The legend says the world needs to be “far out,” and he’s cut a new album, Blessings and Miracles, to take it there. He talks about his fabled tone, advice from Miles Davis, his search for universal melodies, and stepping outside the cage.
Carlos Santana plays like a superhighway. His notes—always exquisite and succulent—are founded on terra firma yet travel to many places. The 74-year-old 6-string guru often uses the word multidimensional to describe his technicolor sonic thumbprint. And, through more than a half-century of recordings and concerts, that multidimensionality speaks as articulately as the beautiful unison-string bends in his band’s classic “Samba Pa Ti,” projecting his devotion to melody, intention, the echoes of his influences, imagination, inspiration, awareness, fidelity to his art, and a desire to communicate.
Of all those dimensions within Santana’s playing, his desire to communicate and his awareness that his music can telegraph a subtly different message to each listener may be the most important. It’s key to understanding the search he embarks on every time he takes a solo or writes a song. Or makes a new album, like the recently unveiled Santana band recording Blessings and Miracles, which seems to draw on every period of his career—or at least all the aspects of his search for, as he called it in the title of his 2014 autobiography, the Universal Tone.
Santana, Rob Thomas, American Authors - Move (Official Music Video)
“I think of melodies that are universally accepted—by Greeks, Apaches, Puerto Ricans, Aboriginals … everybody,” Santana explains. “Because everyone understands the sacred language of melody, nothing speaks more clearly, and you can hear the way melodies transcend any cultural differences. For example, play the first four notes of ‘Nature Boy,’ by Nat King Cole. [He sings the intro to the song’s melody, and then sings the same notes with different phrasing.] See, it’s also ‘Danny Boy’—the same four notes.
“We’re in the business of getting people’s attention,” he continues. “Understanding the universal nature of melody is important. I have never created and will never create an album that’s background music. I don’t do background music. When you go to hear Santana, like the people I love … Miles [Davis], Stevie Ray Vaughan, the music has to take center stage and captivate your attention. It tries to offer you something that’s really good in you and for you, that you aren’t aware of.”
Everyone understands the sacred language of melody.
One of those somethings is the long, held note—an emotional trigger that’s among his historic signatures. “Feedback is good for you,” Santana says. “With the correct tone between the pickups and speakers, it’s a living light, it’s constantly breathing. But feedback coming from a pedal is bad feedback. It’s like a cadaver. There’s no life in there. So I don’t use pedals for sustain. I walk around and mark the floor where the sound becomes a laser beam between me and my guitar, so it’s constantly breathing. That’s why we like Star Wars. You get to hear Darth Vader breathe.” Parenthetically, that notion also correlates with the healing feeling that comes with yoga’s soothing ujjayi, or ocean, breath.
With the title Blessing and Miracles tagged to his namesake outfit’s 26th album, it’s no surprise that Santana self-produced the recording with high goals. “There’s no difference between radio today and in the ’50s,” he relates. “It was corny, boring, and then along came the Doors with an eight-minute version of ‘Light My Fire,’ and the Chambers Brothers, with ‘Time.’ I grew up in the ’60s with the ground-zero cultural revolution, so it’s natural for me to play my guitar sometimes melodically and contained, and sometimes like a hurricane. If I play something like ‘Maria Maria’ [from Santana’s 1999 mega-hit Supernatural] it feels commercial because it has a regular melody, but if you put some Sonny Sharrock and John McLaughlin influence in there, that’s radical! And that’s exactly what the world needs today—to get far out!”
At 74, the éminence grise of Latin-rock guitar is still taking chances and believes that music can change the world.
Photo by Maryanne Bilham
To get far out music to the people, Santana figured he also had to go deep inside the industry. So, over the several-year course of making the 15-song album, he recruited Chris Stapleton, Steve Winwood, Living Colour’s Corey Glover, Metallica’s Kirk Hammett, Chick and Gayle Corea, and his old Supernatural teammate Rob Thomas. Santana and Thomas’ song on that triple-platinum album, “Smooth,” spent 12 weeks on top of the Billboard charts.
“I’m at a point where intention, motive, and purpose are very, very clear,” Santana says. “I wanted names that would help get me back on radio. We didn’t do any planning like that for Africa Speaks. [The exploratory Afro-Latin album the Santana band made in 2019 with Spanish guest vocalist Buika.] But now is the time.
