod wheelto bring in screaming feedbackCHNSW LP Chainsaw w/Looped 5ths 5433Same as Chainsaw but with looped 5thsCLSD WAH Closed Wah Rock (LP) 29251979 Les Paul Custom with bridge pickupand Vox Wah in closed (back) position
through Mesa/Boogie DC-5 (Shure SM57)GB 335CLClean ES-335 (Both pickups) 52351981 335 Reissue with both pickupsthrough Deluxe Reverb amp (AKG 414)GB DBL12Gibson Double Neck 12-Stg 7250The classic Jimmy Page “Stairway” ES-1275double neck guitar using the 12 string neckthrough a Marshall JCM-800 (AKG 414)GB12 5THDouble Neck 12-Stg 5ths 2588Same as above but 5ths onlyGB ES175Gibson ES-175 Jazz Guitar 14081968 ES175 through blonde FenderBandmaster amp (Shure SM57)GB ES335ES-335 Neck Pickup 39271981 335 Reissue with neck pickup onlythrough Deluxe Reverb amp (AKG 414)GB ES5Gibson ES5 Jazz Guitar 17661958 ES-5 Switchmaster with P-90 pickupthrough blonde Bandmaster (Shure SM57)GB LUCILB.B. King “Lucille” 4783Recent B.B. King Lucille Signature Modelwith moderately dirty tone through PeaveyClassic 50/212 amp (Shure SM57)GB METAL Metal SG Special 6680Full out Metal tone via a Gibson SG Specialwith P-90 pickup in the bridge positionthrough Marshall JCM-800 amp (AKG 414)GB ZZ 16Les Paul “ZZ” Guitar(Looped version) 157431992 LP Custom Signature through a Mesa/Boogie and custom distortion pedal for thatdistinctive ZZ tone with 5ths, three layers ofharmonics and more (via direct box)GB ZZ 34LP “ZZ” Guitar Unlooped 33782Same as above but using no loopsLP DLX1LP (Both p/u) Deluxe Amp 1 22751982 LP Artisan through Fender DeluxeReverb amp w/ both pickups (Shure SM57)LP DLX2LP (Brdg p/u) Deluxe Amp 2 2313Same as above but with bridge pickup onlyLP DLX3LP (Neck p/u) Deluxe Amp 3 2469Same as above but with neck pickup onlyLP LEADLes Paul Neck Pickup Lead 56271979 Custom with neck pickup throughMesa/Boogie DC-5 (Shure SM57)LP TREBRock Paul (Treble pickup) 2952LP Artisan through Tech21 SansAmpLP XXLLP Tech21 XXL Pedal 5912Same as above but with XXL pedalGRETSCHGRTCH JZGretsch Jazz 35171966 Model 6120 Chet Atkins Nashvillewith neck p/u set to jazz position (switch up)through Fender Deluxe Reverb (AKG 414)GRTCH TN Tennessean 1768Chet Atkins Tennessean (1960s) with bridgeonly and both pickups through a FenderTwin Reverb amp (Shure SM57)NSH BOTH Nashville Both Pickups 36391966 Nashville with both pickups (clean)through Fender Deluxe Reverb (AKG 414)NSH BRDG Nashville Bridge Pickup 3856Same as above but with bridge pickup onlyNS BR SANashville Bridge w/SansAmp 2676Same as above (bridge pickup) but sampleddirect via Tech21 SansAmpNS BTHSA Nashville Both w/SansAmp 2391Same as above except using both pickupsMARTINMRTN 728 Martin Stereo (Model 7-28) 4000Martin model 7-28 recorded in stereo usingCrown SASS-P Stereo microphoneMRTN D18 Martin D-18 1572Martin D-18 recorded via Audio TechnicaModel 4033 microphoneMRTN D28 Martin D-28 w/Fret Buzz 1931Martin D-28 recorded with AKG 414 mic —velocity switching brings in fret buzzMRT SLIDMartin Slide Guitar 3735Killer Martin D-38 Slide guitar sampled withAKG 414 — velocity brings in slide effectPAUL REED SMITHPRS BRDG PRS HFS Bridge Pickup 4682Classic PRS sound with the “Hot, Fat,Screams” Bridge pickup through Mesa/Boogie DC-5 (AKG 414)PRS BRN1PRS “Burn” Vintage Bass P/U(with 5ths, Full Vibrato with no loops) 11881PRS Vintage Bass neck pickup with realvibrato for “Santana”-style leads throughMesa/Boogie DC-5 amp (AKG 414)PRS BRN2PRS “Burn 2” Vintage Bass P/U(with power 5ths and looped vibrato) 5161Same as above but with looped vibratoPRS BRN3PRS “Burn 3” Vintage Bass P/U(5ths and no vibrato) 2331PRS BRN4PRS “Burn 4” Vintage Bass P/U(no 5ths, no Vibrato) 1305PRS CUSTPRS Custom(pickup positions 7 and 9) 6867P/U position 7 is parallel single coils of thePRS humbuckers, while position 9 is bothoutside coils of the two humbuckers. Theseprovide crisp, clean tones. Sampled throughMesa/Boogie DC-5 via recording outsPRS MRSH PRS Plus Marshall Amp 5110PRS Custom with bridge pickup throughMarshall JCM-800 (Shure SM57)
