Ultimate Santana - sheet music Guitar Tabs for Ultimate Santana. Includes "Oye Como Va" and "Black Magic Woman."








Ultimate Santana - sheet music Guitar Tabs for Ultimate Santana. Includes "Oye Como Va" and "Black Magic Woman."




Santana Lyrics

Santana Featuring . . .
Santana featuring Alex Band
Santana ft. Chad Kroeger
Santana featuring Everlast
Santana featuring Lauryn Hill
Santana featuring Mana
Santana ft. Michelle Branch
Santana ft. Rob Thomas

Santana Songs
Africa Bamba
Black Magic Woman
Do You Like the Way
Europa
Evil Ways
Into the Night (Chad Kroeger)
Jingo
Love of My Life
Maria Maria
Put Your Lights On (Everlast)
Samba Pa Ti
She's Not There
Smooth
Why Don't You And I
Winning

Santana Albums
Santana by Santana (debut)
Santana III
Caravanserai
Love Devotion Surrender
Moonflower
Supernatural
All That I Am
Ultimate Santana




Santana's Tone: Guitar, Amp, Effects Gear

While a guitarist's tone is shaped, in great part by his playing style, his equipment forms an integral part as well. In particular, Carlos Santana's amplifiers, guitars, and effects combined to create the warm, singing tone for which he is renowned.


Guitar, Guitars, Guitars

The first link in the "signal chain," an electric guitar is a unique piece of equipment. It lives in both the acoustic and the electronic world, translating a player's hand motions into an analog signal. As such, a player chooses a guitar both for it's "feel," and for it's tone.

For his earliest albums, Carlos chose a Gibson Les Paul Special Guitar, first with P-90 pickups, and later with standard Humbuckers. The P-90 pickups were closer to the single-coil pickups created in the '40s than those used later on Fender Strats and Teles.

This instrument is quite close in tonality to the Gibson SG Guitar, with which he is most often pictured on stage during that period.

Note: The SG is an unusual instrument. While it looks cool, the fretboard is stiff, the balance is awkward (take your hands off the axe and its headstock falls toward the ground), and the sound is limited. However, the double cutaway on the SG does allow access to the topmost frets, although with only 22, the highest note accessible (without bending) is a "D" two octaves above middle "C." This may have affected the choice to play many of the early songs in the keys of "G" and "D."

The Les Paul Special was far from a top of the line guitar, and did not have the beefy richness or warm sustain of the more expensive Deluxe and Custom models. However, it was, in part, those very shortcomings which helped Carlos create the uneven, raw sound which powered his early years. By using the volume control as an onboard signal adjuster, Santana injected a sense of dynamics into his playing which, combined with his passionate phrasing, gave him a signature edge.

For the third album, Santana (often called Santana III), Carlos had switched to using a Gibson Les Paul Standard, as well as an SG with humbucking pickups. You can hear a bit more meat in his tone, although he hadn't yet achieved the warm, singing sustain for which he became known.

By 1977, Santana's main guitar was a Yamaha SG2000, also with a double cutaway body style, which gave him the necessary access to the highest frets. (Although he is often said to have played the Yamaha SG175, that was the original Yamaha model from which the SG2000 was developed by Carlos and Yamaha together.) This guitar, in particular, could be considered -- in conjuction with the Mesa Boogie amps (see below) -- the beginning of the famed "Santana" tone, with it's smooth roundness, even sustain, and thick tonal quality.

This signature sound first achieved prominence on 1978's Moonflower, a combination of live and studio tracks that was Santana's last commercial success until the 1999 release of Supernatural. Carlos played the Yamaha on and off for about five or six years, until 1982.

Upon discovering Paul Reed Smith in the late '70s, Santana began using a custom PRS model, and by the early '80s, it had become his primary instrument. Though Carlos has played several different models over the last few decades, they have all been similar, including double-cutaway bodies, 24 frets, and humbucking pickups.


Mesa/Boogie Amplifiers


Carlos Santana wasn't the only artist to discover these little dynamos. In the early '70s John McLaughlin used them to create the seminal Mahavishnu Orchestra albums, Al DiMeola cranked them for his Return to Forever days, and David Gilmore's model fueled his soaring Pink Floyd lines.

Many, many other artists also played Mesa/Boogie amps, but Carlos Santana is arguably the most visible to use the products.

Amplifiers That Boogie

Back in the late '60s, the primary amplifiers in use were Marshalls and Fenders. While both had interesting qualities, neither delivered the smooth, tone-rich distortion and sustain that guitarists craved. The only way to improve their performance was to have them modified. Thus Jerry Garcia (Grateful Dead), Mike Bloomfield and others had their amplifiers worked on in order to get a more pleasing tone.

First the first two albums, Carlos Santana used a Fender Twin Reverb, turned all the way up. It is likely that the amp was modified (including the switch to an Altec speaker) to create more gain, yet still didn't provide as much sustain as he would have liked. To compensate, Carlos would use several techniques, including: 1) cranking the guitar's volume control at the end of notes; 2) turning the guitar towards the amp to generate feedback; and 3) doubling some of the held notes (in the studio) to add thickness.

But in 1970, an engineer named Randall Smith took out the guts of a Fender Princeton and installed circuitry designed to produce the maximum gain.

When Carlos heard the souped up amplifer, he cried: "Man, that little thing really Boogies!" Thus, the Mesa/Boogie brand name was born. For more than five decades, Santana has continued to use the amplifiers. It is only recently that he has incorporated Dumble amplifiers into his gear. He uses a Jim Dunlop Amp Switcher to move back and forth between those two models, as well as a Fender Twin Reverb. (And, in true Santana style, varies his choices from night to night.)


Sound Effects

Preferring to get his sound from humbucking pickups and an overdriven tube amp, Santana employs effects sparingly. His current pedal board includes a Mu-Tron Volume/Wah Wah pedal that he has used for nearly his entire career, as well as an Ibanez Tube Screamer (added much more recently, and used very rarely), and an Ibanez Modulation Delay.

Though it's hard to detect effects on most of the Santana albums, he has sometimes used a particular technique where he finds a spot within the Wah Wah pedal's range that he likes, then leaves it there. This is especially evident on Abraxas' instrumental ballad, "Samba Pa Ti."

In addition, there are other examples of him using the Wah Wah in a more conventional fashion, such as passages from "She's Not There," "Soul Sacrifice (Head, Hands and Feet)," and "Dance Sister Dance (Baila Me Hermana)," all from Moonflower.


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Santana History
Carlos Santana Biography
Woodstock Appearance

Santana / Guitar Blog
Carlos Santana, Guitar, etc.

Santana's Guitar Tone
Playing Style
Paul Reed Smith Guitars
Mesa Boogie Amps
GHS Guitar Strings

Santana Shoes
Buying Guide for Guys

Santana's Charity
The Milagro Foundation

Santana Perfume, Cologne
Carlos Santana for Men
Carlos Santana for Women

Other Santanas
Salvador Santana
SSB's Summer's Day
Jorge Santana