Carlos Santana’s Gear
Carlos Santana is using three PRS custom guitars for his Las Vegas residency: two gold-leaf-finished Single Cuts—one with a vibrato bridge—and a red flame-top Single Cut. In this photo, he's playing an earlier Double Cut PRS signature model, but he now favors his Single Cuts.
Photo by Roberto Finizio
- PRS Custom-Built Single Cut non-trem with gold leaf finish (main guitar)
- PRS Custom-Built Single Cut tremolo with gold leaf finish
- PRS Custom-Built Single Cut non-trem with red flametop
- Toru Nittono Jazz Electric Nylon model
Strings & Picks
- Paul Reed Smith Signature Series (.0095–.044)
- Dunlop Carlos Santana Signature medium soft
- V-Picks custom 3 mm in red
- Dumble Overdrive Reverb 100-watt head
- Allston Neuro 100-watt head
- Tyrant Dictator 4x12 with Weber Gray Wolfs
- Real McCoy Custom RMC10 wah
“It’s imperative to uphold enthusiasm no matter what the world is going through, because we can push the buttons and click the switches to change the narrative. There’s too much fear and separation on the planet—too much crawling instead of flying like a hummingbird. So people find a lot of ammunition to justify why they’re unhappy. We with the Santana band say get away from here with that stuff. We override it and we change it, because we want joy—which we can provide through our music—to transmogrify fear. It’s that simple. I have confidence that, at 74, I can take this music to the four corners of the world and touch many people’s hearts.”
So Blessings and Miracles pendulums between the wild and the calculated, and, not surprisingly, Carlos Santana brilliantly breathes in both realms, as he has since earning his bones playing blues in the strip clubs of Tijuana, and then as a musical staple of San Francisco’s—as Otis Redding put it—“love crowd.” Even when the songs purr, like “Breathing Underwater,” a graceful textural-pop ballad his daughter, Stella, brought to the album, there is a radical quality to his playing. It’s in those long held notes that trail into ascendant feedback, in the exquisite slow bends that move like a human voice, and in the squalls of sound inspired by his touchstones Sharrock and Coltrane.
I have never created and will never create an album that’s background music. I don’t do background music.
Blessings and Miracles opens with “Ghost of Future Pull/New Light,” an overture crafted from bestial feedback, percussion, and melody. Then it plunges into the bold, Latin-rock instrumental “Santana Celebration.” That pairing is a flashback to the band’s early ’70s days, and, in particular, recalls the cosmic sizzle of the opening of 1974’s Lotus, arguably the most exciting, inspired live guitar recording of the classic-rock era. “Rumbalero” breaks the pattern. It’s Latin electro-fusion, with Santana’s son Salvador on vocals and composer/horn player/vocalist Asdru Sierra. There, the guitar constantly tosses off explosive mini-melodies as if they were kernels of popping corn.
Elsewhere there’s “Joy,” a reggae song featuring Stapleton, who wrote its uplifting lyrics at Santana’s urging. And “Move,” which sounds like exactly what it is—Santana and Thomas’ update of “Smooth.” With Winwood, Santana takes on Procol Harum’s “A Whiter Shade of Pale.” The social-justice-fueled rocker “Peace Power” features Glover, and the gritty metal critique “America for Sale” has Hammett and Death Angel’s Mark Osegueda as its guests. Both Coreas play on the merry, peaceful “Angel Choir/All Together.” By the time that’s all unreeled, it sounds as if Santana aimed not only at radio, but at nearly every format. And he’s crafted another “Europa”-level melodic-guitar showpiece with “Song for Cindy,” written for his wife, Santana band drummer Cindy Blackman Santana.
What does Carlos Santana practice the most? “Learning to dive into totality, absoluteness, and infinity in one note.” Here he squeezes a Blue Africa Santana SE Doublecut with custom graphics, by Paul Reed Smith. It’s one of seven made concurrent with the Africa Speaks album.
Photo by Jay Blakesberg
Despite all the guest vocalists, the real lead singer, of course, is Carlos Santana, whose custom Paul Reed Smiths ooze emotion. (PRS recently released another limited-edition Santana signature model, the Abraxas 50, to celebrate the anniversary of the Abraxas album’s 1970 release.) After all his decades of gorgeous tone, that’s to be expected. As is the presence of the wah-wah pedal, which, under his foot, can quack like a peyote-eating duck, roar like a tyrannosaurus, attenuate his singing strings, and make notes kaleidoscopic. Santana is among the greatest proponents of the effect, and has been since 1970’s “Hope You’re Feeling Better.” But at that point, the only pedal that would become part of his sonic mug shot was more novelty than staple for the guitar legend.