PRS VIBPRS HFS Bridge Pickup(with vibrato and power 5ths) 11541PRS Custom with HFS Bridge pickup plusreal vibrato and power 5ths throughMesa/Boogie DC-5 amp (AKG 414)PWR 5THS PRS Power 5ths FX 10450Just power 5ths plus all sorts of whammyeffects, scrapes, pulls, etc. through MarshallJCM-800 (AKG 414)YAMAHAAPX AC SAPX-7 Acoustic Stereo 4026Yamaha electro-acoustic sampled via CrownSASS-P Stereo microphoneAPX CHRS APX Roland Chorus Stereo 4008Same guitar sampled using internal piezopickups and routed through RolandDimension D analog chorusAPX ELECAPX-7 Electric/Acoustic(internal piezo pickups) 3382Same but sampled direct using internal p/uSG2K BLUSG2000 Blues 7973Yamaha SG2000 (as used by Santana) withneck p/u and Ibanez TS-9 Tube Screamerinto Fender Deluxe Reverb amp (AKG 414)— velocity switches between two pickingstyles (medium and hard)SG2K BL2SG2000 Blues Two 6689Same as above but with slightly lessdistortion dialed in, so light picking is fairlyclean-soundingSG2K BTHSG2000 Both Pickups 3165SG2000 with both pickups active and tonecontrols set for clean sound through DeluxeReverb amp (Shure SM57)SG2K CHD SG2000 Chords Chuffs 8909SG2000 chords using same setup as above.Release brings in fast upstroke chords(usually called chuffs)SG2K JZZSG2K Jazz Tone (Neck p/u) 3866SG2000 with tone controls set to produce awarmer jazz tone through Fender PrincetonReverb amp (Shure SM57)SG2K NECK SG2000 Neck Pickup 2461Same as above but with neck pickup onlySG2K TRBSG2000 Treble (Bridge) 2479Same as above but with bridge pickup onlyBASSESIBANEZ BIbanez Fretless Bass 2910Soft, medium and hard plucks through1967 Fender Bassman (Shure SM57)JAZZ BFender Jazz Bass 2131Variety of picking styles sampled directMODULUSModulus Fretless Bass 1135Sampled via Tech21 SansAmpP BASSFender Precision Bass 3863Variety of articulations through 1967 FenderBassman amp (Earthworks OM-1)PEDULLAPedulla Fretless Bass 1187Sampled thru 1967 Fender Bassman (SM57)RICKFRTLRickenbacker 4001 Fretless 2171Sampled through Bassman amp (direct box)RIPPER BRipper Bass 2201Gibson mid-70s Ripper sampled throughMarshall JCM-800 (via direct box)THUNDR B Thunderbird Bass 25281965 T-Bird through Fender Bassman (SM57)SAMICK 1Samick Fretless One 1610Customized model sampled via SansAmpSAMICK 2Samick Fretless Two 1997Same bass through Fender Bassman (SM57)STNGRY B Music Man StingRay 80441980 model through Bassman (EarthworksOM1)WAL BASS Wal Custom Bass 4449Recent model through Bassman amp (SM57)MISCELLANEOUSAMP JACK Amp jack (plug-in) noise 791AMP NOIZ Amp hum (with Strat) 133AMP SWCH Amp being switched on 48AMP VERB Amp kicked for reverb crash 1098DX7 JAZZDX7 Jazz Guitar Program 1713Classic FM Jazz Guitar program from DX7FEEDBACKPsychic Feedback 5002Wild feedback that you can actually playGODIN AGodin Multiac miked 4005Medium and hard plucks sampled via AKG 414GODIN EGodin Multiac Classical 6001Sampled via internal piezo p/u. Soft, medium(thumb) and hard (fingernails) plucks plus pickHERNANDZ Hernandez Nylon String 3644Handmade nylon string with soft andmedium (thumb) and hard (fingernail) plucksOVATN 12Ovation El/Ac 12 String 1500RICK 12Rickenbacker 12-String 1407Rick 360-12 thru Deluxe Reverb (SM57)ROM2 DST Distorted ROM Guitar 9Requires Contemporary ROM blockTAKAMINE Takamine Classical Stereo 7172Medium (thumb) and hard (fingernail) pluckssampled using Crown SASS-P stereo micTYLR 12STaylor 12 String (Stereo) 9733Taylor model 222 acoustic 12 string sampledwith Crown SASS-P stereo microphoneTYLR 12MTaylor Ac. 12 String (Mono) 4327Same guitar in mono sampled with effectsvia Earthworks OM-1 MicrophoneTYLR FXTaylor Ac. 12 String FX 1034Same guitar but f/x only
