Guitar: Larrivee LV-05
	Strings: Light Martin strings
	Tuning: Standard
	Played using flatpick and fingers

	Guitar: Larrivee OM-09
	Strings: Light Elixir Polyweb strings
	Tuning: Standard
	Playing using flatpick and fingers

	Guitar: 2000 Beneteau 000-12 fret, cocobolo back/sides and Engelmann top, cutaway and slotted headstock.
	Strings: Light Elixir Nanowebs, but I increased the gauge of the B to .17 and the high E to .13 to get better performance in dropped tunings.
	Tuning: DADGAD
	Sonic capture devices: Dual MXL condenser mics run through a Behringer mixer w/ phantom power.
	Sonic recording device: Sharp MD-MT90 MiniDisc recorder.

	Guitar: Engelmann spruce from British Columbia (top) and Victorian blackwood (back and sides)
	Strings: Elixirs (gauges 13-56)
	Tuning: DADGAD
	Sonic capture devices: Two Sound Professional miniature mics attached to the soundhole of the guitar
	Recording devices: Sharp MD-MT831 with a Sony MiniDisc

The recording is a combination of two dance tunes: a reel and a polka. The first is Colin Charlton's reel of Cookamidgera in New South Wales, and the second is the "Conjewoi Polka," a traditional tune that was collected by accordionist Roy Craft of Wyong in New South Wales. The whole piece can be regarded as a sample of Australian dance music often played on concertina, fiddle, piano accordion or whistle. These tunes are in the public domain and the arrangements here form a fingerstyle instrumental in DADGAD.

The music here is anything but Irish, although the genre pertains to that part of the world. A lot of Irish music entering Australia undergoes a constant state of change by musicians; the musicians of the traditions alter and transform the music into new tunes that, in the final playing, are vastly different to anything that is essentially Irish. The "Conjewoi Polka" is a piece of music that many traditional dance musicians play on the accordion, fiddle or concertina. Likewise, "Colin Charlton's Reel" joins the dance repertoire of bush tunes. My arrangements are here to stimulate the playing of this vast untouched material to the large audience of guitar players who can indulge in enjoying the tunes by playing the wonderful dance repertoire of the Australian bush. Enjoy. --Gaetano in Sydney, 2002.

	Guitar: 2001 Collings OM2HE (Engelmann spruce top)
	Strings: Elixir Nanoweb custom light
	Sonic capture devices: Two Marshall MXL603s condenser microphones. One mic pointed at the 12th fret, about 18 inches away, the other mic at the lower bout, about 10 inches away.
	Recording details: Mics recorded through a PreSonus Blue Tube preamp and into a Yamaha MD4s MiniDisc multitrack recorder. From there, analog output into the computer. Software: Cool Edit, for a minor amount of bass reduction and some added reverb.

	Guitar: Bill Tippin, OMT 41-style, East Indian rosewood/Alpine spruce
	Strings: Elixir Nanowebs, light gauge with .017 B (2nd) and .013 E (1st) strings
	Tuning/key: Standard, key of C
	Recording chain: Four channels:    - Channels 1 & 2: Two Neumann KM 184 microphones (X-Y coincident configuration, 18" from soundhole @ 90 degrees) -> Pendulum Audio MDP-1 tube preamp -> RME ADI-8 PRO analog/digital converters, ADAT -> G4 Macintosh/Pro Tools LE 5.1.1 at 24 bit/44.1kHz.    - Channels 3 & 4: Sunrise magnetic soundhole pickup (channel 3) and Neumann TLM 103 microphone (channel 4) (22" from lower bout) -> Pendulum Audio SPS-1 acoustic instrument preamp -> RME ADI-8 PRO analog/digital converters, ADAT -> G4 Macintosh/Pro Tools LE 5.1.1 at 24 bit/44.1kHz.
	Mixing: G4 Macintosh/Pro Tools LE 5.1.1; Channels 1 & 2, 90% panned left and right, unity gain; Channels 3 & 4 panned left and right 10%, gain -3.0 dB each.
	Mastering: Pro Tools bounce to disk; McDsp FilterBank, McDSP M2000, Kind of Loud RealVerb and Digidesign Dither plug-ins; final file 16 bit/44.1 kHz.

