2010

LED ZEPPELIN, ULTIMATE GUITAR PLAY-ALONG VOLUME 2. Authentic Guitar TAB. SHEET MUSIC BOOK WITH  CD JAM TRAX & GUITAR TABLATURE. 

LIBRO DI MUSICA HARD ROCK, CON CD DI BASI.

CD DI BASI PER VOCE E, VOCE E CHITARRA.

SOFTWARE PER RALLENTARE LA VELOCITA' DELLE TRACCE SENZA CAMBIARE LA TONALITA'. 

SPARTITI PER VOCE E CHITARRA, CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

COMPLETE BACKING TRACKS for VOCALIST and GUITARIST .

For the first time ever we are proud to present the legendary songs of Led Zeppelin transcribed for Guitar, complete with backing and demo tracks on 2 CDs!

The Guitar tablature, chord symbols, chord boxes and full lyrics have been newly transcribed. The recordings on the CDs have been made using authentic instruments, amps and recording techniques of the time the songs were originally cut. Comprehensive notes describe the painstaking process of simulating the Led Zeppelin sound for this breakthrough series.

The result? The definitive collection of Led Zeppelin classics arranged and presented for the true fan who wants to play Guitar with one of the world's all-time great bands!

EDITOR'S NOTE

It is simply impossible to actually recreate the recorded performances of Led Zeppelin and the production techniques of Jimmy Page. The intention of these recordings is to aid in the study of the guitar parts by providing credible backing tracks to play along with, hopefully capturing the spirit of the original music. Ultimately, it is essential to listen to, and try and. emulate, the original Led Zeppelin tracks to really understand the musical nuance, intensity, and brilliance of those recordings.

CREDITS .

Supervisory editors: Brad Tolinski and Jimmy Brown

Project manager and music editor: Tom Farncombe

Audio recording and mixing: Jonas Persson

Guitars and guitar transcriptions: Arthur Dick

Additional transcription and editing: Jimmy Brown

Bass guitar and bass transcriptions: Paul Townsend

Drums, percussion, and drum transcriptions: Noam Lederman

Keyboards and keyboard transcriptions: Paul Honey

Music engraving: Paul Ewers Music Design

Recorders: Kirsten Halliday

Harmonica: Son Maxwell

"Kashmir" orchestra arranged and programmed by Rick Cardinali

Thanks to Chandler Guitars

Special thanks to Mark Lodge at Hiwatt UK for supplying the Hiwatt 100 Head, an

exact replica of Jimmy Page's amp from the Led Zeppelin sessions.

EQUIPMENT LIST

In addition to the instruments specified under Recording Notes (starting on

page 6), the following were used for the recordings:

1968 Ludwig drum kit (24" bass drum, 13" rack tom, 16" floor tom, 18" second

floor tom)

Paiste cymbals

1991 Fender Jazz Bass

1978 Fender Precision Bass

1962 reissue Fender Jazz Bass (strung with flatwound strings)

Ashdown bass amplification

Miscellaneous guitar effects:

Fulltone Full-Drive 2

Pete Cornish sustain pedal

Celmo Sardine Can compressor

Jim Dunlop Crybaby wah-wah pedal

Recording Notes

The following notes detail the guitars and amplifiers used on each song in this book, as an indication of how one might try to match the kind of tone Jimmy Page achieved on the original Led Zeppelin recordings. These choices were based on the information available about the original recording setups. However, with other, less-controllable factors to consider (studio size, mic type and placement, location, tape machines, and recording consoles), choices about the right sound were driven as much by ear as by the reported original conditions.

Achilles Last Stand

The main verse guitars for IlAchilles Last Stand" were recorded with a 1959 Les Paul and a Hiwatt 100; the other guitars were recorded with a 1952 Les Paul, again through the Hiwatt. The tremolo effects are from the Roger Mayer Voodoo Vibe + pedal. In the last g section, the high guitar was pitch-shifted by an octave.