ULTIMATEGUITARSAll guitars played by JIM MILLER Sound Design by JIM MILLER/STRATUS SOUNDS*All Programs, Keymaps, Effects, Sequences and sample processing by DANIEL FISHER(*Except Gibson Lucille, 34 meg “ZZ” Guitar, and all guitar feedback played by Jim Miller with sounddesign by Daniel Fisher; DX7 Jazz Guitar created by Daniel Fisher)ABOUT THE GUITARS ON THIS CD ROMIn the 1960s, the guitar became not only an important voice in popular music, but a virtual symbol of all the manychanges occurring within our society. Few other instruments — if any — can produce as many sounds as the guitar. It canyield delicate acoustic timbres with sparkling harmonics, dark and smoky electric jazz tones or molten, gut wrenching heavymetal sounds. From light pop and surf music to chicken-pickin’ country riffs and dusty blues, the guitar is always there,sounding as fresh today as it did in the early days, when the first musician decided that this particular instrument, like noother, would best express his innermost thoughts and feelings.ULTIMATE GUITARS is more than just a collection of samples, it is a veritable textbook of classic guitar sounds. Infact, many of the instruments represented here are of important historical significance. Some of the guitars we sampled aretrue, vintage, collectors items worth many thousands of dollars. But more importantly, here you’ll find a palette of soundsthat will duplicate most any guitar timbre imaginable, meaning you won’t be at a loss for that perfect guitar sound at yournext recording session. Each guitar is presented with as much information as we felt was necessary to define its usage andhistorical importance. This was indeed a labor of love for all of us involved and we sincerely hope that you enjoy playingthese sounds as much as we enjoyed crafting them for you.THE GIBSON LES PAULGibson’s Les Paul Model, named after legendary guitarist Les Paul, was first released in 1952 at a list price of 210,at least partly in response to the introduction of Fender’s then-new Telecaster solid body. This guitar is still very much in demand today, though the instrument as we knowit was officially discontinued in about 1963 infavor of the newer SG (solid guitar) series. From1964 through 1967, Gibson actually producedno instruments bearing the Les Paul name sinceLes himself disliked the style of the SGs and didn’tparticularly want his name on them.But in the mid-1960s, there was a resurgence of interest in blues-based rock music.Notable guitarists like Eric Clapton and MikeBloomfield were suddenly seen playing LesPauls. They had discovered that this particularinstrument, when overdriven through a tubeamplifier, produced a thick, beefy tone that waswell-suited to this style of music. Suddenly itseemed everyone was searching for Les Pauls,but of course they were no longer in production, making those that survived very much in demand. With all this renewedinterest, Gibson again began producing these guitars and launched the reintroduction at the 1968 Summer NAMM Showin Chicago. At that time, a new Les Paul Custom carried a list price of 545, while the Les Paul Standard retailed at a mere 395.As recently as the mid-1970s, guitar players were able to find early model Les Pauls, many with great maple flame-tops(or “tiger-striped” or “curly maple”), for under a grand. Today a true vintage LP from the ‘50s or early ‘60s in excellentcondition may command astronomical prices from collectors, particularly