ginandcigarettes

The big yellow pedal is most likely a Digitech XP-300 Space Station. It gets those space-y synth-y sounds. I'm not sure if this is what he uses on Wait Up. There's a clip of him playing this song on the IATTBYH DVD and it looks like he's stepping on an Ernie Ball Volume pedal on this part so it's probably the same mechanism as decribed above. Also, that part sounds like it's just reverb and I'm not sure the Space Station does JUST that (though it has wacky things like ring modulator, time warp delay, and arpeggiator).

No, everyone must bow to my will!

Right, I haven't listened closely enough to the recording to get the actual voicing used, but all of these will probably sound okay, choose what sounds best to you (I tend to like the first two): e-------|-------|-------|-------|---0---| B---1---|---1---|---1---|---1---|---1---| G---1---|---1---|---1---|---1---|---1---| D---2---|---2---|---2---|---2---|---2---| A-------|-------|---3---|---3---|-------| E---4---|-------|-------|---4---|-------| And so on... WARNING - CONFUSING PART: You could think of it as a Dm/C# (which is not relative to the capo) except that there is no D in the chord o

I'll take that as a groundswell: Here's my go at it. From what I can hear, there is a 1/2 slide going into beat 3 of the C chord and a 0 to 2 hammer in the last beat leading into the G chord). The V's are downbeats and the ^'s are upbeats so the first bar would be counted: one two a three e and a four and a. 1..V.....^.....V.....^.....V.....^.....V.....^...... e-------------(3)------(3)(2)(3)(3)----------------| B--------------0--------0--0--0--0-----3-----------| G--------------0--------0--0--0--0--0--4-----4--4--| D--------------0-----------0--0--0-----4-----4--4--| A----------------

This guy is very talented but I think he might be off on a couple of things: (1) I'm pretty sure you should capo 5th fret not 4th to get it in the key Wilco plays it. (2) The chorus does not have an E chord (relative to the capo) but a G#aug which you can play like this (or some fraction of this), again, relative to the capo: e-------- B---1---- G---1---- D---2---- A-------- E---4---- So the chords in the chorus go C C/B Am G#aug F C G (3) It wouldn't hurt (though I haven't listened carefully enough to verify that this indeed takes place) to swap some of the Am and Em chords in the ver

I use a template in word that I just replace dashes with numbers. I have two different templates depending on whether I need space for sixteenth notes: 1..+.....+.....+.....+.....2..+.....+.....+.....+...... e--------------------------|--------------------------| B--------------------------|--------------------------| G--------------------------|--------------------------| D--------------------------|--------------------------| A--------------------------|--------------------------| E--------------------------|--------------------------| or 1..V.....^.....V.....^.....V.....^.....V....

If I can make just one person in the world depressed each day, I've done my job.

No, I'm speaking about myself. I have no idea why anybody else does anything they do what with how hopelessly depressing and lonely the world is. except there is a C# and it's probably bad form to have a sus chord with a 3rd in it, so my guess is Dmaj9/F#

You're right but you're also expecting a lot. There're a lot of obstacles to doing decent transcriptions above what's availbable on gumbopages (where tabs range from scarily accurate -- AM -- to scarily inaccurate -- just about everything else). First off, it just takes a lot of time and we all have jobs and lives outside of the forum. While I'd realy love to play and transcribe wilco songs all day, as I've pointed out many times, no one is paying me to do it (though, seriously, I would not accept payment for it -- mostly because doing so implies some guarantee of accuracy). Second off,

Actually, you're both (kinda) right. There are two little 'C' licks in the guitar riff. The first one is a slide (hammer?) from the 1st fret D string to the 2nd fret. The second is a hammer on from the open D string to the 2nd fret. I can transcribe the whole riff if there is a groundswell.

Try this: 1..+.....+.....+.....+.....2..+.....+.....+.....+...... G--7--------9-/11-9--------|--------------------------| D-----------------------9--|--------------------------| A--------------------------|--------------------------| E--------------------------|--------------------------| 3..+.....+.....+.....+.....4..+.....+.....+.....+...... G--7--------9-/11-9--------|--------------------6-----| D-----------------------9--|--------------------------| A--------------------------|--------------------------| E--------------------------|--------------------------|

Thanks for the kind words (I won't ask about the pool accident) and anytime on the critiquing. Thanks also for the offer of help -- alcohol is doing me nicely. I'm not doing anything for the Tribute Album and I'd love to collaborate with you on this song. If you're willing to sing, I'm willing to overdub. The only slight problem I have is that I can't record acoustic guitars for shit -- crappy mic, crappy compressor. Oh, and I only know how to use pro-tools (though it's all wav's isn't it?).

