Carlos Santana, a name synonymous with soulful guitar melodies and a pioneering fusion of rock, Latin rhythms, and jazz, has captivated audiences for decades. His distinctive guitar tone is as recognizable as his name, but the instruments behind this iconic sound are often a topic of fascination for guitar enthusiasts. Unlike some guitarists who are wedded to a single instrument, Santana’s guitar journey is marked by a diverse collection of axes, each contributing to different phases of his evolving sound. From his early days wielding Gibson SG Specials and Les Pauls to his long-standing relationship with PRS guitars, let’s delve into the fascinating world of Carlos Santana’s guitars.
The Early Years: Gibson Era & Shaping the Santana Sound
In the late 1960s and early 1970s, as Santana rose to prominence, Gibson guitars were his instruments of choice. He initially favored the raw power of Gibson SG Specials, particularly models equipped with P90 pickups, known for their punchy and versatile tone.
1950s Gibson Les Paul Special: The Foundation
The 1950s Gibson Les Paul Special holds a significant place in Santana’s early history. Evidence points to this guitar being used extensively during the recording of Santana’s debut album in 1969. Initially sporting a “TV Yellow” finish, two P90 pickups, and a Maestro tremolo, this Les Paul Special underwent a transformation. By December 1969, during the Altamont festival, the guitar had been stripped of its original paint, and the tremolo was removed. Intriguingly, the removed Maestro tremolo might have found its way onto one of Santana’s SG Specials, showcasing his penchant for customizing his instruments.
1961/62 Gibson SG Special: Woodstock Icon
The 1961/62 Gibson SG Special is arguably Santana’s most visually iconic guitar from his early period, famously played at the legendary Woodstock festival in August 1969. Finished in cherry red and featuring a Brazilian rosewood fingerboard, this SG Special was equipped with two P90 single-coil pickups, Grover tuners, and an ABR-1 Tune-o-matic bridge. Interestingly, it also retained the Maestro tremolo, albeit moved back to accommodate a stop-tailpiece. Despite the tremolo being non-functional in this configuration, Santana kept it, possibly for weight balance or the belief it contributed to sustain. This red SG Special was phased out around 1970, replaced by a black SG Special. Rumor has it that Santana destroyed the red SG due to tuning instability issues.
1960s Gibson SG Special (Black): Mystery and Modification
Throughout 1970, Santana was seen with a black Gibson SG Special, strikingly similar to his previous red model. This black SG featured white P90 pickup covers and a sanded neck. Like the red SG, it also had a Tune-o-matic bridge and the non-functional VMA-1 tremolo. This consistent setup suggests Santana’s personal modifications to these guitars, as this configuration wasn’t standard for early 60s SG Specials. The exact history of these SG Specials remains somewhat debated. One theory suggests the black SG is a replacement for the supposedly destroyed red SG. Another, more intriguing possibility, is that the black SG is actually the same red SG, simply refinished in black. However, Santana’s own account of destroying the red SG for tuning issues lends more credence to the idea of two separate guitars. The rarity of SG Specials with tremolos during that period adds to the mystery, making it less likely Santana acquired multiple such guitars.
Gibson SG Special (Black Humbuckers): Transition to a Heavier Sound
Around 1972, a black SG Special reappeared in Santana’s hands, but with a significant sonic shift – it was now equipped with humbucker pickups. Factory-produced SG Specials of this era didn’t feature humbuckers, indicating Santana’s continued modifications. It’s plausible this humbucker-equipped SG was the same black SG from 1970, further modified by swapping out the P90s for humbuckers. A white SG Special emerged in 1973, potentially representing the final evolution of this black SG, or even the original red SG from 1962, showcasing a continuous cycle of modification and evolution in Santana’s early guitar choices. Notably, this white SG featured a picture of Guru Sri Chinmoy on the headstock, reflecting Santana’s spiritual beliefs during that time.
1960s Les Paul Standard: Brief Encounter
Santana’s foray into Les Pauls extended beyond the Special model. Around 1970/71, he utilized a 1960s Les Paul Standard, evident in live performances from that period. Originally featuring a white pickguard, which Santana later removed, this Les Paul Standard is believed to be the first Les Paul Standard he owned. In 1973, he reportedly gifted this guitar to a Japanese concert promoter, Udo Artist. While its sonic presence is less documented in recordings, it’s likely Santana didn’t extensively record with humbucker-equipped guitars until his third album in 1971.