those that feature the highly-figured maple tops.Even one of the newest production models may retail for well over 3,000, depending upon the quality of the top and itshistorical accuracy.During the 1980s, Les Pauls were again overlooked, mostly in favor of the Fender Stratocaster, thanks in no small partto the move by many big name guitarists (like Eric Clapton and Jeff Beck) to that instrument. The market was also beinginfluenced by the introduction of fat, analog synthesizers, and guitarists found that a Strat could compete very nicely withthese new machines, and in fact, seemed to complement them quite well. But by the late 1980s and early ‘90s, thanks to
the music videos being produced by Guns N’ Roses (and the Les Paul-toting lead guitarist, Slash), Les Pauls were again wildlypopular and indeed, more in demand than ever.For our collection, we have sampled a black 1968 LP Custom, a tobacco sunburst 1982 Artisan (a rare, ornate version of the LP produced from 1977 through 1982), a cherry sunburst 1979 Custom and a 1992 Custom Signature withstunning amber flame top, a limited-edition produced for Guitar Showcase by the Gibson Custom Shop and signed by LesPaul himself (number six of a production run of only 30 guitars and one of only six Customs).THE FENDER STRATOCASTERThough Fender’s two-pickup Telecaster and single pickup Esquire were enormously popular, the company wanted aflashier, upscale model it could offer to guitarists. In 1954, Leo Fender along with Freddie Tavares designed a timeless classic,the Stratocaster. Styled in sleek, contoured, ‘50s tailfin fashion,this instrument was an immediate success with its three pickups andstandard tremolo tailpiece. The single coil pickups, typical for Fenderproducts, produced a clear, bright tone that was highly desirable atthe time, since it was able to effectively cut through even a densemonophonic mix. List price for a Stratocaster with tremolo was just 274.50 in 1957.Historically speaking, the Stratocaster (pretty much universallyknown as “The Strat”) was so successful and so well-designed,that only minor changes have been made to it throughout its 40 year history, and it remains as popular today as it was back in the‘50s — maybe even more so.Though it never disappeared the way the Les Paul did, Stratsdid tend to go in and out of style. Surf music was popular in theearly ‘60s and the Strat (along with the Fender Jaguar) seemedperfect for this genre of music. But then, in the mid to late ‘60scame the psychedelic era. As guitar fashions go, this was the time ofthe fat Gibson humbucker sound. Eric Clapton (then in supergroupCream) was slinging an SG Standard. Other big name groups likethe Jefferson Airplane, Fleetwood Mac and the Grateful Dead wereall playing Gibsons. It fell to another guitar legend to reintroducethe Strat to an unsuspecting world: in the late ‘60s, Jimi Hendrixburst upon the music scene like a supernova. His slashing, screamingsound and dive-bombing “whammy bar” technique caught the musicworld by surprise. Everyone now agreed, the Strat was indeed well-suited for heavy-duty rock music and the instrument hasmaintained a constant presence among guitarists, both young and old, ever since.Currently, a number of high-profile guitarists like Eric Clapton, Jeff Beck, Buddy Guy and Bonnie Raitt all have signaturemodel Stratocasters in the Fender line, assuring the instrument a place in modern music well into the next century. For ourcollection, we have sampled a sunburst 1957, white 1963, black 1972, sunburst 1988 American Standard Strat, a recentblack Eric Clapton Signature Strat, and a late ‘80s olympic white Fender Strat XII electric 12-string.GRETSCH GUITARSGretsch guitars have long