All My Love

The acoustic parts were played on a Santa Cruz Model D. The original recording features a Telecaster fitted with a B-bender; this was emulated here with a standard 1969 Telecaster through the Hiwatt.

The nylon-string parts were played on an Edward B. Jones Oxford classical guitar.

The electric parts were recorded with the 1969 Telecaster through a Marshall JCM2000.

The keyboard sounds are synth strings and trumpet patches from the Expand sampler in

Pro Tools.

Kashmir

The main guitar for this was a 1965 Danelectro DC 59 (courtesy of Dave Cousins of The Strawbs) recorded through a VOX AC30. The other parts were played on the 1969 Telecaster using the Marshall.

Nobodys Fault but Mine

The intra riffs were tracked with the 1959 Les Paul through the Hiwatt, and the 1952 Les Paul through the Hiwatt and a Cornell Romany 10-watt amplifier. The octave part is on the 1952 with an Eventide Instant Phaser. The solo was played on the 1969 Telecaster through the Hiwatt and Cornell.

The harmonica solo was recorded through the VOX AC30.

Over the Hills and For Away

The acoustic parts are a combination of a Santa Cruz D 6-string and a Brook 12-string. The electric parts were played on the 1952 Les Paul through the Hiwatt. The sound of the solo was achieved with the 1959 Les Paul, with the signal split between a direct input and the VOX AC30. The direct signal was processed through a Tube-Tech valve compressor, and the amp was recorded using a combination of close and ambient microphones, with automated panning and Eventide Instant Phaser effects.

The Song Remains the Some

The 12-string parts in this song were recorded with a Rickenbacker 12 through the Marshall. The other electric parts were tracked with the 1952 Les Paul and a 1964 Epiphone Casino, both through the VOX AC30. The solos were played on the 1969 Telecaster through the Cornell.

Stairway to Heaven

The acoustic parts for this song were performed on the Santa Cruz Model D guitar, recorded with Neumann U47 and Sennheiser 421 microphones alongside two AKG 414 ambient mics.

The electric parts were done with the 1969 Telecaster through the vox AC30 and a Fender XII 12-string through a 1O-watt Cornell.

All the solo parts were played on the 1969 Tele through the Marshall. The keyboard parts were played on a Nord Electro 2 modelling keyboard with a Fender Rhodes patch.

Trampled Under Foot

All the guitar parts for this song were recorded using the 1959 Les Paul and the Hiwatt. The lead parts in the second and third verses have an automated reverse reverb effect created in Pro Tools. The keyboard parts are from a Nord Electro 2 clavi net sound recorded through the 1965 VOX AC30.

TiTLES : 

Achilles Last Stand
All My Love
Kashmir
Nobody's Fault But Mine
Over The Hills And Far Away
The Song Remains The Same
Trampled Underfoot 
Stairway To Heaven 

https://youtu.be/xd8AVbwB_6E

FENDER TELECASTER THE HANDBOOK, How to Buy, Maintain, Set Up, Troubleshoot, and Modify Your Tele. Paul Balmer

LIBRO

The Fender Telecaster Handbook
How to Buy, Maintain, Set Up, Troubleshoot, and Modify Your Tele
Series: Book
Publisher: Voyageur Press
Format: Hardcover
Author: Paul Balmer

This is the first hands-on how-to manual devoted to the Telecaster. This guidebook shows owners and dreamers the basics of selecting and buying Telecasters. It covers maintenance and repairs such as tuning, setting intonation, tremolo alignment, fret repairs, bridge and nut adjustments, electrics troubleshooting; spur-of-the-moment stageside fixes; and some basic performance enhancements like adding “hot rod” aftermarket pickups.

Width: 8.25"
Length: 10.75"
198 pages

Description

In series with the best-selling manuals on the Fender Stratocaster and Gibson Les Paul Electric Guitars, this manual covers the Fender Telecaster in detail, explaining how to maintain it, set it up to get the best sound, and repair it when things go wrong or damage occurs.

