CarlCulpepper.com

The Making of Amplitude

The tunes:

Prelude. This was actually one of the last things recorded for the CD. I wanted a piece that would set the stage for the rest of the music on the CD. The main guitar part is an improvisation using a number of phrases from the songs - sort of a spontaneous overture. The accompaniment is comprised of a random arpeggiation of an E5 chord played on acoustic guitar, sampled bass guitar and a cello sound. Guitars used: Vigier Excalibur Special, Ovation Custom Legend. Amp: Venator "Woodstock".

Cartwheels. The name refers to the "spinning" arpeggios in the Intro, which are played with a technique I got from watching Jimmy Herring (he calls it "shuffle picking"). The song's overall harmonic structure was inspired by the contrast of E major and C major. Guitars used: Gibson Les Paul, Fender Strat w/DiMarzio humbucker in bridge, Ovation Custom Legend. Amp: '73 Marshall Super Lead.

Tomcattin'. My cat's confident swagger was the inspiration for the title. I've always thought a 16th note swing groove gives off a cocky vibe. Almost all of the rhythm and fill guitars are double tracked (panned hard right and left), giving the riff a wide stereo spectrum. Guitars used: Fender '57 reissue Strat, American Series Strat, Gibson Les Paul (solo). Amps used: Venator "Woodstock" (main guitars), Fender Deluxe Reverb reissue (intro, fills and solo).

The Aerialist. I really slaved over the melody and structure of this tune. At first, all I had was an intro and rhythm guitar riff, and after much trial and error, a melody was born. Quite often, I find that the strongest parts of a melody or hook are the inspiration for a tune. But this time, the song developed in an unusual sequence. Thank God they aren't all as much of a pain in the ass to write as this one. Special thanks to my friend Randy Hoexter for his helpful counsel regarding this tune's development. When I recorded the solo, I was intending to lay down a scratch track with the Line6 POD. I really liked the performance, so I ended up keeping it. Guitars used: Fender '57 reissue Strat, American Series Strat. Amp: Fender Deluxe Reverb reissue (all but the solo).

Frankenstein. I first got interested in doing this song when we started assigning it in performance class at The Atlanta Institute of Music. Once I came up with a guitar arrangement for the keyboard solo, I couldn't resist covering it on the CD. It's always a kick to play it live, too. This recording features some of my favorite guitar tones on the CD. Notice the MXR Blue Box (the low octave-fuzz-tone) on the guitar that does some of the fills and doubles the bass line in the interlude section. Guitars used: Gibson Les Paul & Flying V, and Fender Strat (second solo & a few fills - double tracked). Amp: '73 Marshall Super Lead.

Billy Jack Boogie. This song is my tribute to Stevie Ray Vaughan. His music made a major impact on my development, and I often play his tunes live. In keeping with SRV tradition, I used a Strat tuned down a half-step for that Texas growl. I like to think the amp's tone has a bit of Billy Gibbons in it, too (hey, it's all Texas, ya know!). The title comes from the character "Billy Jack" from the indie film Born Losers. The Billy Jack movies made a big impression on me as a kid growing up in the '70s. You have to respect a guy who takes his shoes off before kicking someone's ass! Guitar used: Fender American Series Strat. Amp: Venator "Woodstock".

Barney's Breakdown. This tune was named after a rather purple Carvin 6 string bass previously owned by Jeff Haley. Jeff loaned the bass to me and the main riff of this tune popped out when I first picked it up. I ended up converting the bass line to keyboard bass for a surrealistic modern sound. Guitar used: Fender American Series Strat w/DiMarzio humbuckers in the bridge and neck, DiMarzio single coil in the middle.

Midnight. I've always loved covering Jimi Hendrix tunes in my live band, so it only seemed natural to include one on the CD. I tried to keep a stripped-down approach to the recording in order to retain a live feel. The guitar track is mostly effects-free with the exception of the intermittant use of the Fulltone Deja-Vibe and Cry Baby Wah. The solo features an overdrive pedal that I built, myself (see the gear page). Guitar used: Fender American Series Strat. Amp: '73 Marshall Super Lead.

Office Space. An ex-girlfriend of mine used to refer to our coffee table as my "office", because of all the gadgets I would leave lying around. One night I started playing various rhythms with the clicking sounds the remote controls make through a guitar pick up... and this piece was born. Notice the 3 against 4 rhythm between the two main remotes. Gadgets used: Various remote controls for appliances, battery operated fan, metronome, cordless drill (string winder). Guitar: Les Paul (I think). Amp: Fender Deluxe Reverb reissue.

Diminished Capacity. The title of this tune comes from the fact that most of it is based on the diminished scale (starting with a half-step) and the A13(flat9) chord. I wanted a Thelonius Monk type of feel (esp. in the piano part) and the impression of a jam band playing live. Guitars used: Fender American Series Strat, Gibson Les Paul. Amp: '73 Marshall Super Lead.

Ventura Blvd. When my band plays live, I often go off into improvisational solo guitar interludes. This is a tune I've been extemporizing on for a while now. I wanted a subtle ending for the CD, and this was it. Recorded in my office at The Atlanta Institute of Music. Guitar used: Fender American Series Strat. Amp: '73 Marshall Super Lead (T.K.).

Amplitude Musicians

Musicians involved in the making of Carl's debut CD, Amplitude (1st row: Eric Sanders, Jeff Haley, Gary Wilkins. 2nd row: Billy Johnson, and fearless recording engineer, Eyal Levi)