1968 Gibson Les Paul Custom: A Workhorse Les Paul
The 1968 Gibson Les Paul Custom arguably became Santana’s most utilized Les Paul. He played this guitar extensively from around 1971 into 1972, appearing in performances like “Black Magic Woman & Gypsy Queen” in 1971. It’s highly probable this Les Paul Custom was used on the albums recorded between 1971 and 1973, including Santana III, Caravanserai, and Welcome. While some speculate its use even on the debut album, concrete evidence remains elusive. Likely a late 60s model, originally black (as Customs from that era typically were), Santana’s Les Paul Custom featured a sunburst finish, suggesting a refinish.
1961 Gibson SG (Les Paul) Custom: The Enigmatic SG Custom
While photographic or video evidence is scarce, sources indicate Santana owned a 1961 Gibson Les Paul/SG Custom. This would place its usage around 1973/74, potentially bridging the gap before his adoption of Gibson L6-S and Yamaha guitars. Intriguingly, a fan account from a 1980 New York concert recalls Santana playing a three-pickup SG on a few songs, possibly hinting at the continued, albeit undocumented, use of this SG Custom.
Mid-70s Diversification: Gibson L6-S and Yamaha SG-2000
In the mid-1970s, Santana’s guitar choices expanded beyond traditional Les Pauls and SGs, reflecting a period of experimentation and evolving sonic preferences.
1970s Gibson L6-S: Underrated Gem
The Gibson L6-S, a 24-fret adaptation of the L5-S, entered Santana’s arsenal around 1973, the year of its release. Featuring a maple body and Bill Lawrence-designed super-humbuckers, the L6-S, despite endorsements from notable guitarists, was discontinued in 1979 and is now considered an underrated Gibson solid-body model. Santana likely utilized the L6-S to some extent during the studio recordings for Borboletta in 1974.
Yamaha SG-2000: A Collaborative Masterpiece
Santana’s relationship with Yamaha led to the creation of the Yamaha SG-2000, a guitar deeply intertwined with his sound in the late 1970s and early 1980s. Initially approached by Yamaha in 1975 with their SG-175 model, Santana provided extensive feedback, seeking a heavier instrument with enhanced sustain and a 24-fret neck. Yamaha’s response was the SG-2000, a neck-through-body design featuring the “T-Cross” construction (mahogany and maple), brass hardware, a sustain plate, and custom OPG-1 Alnico V pickups. Santana used the SG-2000 extensively from its completion in early 1976 until his switch to PRS around 1982. His primary SG-2000 was the prototype, featuring a dark natural finish, Buddha headstock inlays, and body decals. A black SG-2000 with similar decals was also frequently used.
PRS Era: A Lasting Partnership and Signature Sound
Since the early 1980s, PRS guitars have been virtually synonymous with Carlos Santana. His collaboration with Paul Reed Smith began in the late 1970s after Smith approached Santana at a concert. Santana began recording with PRS guitars in early 1981, during the Zebop! sessions, and his first concert with a PRS was on April 21, 1981, in Washington D.C.
Over the years, numerous PRS Santana models have been produced, including Santana I, Santana II, Santana III, Santana MD, Santana SE (Korean-made), and the 25th Anniversary Santana model. The original PRS Santana I debuted in 1995, marking 15 years of Paul Reed Smith crafting guitars for Santana before a signature line was officially launched. PRS designs the pickups for all Santana models, initially often uncovered with zebra patterns on the Santana I, later transitioning to metal covers on Santana II and III. The body shape, conceived by Paul Reed Smith, blends Stratocaster and double-cut Les Paul Junior elements, constructed with a mahogany base and a specially selected maple top. Santana PRS guitars typically feature a 24.5″ scale length and 24 frets. Fretboard materials have varied, with Indian rosewood on Santana I and Brazilian rosewood on later models.