Originally introduced in 1950 as the Broadcaster, the Telecaster was the first production Electric Guitar and remains one of the most popular. Superbly illustrated and designed, this manual includes case studies of key models - everything from a 1948 prototype to a 2008 'closet classic' - but also gives appropriate attention to today's affordable Squier versions.

Key content
Buying a Fender Telecaster, used and new options, pitfalls, authenticity issues, getting the right Guitar for the job.
Pre-gig checks, tuning, and stageside repairs.
Routine maintenance and servicing.
Set-ups and careful 'customising'.
Case studies of key Telecaster models, such as the '51 Nocaster, '52 Relic repro, '70s Thinline, Customer Elite, Jeff Beck Esquire reissue, Gerry Donahue model and Squier affordables.
'Under The Hood' with celebrity users - how the pros set up their Telecasters and related hardware, including Jeff Beck, Jerry Donahue, Keith Richards and Albert Lee.

60 Years of Fender Six Decades of the Greatest Electric Guitars. Tony Bacon

Series: Book
Publisher: Backbeat Books
Format: Softcover
Author: Tony Bacon

The latest addition to Tony Bacon's acclaimed series of guitar books, 60 Years of Fender gives a year-by-year history of the most successful electric guitar maker. In 1950, Leo Fender introduced to the world the solidbody electric guitar – the instrument known as the Telecaster. He soon added two more classics: the Precision Bass (1951) and the Stratocaster (1954). Fender's sleek, adaptable guitars have since fueled modern music – from country to rock – and have been heard in the hands of virtually every guitarist of note, from Buddy Holly to Kurt Cobain, from Eric Clapton to John Mayer. Illustrated with an unrivaled gallery of color photographs of instruments, players, and memorabilia, this revised and updated edition expands upon 50 Years of Fender (published in 2000), covering nine more years of the Fender story.

“A must-have for any Fender fan. Highly entertaining.”

– Guitar Player

Inventory #HL 00332861
ISBN: 9780879309664
UPC: 884088401597
Width: 8.5"
Length: 11.0"
144 pages

Leo Fender listened hard to players' comments about the
Telecaster and Esquire models, and during the early 1950s he and
Freddie Tavares began to devise the guitar that would become the
Stratocaster (seen in stylized form on the 1954 catalog cover,
right). At first other makers had merely mocked Fender's new
solid body guitars, but soon Gibson had joined in with its Les
Paul, Gretsch with the Duo Jet, Kay with its K-125. Competition
was looming - and Fender needed to up the stakes. This they
most certainly did.

The Stratocaster was launched during 1954. Samples
around May and June were followed by the first proper
production run in October. The new Fender guitar was
the first solidbody electric with three pickups, meaning
a range of fresh tones, and featured a new-design
vibrato unit that provided pitch-bending and
shimmering chordal effects.
The new vibrato - often called a "tremolo" by
Fender and many others since - was troublesome in
development. But the result was the first self-contained
vibrato unit: an adjustable bridge, a tailpiece, and a
vibrato system, all in one. It wasn't a simple mechanism
for the time, but a reasonably effective one. It followed
the Fender principle of taking an existing product (in
this case, the Bigsby vibrato) and improving it.
Fender's new vibrato had six bridge-pieces, one for
each string, adjustable for height and length, which
meant that the feel of the strings could be personalized
and the guitar made more in tune with itself. The
complete unit was typical of Fender's constant
consideration of musicians' requirements and his
application of a mass-producer's solution.
The Strat came with a radically sleek, solid body,
based on the outl ine of the 1951 Fender Precision Bass.
Some musicians had complained to Fender that the
sharp edge on the Telecaster's body was uncomfortable
- the dissenters included musician/entertainer Rex
Gallion and Western Swing guitarist Bill Carson - and
so the Strat's body was contoured for the player's