Copyright © 2002 Brooker and Bullen (ASCAP). From the CD reciprocity. All rights reserved. Unauthorized duplication is a violation of applicable laws.

	Guitar: Lowden S23 Custom (Engelmann spruce/walnut)
	Strings: Elixer Nanowebs, light gauge
	Tuning: DADGAD
	Mics: Shure KSM32, Neumann and AKGs for guitar; Audio Technica 4033 for voice
	Recorded at Hayloft Studios, Milford, Connecticut

	Guitars: Washburn D12-29 and Martin HD-28V
	Strings: John Pearse 11-47 phosphor bronze (Washburn) and Dean Markley 11-52 phosphor bronze (Martin)
	Sonic capture devices: Bellcat GT 2000 pickup (Washburn), PUTW #27 (Martin), Sennheiser E845 mic
	Other instrumentation: Hohner Marine Band harp, Steinberg synth bass and drums
	Recording devices: Behringer MX802 mixer, Cubase 5.1 Score
	Recording details: The guitars aren't prominent: the rhythm track is my Washburn 12, the lead track is the Martin. I put the bass track down first as a guide, then the rhythm guitar. Then I recorded a melody track, which I didn't really want, but it helped when I put down the vocal, which I did next. Then I erased the melody track, and put in the bits of guitar and harp. Last was the drum track, which I always find difficult (in spite of our rude comments about drummers). There is a bit of chorus on the bass, rhythm guitar and harp, some reverb on the drums, some EQ on the Martin, a lot of fudging on the vocal, and some compression and reverb on the whole thing.

This one is an experiment that I quite like (otherwise I wouldn't have submitted it).

	Guitar: Martin HD-28V
	Strings: Dean Markley 11-52 phosphor bronze
	Sonic capture device: PUTW #27
	Other instrumentation: Steinberg synth bass and drums
	Recording devices: Behringer MX802 mixer, Cubase 5.1 Score
	Recording details: This time I put in a synth melody track first to use as a guide (I wasn't very confident at that stage), then a bass track. I used the HD-28V for both the rhythm and lead tracks this time, as I wanted a crisper sound. I only put down four takes of the lead, and liked one of them so much that I used it unedited. As usual the drum track was last, so that I could put the accents in where I wanted them. Again a little chorus on the bass and rhythm guitar, and some reverb on the drums. The lead has no effects. The whole thing has a little compression and reverb.

This was started (without much hope of a good result) simply because Charlie Parker's version has always been one of my favourites. I guess that my love of the tune helped.

	Sonic capture: A pair of Neumann KM184 microphones. Both were placed around 12 inches from the guitar fretboard. One mic was placed above the fretboard pointing down at a 45-degree angle towards the center of the 13th fret. The other mic was placed under the fretboard pointing up at a 45-degree angle towards the center of the 13th fret.
	Recording details: Both songs were recorded in my humble basement studio. I used the Neumanns, mic preamps from a Mackie 1604-VLZ Pro mixer, and an Alesis ADAT XT-20. The songs were transferred digitally from the ADAT to a computer using a MOTU 2408 interface. The tracks were kept digital at this point. Reverb was added using the TC Native Reverb plugin. No EQ was used.

	Guitar: Collings OM1A (mahogany/Adirondack spruce)
	Strings: Elixir medium gauge

I wrote this song while jogging on the "Spring Creek" trail in Fort Collins, Colorado. When I got back home I hummed the tune into a tape recorder so I wouldn't forget the melody.

	Guitar: Collings OM1 (mahogany/Sitka spruce)
	Strings: Elixir light gauge

I wrote this song in 2001 while attending Mike Dowling's music camp in Dubois, Wyoming. The "A" part for the song came to me when I woke up from a dream.