Santana’s guitar tech, Ed Adair, mentions a favored PRS nicknamed “Salmon,” but Santana frequently incorporates new PRS guitars into his arsenal. Paul Reed Smith consistently crafts new instruments for Santana, which, if approved by Carlos, become part of his touring and recording setup, underscoring Santana’s trust in Smith’s craftsmanship.
PRS SC245 Custom: Modern Single-Cut
The PRS SC245 Custom is among Santana’s more recent guitars, first seen in 2016. This gold-top model with a metallic finish features a single-cutaway body, mahogany body with a figured maple top, mahogany neck with a rosewood fretboard, and PRS 58/15 humbucker pickups, representing a modern iteration in Santana’s evolving guitar preferences.
Carlos Santana’s Acoustic Guitars: Nylon and Steel
While primarily known for his electric guitar work, Santana also utilizes acoustic guitars, particularly nylon-string models, adding another dimension to his musical palette.
Nittono Model-T Jazz Nylon: Contemporary Acoustic Choice
Since the 2000s, the Nittono Model-T Jazz Nylon has been Santana’s main acoustic guitar. Hand-built by luthier Tory Nittono, this guitar features a spruce top, mahogany back and sides, mahogany neck, and ebony fretboard. It’s equipped with an LR Baggs T-Bridge saddle pickup and a custom-built preamp for amplified acoustic performances.
Alvarez Yairi CY127CE: Pre-Nittono Acoustic
Prior to adopting the Nittono, Santana used the Alvarez Yairi CY127CE nylon-string guitar. This guitar is notably featured in the “Maria, Maria” music video, showcasing his use of nylon-string acoustics in his broader musical output.
Carlos Santana’s Amplifiers: Powering the Tone
Santana’s amplifier choices have played a crucial role in shaping his signature guitar tone, ranging from classic Fender amps to boutique creations.
– Fender Twin Reverb: Used on Santana’s first two albums, he employed three Fender Twin Reverbs, likely with modifications to suit his desired sound.
– Gallien-Krueger GMT 226A: A solid-state amp used at Woodstock, Santana was an early adopter of this model.
– Fender Princeton/Boogie & Mesa Boogie Mark 1: This amp lineage is pivotal in amplifier history. Randall Smith modified a Fender Princeton, creating a high-gain sound that impressed Santana. Santana’s exclamation, “Man, that little thing really Boogies!” inspired the name Mesa-Boogie. Smith built Santana another amp, used on the 1972/73 tour, known as “Snakeskin,” and the Mesa Boogie Mark 1 was a direct evolution of this collaboration. The recently released King-Snake amp is a replica of Santana’s original amp.
– Bludotone 30 & Universal Tone by Bludotone: Santana has utilized Bludotone amplifiers, including the Bludotone 30 prototype of the Universal Tone amp and the Universal Tone itself.
– Dumble Overdrive Reverb: Dumble amplifiers, known for their boutique quality and smooth overdrive, are also part of Santana’s amplifier collection.
Carlos Santana’s Effects: Less is More
Santana is known for his minimalist approach to effects, relying more on his guitar and amplifier to achieve his signature tone. Historically, he reportedly used an Ibanez Tube Screamer and a Big Muff prototype at Woodstock.
Currently, his effects chain is remarkably simple: a Mu-Tron wah wah pedal (or Dunlop 535Q) and a TC Electronic D-two delay, controlled backstage by his guitar tech.
Carlos Santana’s Strings and Picks: Fine Details
– GHS Carlos Santana Big Core Strings: Designed by Rene Martinez, a former guitar tech for Santana and Stevie Ray Vaughan, these strings (.0095-.043 gauge) are custom-gauged for Santana’s playing style.
– V-Picks Guitar Picks: Santana currently uses thick 3.0mm V-Picks, endorsing them publicly. In his earlier years, prior to V-Picks, he used black triangle picks, possibly Dunlops or Fender 355s.
Carlos Santana’s guitar journey is a testament to his evolving musical vision and his constant pursuit of the perfect tone. From his early Gibson days to his enduring PRS partnership, each instrument has played a role in crafting the legendary sound of Carlos Santana, a sound that continues to inspire and captivate guitar players and music lovers worldwide.