comfort. Also, it was finished in a yellow-to-black
sunburst finish.
Even the output-jack mounting was new, recessed in
a stylish plate on the body face. And the headstock?
Side by side with Paul Bigsby's guitar made for Merle
Travis in 1948 there is clearly influence from the earlier
instrument. But as a whole the Fender Stratocaster
looked like no other guitar around, especially the
flowing, sensual curves of that beautifully
proportioned, timeless body.
The Stratocaster's new-style pickguard
complemented the Jines perfectly, and the
overall impression was of a guitar where
all the components ideally suited
one another. The Fender
Stratocaster has since become
the most popular, the most
copied, the most desired, and
very probably the most played :
solid electric guitar ever.
On its 40th anniversary in
1994 an official estimate put
Strat sales at over a million
guitars. At its launch it wasn't such
a world-beater; later in the 1950s,
the Fender Stratocaster began to hint
at future glories, especially in the hands
of players such as Buddy Guy, Carl Perkins,
and Buddy Holly.

The amp Custom Shop offered the high-end, vintage-flavored Vibro-King and Tone-Master as its first products, while the existing guitar Custom Shop reflected on a 90th Anniversary Harley-Davidson Strat. Comings and goings among Fender players included a debut from Liz Phair (opposite) and the death at 61 of the great Texas bluesman Albert Collins (memorial ad, right). G-Vox (above) was Fender's ill-fated computer guitar-teaching system.

With the continuing success of the guitar Custom
Shop, this year saw the start at Scottsdale, Arizona, of
an amp equivalent, with ex-Matchless electronics
expert Bmce Zinky in charge. The intention was to
make limited quantities of expensive, high-quality
products. The amp Shop would not build far-out
made-to-order items, but generally would follow the
guitar outfit's increasingly important business in
defining a catalog of regular items.
Artists could collaborate on individually crafted
items, but broadly speaking the hand-built
line would be drawn from reinterpretations ofFender's
classic tube amps of the 1940s, 50s and early 60s. The
first models to appear from the amp Custom Shop
were the Vibro-King 60-watt 3xlO combo and the
1one-Master 100-watt piggyback amp, with a choice of
2x 12 or 4x 12 cabinet, all finished in cream Tolex. In
the meantime at the guitar Custom Shop, over in
Corona, a link was being forged with motorcycle
manufacturer Harley-Davidson.
The result was the Fender Harley-Davidson 90th
Anniversary Commemorative Stratocaster in a very
limited mn of 109 pieces. The stunning handengraved
aluminum body summoned up the shiny
exterior of a Harley, while the bird's-eye maple neck
and ebony fingerboard would please anyone who
actually got to play one of these creations.
The signature-guitar list continued to grow, this year
with the addition of two new models, for Clarence
White and Richie Sambora. The Clarence White
Telecaster was named for the brilliant Byrds and
Kentucky Colonels guitarist, tragically killed by a
dmnk driver in 1973. The White Tele was fitted with
his favored Scmggs banjo-style detuners for first and
sixth strings, and the B-bender string-pull device that
he developed with Byrds dmmmer Gene Parsons.
Bon Jovi's Richie Sambora helped devise a Strat to
respond to his fiery playing, with Floyd Rose double-locking vibrato,
a DiMarzio bridge humbucker plus
Texas Special single-coils, and a flatter, wider
fingerboard. A personal touch came with
the inlaid stars for position markers.
On a cultural note, the Fullerton
Museum Center - not far from
the site of Leo Fender's
original workshops
exhibited Five Decades Of
Feruler, organized by guitar
historian Richard Smith.
Included were instmments
and an array of special
memorabilia fi"omFender as
well as Music Man and G&L.
Remarkably, this was the very
first exhibition to feature Fender's
achievements. "Leo forever changed
the course of popular music," is how
Smith admirably summed it up .