	Guitar: A real POS Takamine 12-string, with a crooked neck and strings like bridge cables.
	Tuning: Open C, down 3 steps.
	Recording devices: Beats me what gear was actually used to record the song with, as that's what I paid the engineer for <g>!
	Recorded at Samurai Studio in Nashville, Tennessee and engineered by Sam Weedman in March 2001.

A bunch of my guitar buddies insist that I look like the dead guy in the movie Weekend At Bernie's, thus earning me the nickname of "Bernie." As this was a tune where I was trying to get a dose of that old Stella 12-string sound, I had to have the words "blind" and "lemon" in the title (it's in the rules). This is the 1st track on my debut CD When Pigs Fly....

	Guitar: Taylor LKSM 12-string.
	Tuning: Open G, down 2 steps.
	Sonic capture: A combined signal from a Sunrise pickup & recording mic (beats me what kind).
	Recorded at Samurai Studio in Nashville, Tennessee and engineered by Sam Weedman in March 2001.

True story: While driving home from work in the dead of winter in Nashville, I was flabbergasted to come across a monkey screaming and freezing in a tree by the side of the road. Seems it had escaped from the nearby zoo earlier that day, and I can only imagine that the single thought running through its mind was "What in the hell was I thinking?" Thus was the tune inspired (with apologies to the late Michael Hedges). This tune is from the 4th track of my debut CD When Pigs Fly....

	Guitar: Alhambra 9c classical - cedar top, Indian rosewood back & sides
	Strings: Savarez Corum Cristals, high tension
	Tuning: Standard
	Sonic capture: 2 MXL condenser mics
	Recording devices: Behringer Eurorack MX-602A mixer, Boss BR-532 Digital Studio
	Any credits (if not done on your own): You mean I could have actually blamed someone else?

This song was originally written by Steve Morse as a violin/guitar duet, and was recorded on the Dixie Dregs' first album, Free Fall (1977). Steve has also performed the guitar part as a solo (as it is here), and I think it stands quite nicely on its own (well, okay --maybe not my rendition!). He also recently recorded this w/ Manuel Barrueco, on Barrueco's CD, Nylon & Steel. Barrueco plays the original violin part on guitar.

I have been a big fan of Steve's since I first saw his band in Chapel Hill, North Carolina in 1977. When I went to college 2 years later (as a performance major in classical guitar at the North Carolina School of the Arts), I remember writing to his management to try get the music for this piece. I never got a response. The music has never been published, but a few years ago I came across someone who had a copy of Steve's manuscript, and he graciously sent me a copy.

	Guitar: Lowden O23c cutaway jumbo - cedar top, walnut back & sides
	Strings: John Pearse phosphor bronze lights
	Tuning: CGCGCD
	Sonic capture: 2 MXL condenser mics
	Recording devices: Behringer Eurorack MX-602A mixer, Boss BR-532 Digital Studio

A very pretty arrangement by Al Petteway of a traditional Scottish tune, from his 1997 album, Caledon Wood. I hadn't owned a steel-string guitar for about 20 years until about two years ago, when I bought this Lowden. This guitar actually inspired me to start investigating open tunings and get into Celtic and other fingerstyle music. I mentioned this to a luthier friend of mine, Terry McInturff, and he remarked that that was the best compliment anyone could pay a builder . . . that their instrument had inspired a totally new musical journey.

	Guitar: 1997 Guild D25-12 dreadnought 12-string guitar (spruce top, mahogany back and sides)
	Tuning: DGCFAD, capo II
	Other instruments: 1973 Fender Precision electric bass, 2000 DiMarzio pickup; Hohner D Blues harp (harmonica) (played poorly -- I wanted to use a G harp, but I didn't have one...); Boss DR-5 for the rhythm section (keys & drums)
	Strings: 12-string - John Pearse 80/20 lights. Bass - Ernie Ball standard.
	Sonic capture: Shure SM58 mic for vocal and harp. Guitar recorded direct using Pick-Up The World model #27 run into an L. R. Baggs PADI, and direct into the computer sound card. Bass and DR-5 rhythm box were run direct into sound card.
	Recording devices: n-Tracks software for recording & mixdown; final editing done in Cool Edit 2000. Recorded on a Frankenbox Micron tower.