Welcome to part two of my soul-crushing depression over my not-so-recent breakup. As I stated in the post about Nothing Up My Sleeve (also known as soul-crushing depression -- part 1), I've decided to celebrate the hopelessness of my existence by transcribing Wilco songs about breakups (isnt' that all of them?) or, more specifically, two Wilco songs about breakups from the YHF engineer's demos, both of which, much like me, were rejected by my ex as not being up to par. My personal torment is viachicago.org's gain! Below is my transcription to Let Me Come Home. The chords are bone-simple s

Because, almost two months later, I'm still depressed about my breakup, I've decided to post transcriptions of two Wilco breakup songs from the YHF engineer's demos, neither of which, I believe, my ex-girlfriend liked that much. The chords are mostly simple for this one, but I've tabbed out the trickier/less common ones at the end. [G] [C] [Cm] [G]I won

Don't get me wrong I love Leroy. The best concert I've ever been to was a Leroy concert. But Jay could bring the rock. When a song needed to rock harder than anyone thought possible, Jay was there to rock it. Compare I'm Always in Love from Jay's last show: Jay's I'm Always in Love To the same song in an early Leroy show: Leroy's I'm Always in Love Now, admittedly, this was when Wilco was still trying to figure out how to play without Jay and it's not exactly fair to pick an awesome Jay performance and an okay Leroy performance when I could have done the opposite, but I think the

This is the piano-based instrumental that serves as the music for Let Me Come Home. The other one is a full-band demo that is the basis for Corduroy Cutoff Girl (which is nicely transcibed with only a couple of wrong notes by some handsome young lad elsewhere on this site).

Thanks, Cody. Yeah, a couple of months ago I was going to transcribble Instrumental 1 on ledger paper, scan it and post it here as a jpeg so I worked up something pretty close to what Jay's doing. Then, I got really lazy (I think I wrote out four measures, realized I had left out a section, decided I didn't want to erase what I wrote or write it again, and quit). Ah, giving up again, this is why the ladies love me. F#/D = wacky cool. PS. No problem on not sending the Elliott Smith demo, I'm in no hurry. It just sounded (from what you described) really cool. Take your time.

Yeah, this could be more a matter of convention or whatever makes it easiest to think about. To be clear, I said More Like the Moon's chorus, but that's a mistake. It's really the 4 (or 2 depending on who wins this argument) bars that happen after the line "Why don't you come to me now, Know who you are". I think I said 3/4 because the drums play [KICK snare snare KICK snare snare], which seems like (though by no means demands) a 3/4 feel. I would expect (though by no means is it metaphysically necessary) that a 6/8 beat would be more like [KICK hat hat SNARE hat hat], which is the bea

Interesting, I'm the exact opposite where I will hear notes that don't exist or voice things as huge chords when they're just two notes. Anyway, the only difference between a Dsus4 and a G/D is the first has an A and the second has a B (assuming I'm writing that correctly, I get these things confused in a way that risks serious personal injury or at least gastric distress, a G chord with a D in the bass is what I meant, similarly, E minor chord with a D in the bass). Further anyway, I don't know what you're talking about, groselicain, your transcription of Venus Stopped the Train (which

I forgot the Unwelcome Guest (though this might count as a Billy Bragg song) = 3/4

I'd call it 6/8 I generally think of 6/8 as a three in two feel = BOOM uh uh CHICK uh uh BOOM uh uh CHICK uh uh Whereas 3/4 is more three in one = BOOM chick chick BOOM chick chick That might be more confusing than helpful.

Remember the Mountain Bed -- 6/8 It's Just That Simple -- 3/4 One By One -- 6/8 The chorus in Far, Far Away is in 3/4 Why Would You Wanna Live's chorus is in 3/4 The chorus in More Like the Moon is in 3/4 The piano solo in Pieholden Suite is in 6/8 At the end of the baritone guitar solo in Secret of the Sea there's a bar of 3/4 I might call Joe Dimaggio's Done it Again 2/2 (cut time) That's all I can think of right now.

I've always heard this as D G/D D Em/D D Bm A (though Jay probably mixes it up a bit and I've been known to be wrong about these kinds of things with tragic, irreversible, potentially fatal consequences).

1. Langer's 2. Canter's 3. The Hat 4. Art's 5. Nate & Al's

The conventional wisdon will tell you that, internally (electronically? mechanically? electromechanically?), there is no difference between the B3 and A100. The A100 has an internal speaker but is otherwise the same as a B3. $2k to $5k is without a Leslie. The M3 has fewer keys and pedals, sets of drawbars (2 rather than 4), and I think it has a different chorus/vibrato mechanism. It also lacks foldback whereby notes that would be demanded by the high drawbars but are higher than the highest tonewheel are folded or dropped down an octave so that they still sound (this gives the B3 a scr