had a rather unique reputation among guitarists. Most either love them or hate them. TheFred Gretsch Company of Brooklyn, NY was not only a manufacturer, but a distributor of a full line of musical instruments aswell. It wasn’t until 1955 that the company had much impact on the history of the modern electric guitar. That year, Gretschintroduced a number of new models in all sorts of unusual colors — unusual at least for the ‘50s. From green and yellowto burgundy and orange, the company caused quite a stir with its new guitars which appeared in Gretsch’s first full colorcatalog. Among the models introduced at that time was one that has become a true classic, the Chet Atkins Hollow Body,also known by its model number, the 6120.Sporting a Western Orange finish (sometimes also referred to as Amber Red), a Bigsby vibrato, steer’s head inlay on theheadstock, western motif (“cows and cactus”) fretboard engraving and a stylized “G” branded right into the wood of theguitar’s top, the 6120 (list price in 1955: a whopping 385) was not content to be your ordinary, run-of-the-mill guitar, thoughit’s kind of funny that a guitar with so much western styling should be built in Brooklyn, New York. Eventually, there wouldbe three models in the Gretsch family bearing the Chet Atkins name: the 6120 (which became known as the Nashville inthe 1960s), the Country Gentleman introduced in the late ‘50s, and the “low-end” Tennessean, first produced in theearly 1960s. Gretsch also built a model known as the White Falcon, then the top-of-the-line guitar in its catalog carryinga list price in 1958 of a hefty 675.Oddly enough, it was the Gretsch Country Gentleman that most people came to recognize thanks to its use by Beatles
lead guitarist George Harrison. Still, the 6120 remains as the quintessential Gretsch, evolving over the years from a 2 3/4-inchdeep single cutaway with real, open f-holes to a 2-inch deep double cuta
GUITARS musician’s guide. FENDER CHRD_CLN Strat/Dimension D Chords 8858 Clapton Strat major, minor, 7th and minor . into the mixer played by snapping the strings with thumb and index finger . OVATN_12 Ovation El/Ac 12 String 1500 RICK_12 Rickenbacker 12-String 1407 Rick 360-12 thru Deluxe Reverb (SM57) .
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In 1959 Oliviero Pigini conceived the Eko project and created the first guitar prototypes. A short time after this he founded in Castelfidardo the Eko S.a.s. EKO began to produce traditional acoustic guitars and small archtop guitars of clear Sicilian origin. Eko's philosophy was to offer a full range of guitars, produced with standardized
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body electric guitars. Trying to understand these effects and interactions was actually the motivation for why I started building guitars in the first place and the beginning of Calaveras Fretworks Custom Guitars. A few years back I put a Maple Tele neck on the first CFCG mahogany body and was floored by
According to Armando Vega, marketing manager for Electric Guitars, Basses and Amps at Yamaha, it was changes in musical taste that originally prompted the company to expand from acoustics into semi-hollow electrics. “It was a sign of the times,” he said. Vega noted that Yamaha’s 50 years of experience building guitars, coupled with the
At all: Electric guitars were built to play loud and hard!!! And finally acoustic guitars were much too faint to get through really within bigger ensembles or even orchestras. The first acceptable representative electric guitars were built by Adolph Rickenbacker and George Beauchamp at the beginning of the 30s in the last century.
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