Inspiration for the song: I was driving down the highway and looked over at a horse farm, and noticed this really beautiful spotted horse. The first line came right there, and the rest of the song just followed from it. The song lay dormant for quite some time, but when it came time for CD III, I decided I wanted to record something I hadn't done yet, and this one was the one.

Lyrics (copyright © 2002 Bill Chandler):

Spotted horse, walking on the plain
Tired rider, bareback in the rain

He isn't coming back
No, he isn't coming back

In his dream, lover shrouded in white
Held so close, vanished in the morning light

She isn't coming back
He knows, she isn't coming back

Where is the road that leads from day to dark
Is there a clearing at the end of his path?
Where is the youth, was it just a spark
Anything left of what he had?

Is it coming back?
Is it coming back?

Spotted horse, trudging 'cross the plain
Tired rider, bareback in the rain

He isn't coming back
No, he isn't coming back

	Guitar: 1997 Guild D25-12 dreadnought 12-string guitar (spruce top, mahogany back and sides)
	Tuning: DGCFAD
	Strings: John Pearse 80/20 lights
	Sonic capture: Shure SM58 mic for vocal. Guitar recorded direct using Pick-Up The World model #27 run into an L. R. Baggs PADI, and direct into the computer sound card.
	Recording devices: n-Tracks software for recording & mixdown; final editing done in Cool Edit 2000. Recorded on a Frankenbox Micron tower.

I wrote this song in 1983, while still a student at Berklee. I'd been listening to the news on NPR a little too much: business news combined with news of the horrors of the day. The song just came to me in the shower one morning. The music is based on a lick that (IIRC) I stole from James Taylor. Or at least, I tried to steal . . . I got as close as I could, anyway . . . liked the lick . . . it became the basis for the music for the lyric I had just gotten. As for why I recorded and submitted it: I was sitting at home alone on 9/11/02; with the house to myself (a rarity) and some time on my hands, I got to thinking about the whole thing. This song came back to my mind, and said "Record me NOW." I'm not sure what's more depressing: the fact that this song was old enough to vote in the last election, or the fact that it is still relevant.

This is dedicated to the innocents and heroes of 9/11.

Lyrics (copyright © 1983 Bill Chandler):

Well he's the big man, in his office suite
Walls of stone around him, people stop and stare
Make the money dance, gotta keep the scams discreet
Headline says a five-year-old was killed somewhere
Who cares?

Well he's the big man, sitting in his oval room
Walls of white around him, leans back in his chair
Make a new plan, debate about peace and doom
Knows that everywhere pain and death still flare
Who cares?

Missile test, tax break
Starving people, see what's at stake?

I'm just a little man, down in my lonely room
Four gray walls surround me, roaches sit and stare
Is this a dying land, in the twilight's gloom
Voice in my head crying "answer if you dare --
Who cares?"

Is there anyone who knows who cares?
Is there anyone who knows who cares?

	Guitar: Taylor 712
	Recording details: Recorded through a Rode NT3, AKG C1000S and Radio Shack 33-2011 into a Tascam 788 Digital Portastudio.

This is one of Turlough O'Carolan's planxties.

	Guitars: Takamine NP-65C (nylon-string) and Taylor 712
	Recording details: The Takamine is on two tracks, recorded through its piezo under-the-saddle pickup and preamp directly into a Tascam 788 Digital Portastudio. The Taylor was recorded through an AKG C1000S.

James McMurtry wrote this Texas two-step. To get into the proper frame of mind for the vocal, I pretended to be Matanya Ophee addressing a fingerpicker.