“I first heard the wah-wah within Cream’s Disraeli Gears, and then Hendrix’s ‘Voodoo Child,’ and Mel Brown used it incredibly well in ‘Eighteen Pounds of Unclean Chitlins,’ which is super funky,” Santana says.
“I had only used it on some songs in the studio, when one day in 1970, I was in an elevator in New York City with Miles Davis and Keith Jarrett, and Michael Shrieve and Michael Carabello from my band, and Miles goes: ‘Hey, you got a wah-wah?’ I said ‘no.’ And he said, ‘I’m playing my trumpet through a wah-wah. You gotta get an effin’ wah-wah, Carlos.’ I said ‘okay.’ So I got an effin’ wah-wah, and I’m grateful Miles took me out of that other zone where I had no wah-wah regularly, so I could learn to create textures with it.”
The original Santana band line-up (left to right): Michael Shrieve, David Brown, Michael Carabello, Jose “Chepito” Areas, Gregg Rolie, and Carlos Santana.
Tone fiends may have noticed a subtle shift in Santana’s guitar sound on recent albums—darker, beefier, with a bit more grit. For Blessings and Miracles, his return to Dumble amps plays a role in that, but he also notes that—after many years of trying to get his guitar sound on tape accurately—“I’ve been able to get the engineers to open up the depth of field. I always had a tone, but it was a challenge to teach people how to capture it. It’s like photography: You have to open up the aperture to let as much light come in as you need.
“I need four or five microphones on my amp in a room: one in front, one behind, one above, one right on the speaker, and one as far away as possible,” he explains. “I go to each microphone and subtly adjust the position until I get it right. I learned how to record guitars from Jim Gaines and some other engineers and producers. If someone doesn’t know how to record electric guitar, it can sound shrill, metallic … it hurts your teeth. My sound needs to sound like Pavarotti and Placido Domingo—chest tones, head tones, four or five different tones in one note.”
Rig Rundown - Carlos Santana
In January, February, and May, it’ll be possible to hear those tones live in Las Vegas, of all places, where the Santana band started a residency at the House of Blues last year. (His December dates where cancelled for an unanticipated heart procedure.) “Thirty years ago, I would never consider playing a place like Las Vegas or Broadway,” says Santana, who has always been highly vocal about his music-over-showbiz aesthetic. “I was ignorant and afraid if I did something like this I would become predictable, mundane, and boring. I didn’t realize that I could play anywhere repeatedly—without having to move the amps and realign the sound for the stage and the room—and use it as a laboratory, which is what I’ve been doing. I know people come from Australia or Paris to hear certain songs, and I’m going to play something they relate to, like ‘Black Magic Woman’ or ‘Maria Maria,’ but in the middle of the set I’m going into the unknown. I can change the tempo, the melody … play anything.
“I was doing an interview with a guitar magazine and they asked, ‘What do you practice the most?’ I said, ‘Learning to dive into totality, absoluteness, and infinity in one note.’ That way everything can be fresh and new every time you play it. How do you learn to do that? Well, you have to learn to meditate, even while you’re playing. When I hear Metallica, I can feel their collective energy. Collective energy is like supreme meditation. That’s also what I love about Sonny Sharrock. [Santana has a Sharrock tribute album in the works.] At this point in my life, when people say, ‘What’s on your mind?’ I say, ‘Nothing, thank god.’ Because that’s when you play your best.”
My sound needs to sound like Pavarotti and Placido Domingo—chest tones, head tones, four or five different tones in one note.
Actually, there are a few things on Santana’s mind—or at least within his intentions. He says that over the next six months he’d like to learn how to surf, and how to cook bouillabaisse. He’s also enjoying the work of his Milagro Foundation, a non-profit that strives to help children through health care, education, and the arts. Profits from the Carlos Santana Coffee Company, which launched in 2020, goes to Milagro’s work, which is currently focused on clean water for Native Americans living on reservations.