CONTENTS
the fifties page
the sixties page
the seventies page
the eighties page
the nineties page
the new millennium page
chronology of models page
index page
acknowledgements page

The Stratocaster Guitar Book

A Complete History of Fender Stratocaster Guitars

Libro 

volume totalmente dedicato alla chitarra elettrica Fender Stratocaster .  

Series: Guitar Reference
Publisher: Backbeat Books
Format: Softcover
Author: Tony Bacon

Leo Fender's company changed the course of popular music in 1954 when they introduced the Stratocaster. Since then, the Strat has been played by countless guitarists, from Jimi Hendrix to Buddy Guy and Jeff Beck. In this book, interviews with important Strat players from every decade illustrate the instrument's versatility, playability, and continuing importance. This is the complete story of the Stratocaster and the Fender company, from the struggles of the 1950s to the new models, retro reissues, and luscious collectibles of the 21st century. The Stratocaster Guitar Book is a glorious compendium of beautiful pictures, a gripping history, and a detailed guide to all Strat models. A must for all guitar lovers.

Width: 8.5"
Length: 11.0"
160 pages

CONTENTS:
THE STRATOCASTER STORY
THE PRE-STRAT ERA
THE FIFTIES
THE SIXTIES
THE SEVENTIES
THE EIGHTIES
THE NINETIES
RECENT YEARS
ENDNOTES
THE REFERENCE LISTING
US-MADE STRATOCASTERS
MEXICO-MADE STRATOCASTERS
JAPAN-MADE STRATOCASTERS
KOREA-MADE STRATOCASTERS
DATING & SERIAL NUMBERS
MODEL CHRONOLOGY
INDEX
ACKNOWLEDGEMENTS

Leo began work as an accountant, at first in the accounts section of the state highway department and then at a tyre distribution company, but his hobby was always electronics. In his twenties, he built amplifiers and PA systems for public events: sports gatherings, dances, and so on. He took a few piano lessons before trying the saxophone, but he was never serious, and he never learned to play the guitar.
When he lost his accounts job in the Depression, Leo took a bold step and opened his own radio and record store in Fullerton, around 1938. He called the new retail and repair shop Fender Radio Service, and it seemed a natural move for the ambitious and newlymarried 30-year-old. He advertised his wares and services on his business card: "Electrical appliances, phonograph records, musical instruments & repairs, public address systems, sheet music."
His new store on South Spadra meant that Leo met many local musicians and characters in the music and electronics businesses. During the first few years he hooked up with several people who would prove important to his future success. First among these was a professional violinist and lap-steel guitarist, Clayton Orr Kauffman, known to all simply as Doc.
The story goes that some time around 1940, Doc brought an amplifier into Leo's shop for repair and the two got chatting. Doc had amplified his own guitars and made designs for an electric guitar and a vibrato system. By this time, Leo had started looking into the potential for electric guitars and was playing around with pickup designs. A crude solidbody guitar that Fender and Kauffman built in 1943 purely to test these early pickups - one design for which was patented in '44 - is today in the Roy Acuff Museum at Opryland, ashville.
Doc went to work for an aircraft company during World War II, but the two incorrigible tinkerers still found time to get together and come up with a design for a record-changer good enough to net them $5,000. They used some of this money to bolster their shortlived company, K&F (for Kauffman & Fender), and began production of electric lap-steel guitars and small amplifiers in November 1945.
In the 20s, many people in America had taken up the little lap-steel guitar, often called the Hawaiian guitar, and the instrument was still tremendously popular. The steel had been the first type of guitar to go electric in the 30s. Several innovative companies, with Rickenbacker in the lead, experimented with electro-magnetic pickups, fixing them to guitars and feeding their signal out to small amplifiers. The attraction of the steel was that it was an easy-to-play instrument, and thus one suitable for beginners, but the electric version also proved appealing to professional musicians, especially in Hawaiian music and among country-and-western bands.
The musician would play the steel guitar on his lap or would step up to an instrument mounted on legs. The name came not from its construction - Fender's steels were all wooden - but from the metal bar that the player held in his left hand to stop the raised strings, which were generally tuned to an open chord. During the 30s and later the term the stratocaster guitar book...

