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- Contents -

Foreword

Part One: Electric Guitars and Amplifiers

Chapter 1: What is Tone?
Studio Ears
It's All in the Fingers
Other Factors in the Search for Tone
   The Room
   The Microphone
   Change Your Tone
Tone Killers
   Distortion
   Effects Pedals

Chapter 2: The Evolution of the Electric Guitar and Amplifier
The 1890s: Development of Steel Strings
The 1920s: Picks and Pickups
The 1930s: Birth of the Electric
The 1940s: The Instrument Evolves
The 1950s: Breakthrough Developments
The 1960s: Amps and Distortion
The 1970s: Big Amps and Boutiques
The 1980s: Mass Production, Improved Effects
The 1990s: Wireless Goes Mainstream, Amp Modelers Debut
The 2000s: Modelers, Reissues Recreate the Classics

Chapter 3: Tonal Characteristics of an Electric Guitar
The Guitar Body
   The Wood
   The Finish
The Neck
   Neck Attachment
   The Fretboard
Hardware
   The Bridge
   The Tailpiece
Pickups
   Types of Pickups
   Factors Affecting Pickup Sound
   Intangible Factors
   Other Types of Pickups
Strings
The Guitar Pick
Cables
   Capacitance
   Conductor Material
   Strand Interaction
   Conductor Size
   Shielding
   Cable Length
Vintage Versus Modern
Evaluating a Guitar

Chapter 4: Tonal Characteristics of Guitar Amplifiers
Tube Amplifiers
   Tubes
   Tube Amp Circuitry
   Three Ways to Tweak your Tube Amp
   Bad Signs
   Why Do Vintage Amps Sound So Good?
Solid-State Amplifiers
   Amplifier Modeling
   Sonic Attributes
Hybrid Amps
Boutique Amplifiers

Chapter 5: Speakers and Cabinets
Speaker Cabinets
   Types of Speaker Cabinets
   Cabinet Components
   Cabinet Size
   Construction Materials
   Construction Methods
   Manufacturing Inconsistencies
   Cabinet Buzzes
Speakers
   Speaker Parameters
   Speaker Manufacturers

Chapter 6: Electric Guitar Miking Techniques
Microphone Technique 101
   Choosing the Best Place in the Room
   Choosing the Right Mic
   Mic Placement
Electric Guitar Miking Set-Ups
   Single-Mic Techniques
   Two-Mic Techniques
   Three-Mic Techniques
   More Complex Techniques
Recording Direct   Using a DI
   Recording Through an Effects Box
Recording
   The Signal Path
   Recording Levels

Chapter 7: Electric Guitar Production Techniques
Production from a Player's Perspective
   The Reason for Tone Controls
   Using a Variety of Guitars and Amplifiers
   The Importance of Well-Maintained Equipment
   Laying In with the Rhythm Section
Common Guitar Production Techniques
   Doubling
   Layering Guitars
   Battle of the Guitar Tracks
   Clean Guitars
   Reamping
Guitars in the Mix
   Compression
   Equalization
   Studio Effects

Chapter 8: Effects
Basic Effects
   Volume
   Overdrive and Distortion
   Tone
   Ambience
   Modulation
Effects Interfacing
   Typical Effects-Pedal Problems
   The Effects Chain
The Pedalboard
   Multi-Effects Units
   The Bradshaw Switching System
   Less-Sophisticated Systems


Part Two: Acoustic Guitars
Chapter 9: A History of the Acoustic Guitar
From the Beginning
The Originators
   The Father of the Modern Guitar
   C.F. Martin
   Orville Gibson
Modern Acoustic Guitar Milestones

Chapter 10: Tonal Characteristics of an Acoustic Guitar
Acoustic Guitar Types
   Nylon-String
   Steel-String
Basic Tonal Factors
   Wood
   Body Size
   The Neck
   Guitar Aging
   Strings
   Fingers and Picks

Chapter 11: Acoustic Guitar Miking Techniques
Acoustic Guitar Recording 101
   Recording Preparation
   Choosing a Microphone
   Understanding Recording Levels
Acoustic Guitar Miking Set-Ups
   Single-Mic Techniques
   Two-Mic Techniques
   Three-Mic Techniques
   Stereo Recording
   Other Miking Techniques
   Recording Guitar with Vocals

Chapter 12: Acoustic Guitar Production Techniques
Production from a Player's Perspective
   Pushing the Track
   Variety Counts
   Tunings
   Capos
Common Acoustic Guitar Production Techniques
   Processing During Recording
   The Preamp Choice
   Panning
   Adding Spatial Effects
   Using EQ
   Using Compression

Chapter 13: Other Instruments in the Guitar Family
12-string Guitars
   Tuning the 12-string
   High-String/Nashville Tuning
Resonator Guitars
   Dobro
   Miking a Resonator
Lap Steel Guitars
   Steel Guitar Tunings
Tenor Guitars
Baritone Guitars
   Baritone Guitar Tunings


Part Three: The Interviews
Chuck Ainlay: Recording Engineer
Paul Antonell: Recording Engineer/Studio Owner
Dick Boak: Director of Artist Relations and Signature Editions, Martin Guitars
Jim D'Addario: CEO and Chairman, D'Addario & Company
Al Di Meola: Guitar Player Extraordinaire
Rob DiStefano: Veteran Guitar Tech
John Holbrook: Recording Engineer/Producer
Hernan Romero: Flamenco Guitarist
Chip Verspyck: Amplifier Tech
Jim Weider: Telecaster Slinger
Glossary
Bibliography
   Bobby Owsinski
   Rich Tozzoli
Index
About the Authors