Santana’s own life is perhaps one of the greatest success stories in rock: A poor kid from Mexico falls in love with music and immigrates to the U.S. to chase his muse, and finds more struggle—a bout with tuberculosis, racial discrimination, a language barrier, continued poverty. And then even more struggle, trying to find his place in the rock world, seeking balance in the spiritual dimension with guru Sri Chinmoy, and ultimately becoming a superstar and an éminence grise of guitar. More important, he seems like a joyful man living a life of decency and depth. Which prompts the question: What makes him truly happy?
Carlos Santana circa 1987—the year the band released Freedom and Santana issued his solo album Blues for Salvador, dedicated to his son. The latter yielded Santana’s first Grammy, for Best Rock Instrumental Performance.
“Knowing that I am worthy of my own life of grace,” he says, “and knowing that sometimes when the phone rings, it’s going to be Herbie Hancock, Wayne Shorter, or, in the past, Miles Davis … musicians at that level, calling to say hello and see how I’m doing. That makes me happy being Carlos. He’s quite a guy.
“One of the most important things John Coltrane said is, ‘One positive thought creates millions of positive vibrations.’ You don’t have to be a musician to understand that. It’s inviting you to be miraculous. I talk about this all the time with Eric Clapton and Derek Trucks. Just the way you walk onstage before you grab the guitar can bring hope and courage. You can make a difference. I say to people, ‘You can make the impossible tangible.’ And they say, ‘You’ve been smoking too much pot.’ And I say, ‘Maybe you need to smoke a joint?’”
He continues: “How do you get into a solo that’s in the same place Charlie Parker, Beethoven, or Stravinsky would go to? We can get to that same place. It’s called The Sanctum-of-My-Intelligence Hang-Out. People say to me, ‘That’s far-out, dude! How do I get there?’ Practice removing your mind from the room and allow your light-spirit and soul to create music outside of gravity and time. You have to get out of the cage and dive into the unknown and the unpredictable.”
Santana - Soul Sacrifice Live (Original Líne Up) | Santana IV
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Kick off the holiday season by shopping for the guitar player in your life at Guitar Center! Now through December 24th 2022, save on exclusive instruments, accessories, apparel, and more with hundreds of items at their lowest prices of the year.
We’ve compiled this year’s best deals in the 2022 Holiday Gift Guide presented by Guitar Center.
The Generation Collection of acoustic guitars features the exclusive Gibson Player Port designed to offer a unique and immersive sonic experience.
The G-Bird, the newest addition to the Generation Collection--represents the glorious legacy of the Gibson Hummingbird colliding with modern sonic enhancement through the Gibson Player Port to add a new dimension to the G-Bird sound. The Gibson Player Port allows players to hear more of themselves as the audience hears it. With a tone that is crisp and resonant, all of the Gibson Generation Collection acoustics are designed to be comfortable to hold and play for long periods of time. All Generation Collection guitars feature the Gibson Player Port, slim, lightweight bodies, a flatter fingerboard radius, Walnut back and sides, Sitka spruce tops, and a stunning Natural finish. Additionally, the new G-Bird, and the G-200 and G-Writer are equipped with LR Baggs™ Element Bronze pickup systems which amplify deep bass and crystal-clear highs.
The G-Bird represents the glorious legacy of the Gibson Hummingbird with modern sonic enhancement through the Gibson Player Port adding a new dimension to the G-Bird’s sound. The G-Bird features a stunning solid Sitka spruce top and solid walnut back and sides for the ultimate in crisp, resonant tone. This square-shoulder dreadnought delivers all the rich low end and well-balanced mids and highs the original Hummingbird is famous for. The TUSQ nut and saddle, along with chrome Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning. The utile neck, with its easy-playing Advanced Response neck profile, is so comfortable you won’t want to put it down. The G-Bird also comes equipped with an LR Baggs Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird also comes equipped with an LR Baggs™ Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird is available in Natural finish. A gig bag is included.
Modeled after Gibson’s pioneering small-body parlor acoustic guitars from the 1930’s, the G-00 is a top choice for blues and fingerstyle guitar performances. Despite its more compact size, the G-00 achieves a full, balanced sound. The G-00 fills any room with rich tones-which players can hear like never before, with the exclusive Gibson Player Port. Like all models in the Gibson Generation Collection, the G-00 is handcrafted in Bozeman, Montana, by the same highly--skilled craftspeople who make all Gibson acoustic guitars. The G-00 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-00 parlor-sized body is exceptionally comfortable to hold and play. The TUSQ nut and saddle along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-00 is available in Natural finish. A gig bag is included.