... quantity, naturally, is limited," announced Fender, and during 1979 and 1980 the firm proceeded to make thousands of 25th Anniversary Stratocasters ($800 including case, virtually the same price as a standard model). "They went fast in '54. They'll go fast now," ran the insistent ad. An official estimate of production mentioned 10,000 units.
Most people tend to refer to a Stratocaster as a Strat, and in 1980 Fender finally used the abbreviation officially on a new model. It was designed by Gregg Wilson, who had come up with the budget-price Fender Lead models introduced the previous year. The new Strat combined regular Stratocaster looks with updated circuitry, a 'hot' bridge pickup, and fashionable heavy-duty brass hardware. Fender also offered the hardware separately as an after-market accessory line, called Original Brass Works, following the lead of various companies that popularised a craze for retrofit replacement parts. Larry DiMarzio was a leader in this new business, introducing his Super Distortion replacement pickup in 1975, with Mighty Mite, Seymour Duncan, and others soon following.
Fender intended with the Strat to re-introduce the old-style narrow headstock of the original Stratocasters. The broader type of the time had been in use since 1965. However, Fender used old worn-out tooling, and the result was not an entirely accurate re-creation. Smaller, certainly; accurate, no. A reversion to the four-bolt neck fixing and body-end truss-rod adjustment and the removal of the neck-tilt for the new Strat model implied that CBS were already aware of criticisms of 70s Stratocasters. A few brighter colours were offered for the Strat, too, reviving Lake Placid Blue, Candy Apple Red, and Olympic White.
The model was significant as the first attempt at a modernised Strat. It retailed at $995, compared to $745 for the regular Stratocaster.
One further attempt in 1980 to provide something different for Strat fans was the Hendrix Stratocaster. It was something like a 25th Anniversary Strat in overall spec, but it had an inverted headstock and additional body contouring, and was only offered in white.
It's another significant guitar, as it was the first Fender marketed to highlight an association with a musician, a sales technique that would become very important to the company from the late 80s. Only 25 or so were produced, and most if not all were marked as prototypes.
Colour schemes were brightened and expanded a little during the 80s, with the shortlived International Colors in 1981 and then the Custom Colors and Stratobursts of '82. Some of the new hues were distinctly lurid - such as Capri Orange, Aztec Gold, or Bronze Stratoburst - and they were not much liked at the time. In 1983, there was a short run of Marble or 'bowling ball' finishes, designed by Darren Johansen, in swirling Red, Blue, or Gold.
With generally trimmed model lines and a massive output from the factories at Fender, it was hard to resist the feeling as the 80s dawned that the newly-important calculations of the balance sheet were firmly established and took precedence over the company's former creativity. At the start of the decade, CBSmanagement decided that they needed some new blood to help reverse a decline in Fender's image and finances. Income had the stratocaster guitar book ...

GIBSON L5 THE. Adrian Ingram

Series: Guitar

Publisher: Centerstream Publications

Format: Softcover

Artist: Adrian Ingram

Introduced in 1922, the Gibson L5 is the precursor of the modern archtop guitar. It was the first archtop to feature f-holes, which allowed it to project through the horn-dominated bands of the day. Its strong, full, warm sound was an immediate and overwhelming success that turned the heads of makers, players and listeners alike. This book takes a look at its history and most famous players, from its creation, through the Norlin years, to its standing today as the world's most popular jazz guitar. With its stunning 16-page full-color photo section, this book is a must for every guitar enthusiast's collection! 8-1/2″ x 11″.

Width: 8.5"

Length: 11.0"

112 pages