The G-45, a round-shouldered jumbo, adds the Gibson Player Port to its famous “Workhorse” J-45 style body, which is Gibson’s best-selling acoustic guitar of all time. On the G-45, players can now hear more clearly than ever how this beloved guitar responds to every style and technique of playing. Powerful one moment and soft the next, the G-45 delivers all sounds with incredible dynamic range in an elegant, medium body size. The G-45 is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-45 features a slightly thinner round shoulder body is exceptionally comfortable to hold and play. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-45 is available in Natural finish. A gig bag is included.
Gibson’s impressive range of square-shouldered guitars have become an expressive standard for rock, pop, folk, and country artists. The G-Writer is known for its wide range of sounds, from gutsy and loud, to soft and sweet; they are superb for all styles and shine, whether strumming chords or fingering intricate solos. The G-Writer comes ready for the stage or studio with an LR Baggs Element Bronze pickup system and the ear-opening Gibson Player Port. The G-Writer is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-Writer features a slightly thinner cutaway body, is more comfortable to play and provides effortless access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-Writer is available in Natural finish. A gig bag is also included.
Gibson built its first “Super Jumbo” SJ-200 as a custom order for country and western singer and film star Ray Whitley, who desired a big, loud, and deep flat-top over which to croon. The SJ-200 quickly became a staple of cowboy singers and horseback troubadours, and then country music, 60’s folk stars, and onto every acoustic guitar genre that has followed. Ray would be proud to hear the booming sound from the Gibson Player Port on the new G-200, which comes ready for the stage or studio with a LR Baggs Element Bronze pickup system. Like all models in the Gibson Generation Collection, the G-200 is handcrafted in Bozeman, MT, by the same highly--skilled craftspeople who make all Gibson acoustics. The G-200 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-200 cutaway jumbo body is exceptionally comfortable to hold and provides excellent access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-200 is available in Natural finish. A gig bag is also included.
G-Bird | Generation Collection
For more information, please visit gibson.com.
Looking for a compact, “noiseless” way to plug in and play guitar? Check out the brand-new Gibson Digital Amp, available only in the Gibson App.
The new Gibson App simplifies the learning process and brings guitar playing to life for the current and next generation of guitarists in a modern, comprehensive, and intuitive way. The Gibson App is the place to take your guitar playing to the next level. New to the Gibson App is the Gibson Digital Amp, the ultimate starting amplifier for beginners and a flexible amp on-the-go for intermediate players and pros to get their sound anywhere. The Gibson Digital Amp is an accessible amplifier for both acoustic and electric guitars, and is currently available for Apple/iOS users--an Android version will debut next year.
Use the Gibson Digital Amp’s jamming guide to get started and transform your sound with built-in effects and pedals, jam to backing tracks, or use it in lessons and songs. The Gibson Digital Amp only requires your phone, and wired headphones for the best playing experience, no cables are needed. The amp features 3 acoustic mic presets, 4 electric amp presets, and 6 effects pedals.
The Gibson Digital Amp is the ultimate starting amplifier for beginners and a flexible amp on-the-go for intermediates and pros.
The Gibson App uses a unique two-way, interactive platform to teach guitar students how to do everything from playing their first note to shredding loads of songs. The Gibson App features interactive lessons with thousands of lessons and songs. Learn the songs step-by-step with video tutorials from superstar artists and pro guitarists in the “Gibson App Guide.” The Gibson App also includes the new Digital Amp, a built-in tuner, a metronome, Gibson TV, and new songs are added every week. New Gibson App Guides are added regularly and include Tommy “Spaceman” Thayer’s favorite iconic KISS guitar solos, Richie Faulkner’s (Judas Priest) “Guide to Metal,” Jared James Nichols’ “Guide to Blues,” CELISSE’s “Guide to Songwriting,” and more.
The Gibson App uses “audio augmented reality” to provide dynamic feedback to students as they learn and play. As you pluck a note or strum a chord, the Gibson App listens to your guitar and gives you real-time feedback on your playing. It also gives students a more contextual learning experience: Instead of learning chords and scales in a vacuum, you’re able to practice on a scrolling tablature that lets you hear how you sound with the backing of a virtual band. That means you can load up “Hurt” by Johnny Cash, “Brown Eyed Girl” by Van Morrison, “American Girl" by Tom Petty, “Nothing Else Matters” by Metallica, “Where is My Mind" by Pixies, “Country Roads” by John Denver, “I Hate Myself For Loving You" by Joan Jett, “Heaven” by Kane Brown, “Shape Of You” by Ed Sheeran, “Killer Queen” by Queen,“ Sweet Child O’ Mine,” by Guns ‘N Roses, “Run to the Hills” by Iron Maiden, “Roxanne” by The Police, and “Don’t Stop Believin’” by Journey, “Smells Like Teen Spirit” and “The Man Who Sold the World” by Nirvana, “Are You Gonna Go My Way” by Lenny Kravitz, and “Don't Look Back In Anger” by Oasis and hundreds more songs in a wide range of genres, to see how your play matches up with such seminal tracks.
As you’re playing, the Gibson App gives you feedback on timing and tone, ensuring that students are getting active input on how their play is developing. The Gibson App appeals to players of all levels, it’s not just for beginners looking to learn a few chords; the app can assist seasoned guitarists who are working their way through difficult riffs, want to learn their favorite songs, or polish their advanced techniques.
Players can also challenge themselves by speeding up or slowing the tabs. Like having a full-time guitar teacher, the Gibson App keeps track of all your progress and adjusts lesson plans accordingly. The Gibson App released a “backing track mode” which supports both lesson and song playback without headphones, so users can self-select what works best for their current environment. And that’s not all: the Gibson App also packs in a fully-featured digital tuner for guitar first-timers, there’s even a detailed lesson on how to tune your instrument, a multi-function metronome, players can connect to free one-on-one consultations with Gibson’s Virtual Guitar Tech team, and to direct links to the Gibson, Epiphone, and Kramer online stores for easy shopping for guitars, gear, apparel, and accessories.
Learn Guitar With The Gibson App
The Gibson App is more than a pocket-sized guitar teacher, it’s loaded with an archive of exclusive content and original programming from its premium and accessible award-winning online network, Gibson TV, featuring music icons telling their best guitar stories, with more episodes and installments added regularly. Users can watch Black Sabbath’s Tony Iommi share insights and tales from his decades-long career on the series “Icons,” dive into Joe Bonamassa’s assortment of legendary Les Paul guitars on “The Collection,” or see how Gibson’s iconic instruments are made in their Nashville factory from body to binding on “The Process.” There’s even a series called “The Scene” that focuses on backstage stories from hallowed music venues from coast to coast like The Troubadour and Grand Ole Opry.
The Gibson App free version features a few lessons a day; the premium version of the Gibson App offers full access and a 14-day free trial, then costs $19.99/£16.49 monthly or $119.99/£98.99 yearly.
For more information, please visit gibson.com.
This pickup captures the clear, bell-like single-coil chime of a classic P-90 when played clean and retains the tight mids and articulate low-end vintage growl and smooth sustain saturation when pushed into overdrive.
Belltone Guitars, as part of their Custom-Select System curated offering of pickups, has partnered McNelly pickups to create a one-of-a-kind retro-vibe P-90 pickup in the standard Filtertron size format. This pickup captures the clear, bell-like single-coil chime of a classic P-90 when played clean and retains the tight mids and articulate low-end vintage growl, and smooth sustain saturation when pushed into overdrive.
The McNelly P-90 Foil-Coil comes housed in a ‘raw’ nickel outer casing with a dull nickel foil face with metal mount screw gromets to complete the ‘new-vintage’ aesthetic, making it a perfect choice for your signature Belltone custom build. Available exclusively through Belltone Guitars.
Check out the Custom-Select System belltoneguitars.com to preview the McNelly P-90 Foil-Trons and all our standard and selectable components available to create your own signature Belltone. Then visit the Dream Lab on our website and select either model B-Classic ONE with its top binding or B-Classic TWO with its arm and body contours select your body color from our wide range of offerings, select your neck profile of either standard ‘C’ or thicker ’59 Round Back and either Maple or Rosewood fingerboard followed by your tuners, pickguard, and strings. Finally, review our curated custom-designed, and unique pickup selection to locate the McNelly P-90 Foil-Trons to complete your signature build.
Builds start at just over $2,300.00 with a custom case and shipping included.
For more information, please visit belltoneguitars.com.