ginandcigarettes

God, I'm an insufferable dick.

Thanks Anthony. And thanks for taking the initiative to create a site and putting all that stuff there. I know that was a lot of work.

I'm of two minds on the topic. On the one hand, from a student's perspective, having a more or less definitive or evolving toward definitive version of the tabs in a single place would save a lot of wear and tear on the search engine and scrolling through a bunch of pretty outlandishly wrong versions. On the other, Via Chicago is our home and I hate to have a competing site where I have to log in to something else to change something and police another set of tabs from people with SERIOUSLY no ear (I'm assuming that eventually, Anthony, other people will get to edit the tabs?). On a third

Last time I had money and would research this stuff, I found the Alesis Ion, which would totally fit the bill. 500, 600 bucks maybe? They don't still make that, though.That was a wonderful piece of gear -- intuitive layout, a knob for everything, graphical interface, Tom Sawyer bass sound as a preset. It was that middle price point that was edged out by the MicroKorg for the cheapies and the Nord Lead for the snobs, I guess. The problem is that you seem to want two separate things -- both of which any decent synth will be capable of doing, but which will complicate choosing a synth. If you'r

I would probably not recommend that. It's piano arrangements, so if you're looking for tab of a specific guitar part, it won't have it. I do own it (and the Being There book) and it's a fine piano arrangement book with lots of songs from lots of albums that I care about, but it's not note-for-note guitar tab.

The video of Art of Almost in the WilcoWorld roadcase has a lot of good shots of Mikael's gear. He has a fair number of pedals and I think rack and laptop stuff, but I can pick out a Hammond A100, a Nord Stage 88, and a Virus ti (v2?). That's some serious gear. There's a picture of Mikael with a Nord Electro 2 on his lap in the Wilco Book and I think I've seen him play a Korg CX-3 (new) which may have been controlling a Nord Electro Rack.

What kind of hole in your heart are you trying to fill with gear? We all miss "Cougartown," but buying another guitar pedal won't bring it back. We may have to stage an intervention.

No, I get what he's saying, and I mostly agree -- kids need to put the hours in; I just want to be careful about constructing a false dichotomy between practicing and geeking out. I might have gotten to be a better guitar player while I was worrying about what guitar Jay Bennett played; it's hard to tell because it happened at the same time I was practicing.

Yeah, seriously, Reflectedinthemoon. You have a problem.

Awesome! Thanks for that!

Congratulations! She's a beauty.

I mostly completely agree with this while simultaneously kinda not agreeing. There's just so much fun in geeking out about guitar gear that I can't judge anyone for wondering how Johnny Marr got that tremolo sound on How Soon Is Now. I too subscribed to those magazines and I remember an article by Eddie Van Halen where he said that one of his first tours he opened for Ted Nugent and the Nuge became enamored with Eddie's sound (according to Eddie). At one soundcheck, Ted played Eddie's guitar and amp and all that and still sounded pretty much exactly like Ted. I get his point that guitar tone

If we expand to keyboards, my vaguely Wilco-related gear increases somewhat: Epihone Casino with Bigsby (king of all feedback) CIJ Tele Custom with Bigsby (modded with Seymour Duncan Antiquities) Fender Deluxe Reverb (modded with Weber Blue Dog speaker to be slightly more Vox-y and to get speaker distortion at 2) Korg CX-3 (this is the new version; I believe that Pat and Leroy use the older version but I'll seen Mikael and Jay with the newer one. Once.) I think Pat loads Mellotron samples into a Korg workstation (Triton?) but I use IK Multimedia's SampleTron, which I'll then control using

I don't want to spend a lot of time on this as it is not a Jay Bennett-era Wilco song, but are you sure this isn't in standard tuning? I mean, at the very least you can do a really good imitation with it: ..............................V.....V.....V.....V...... e--------------------------|--------------------------| B--8-----13----15----------|--10-------13----12-10----| G--0-----0-----0-----------|--0--------0-----0--0-----| D--0-----0-----0-----------|--0--------0-----0--0-----| A--------------------------|--------------------------| E--------------------------|--------------------------|

Gosh, I wonder how this will affect production of Gibson's new ivory and baby seal pelt Ted Nugent signature Byrdland? That's why I play a Japanese tele. When have the Japanese ever done anything environmentally unsustainable?

These are all from a few years ago, but: At 2:29 you can hear me completely miss the cue! Awesomeness. The thing is, you can pinpoint the exact moment where I totally forget what the next chord is. I'll just play the same thing again. I don't think I screw up in any obvious way, but I look like I'm just waiting for the song to end so I can drink a bottle of anti-freeze.

Hey, I remember when I used to like Wilco songs! Without listening to it too much, here's something that sounds a lot like his lick in the intro (between the B and C#m chords -- did he skip one?): ...1.....+.....2.....+.....3.....+.....4.....+...... e--------------------------------------------4------| B--------------------------------------------5------| G--4----/6----/8-----11----------8-----------6------| D--------------------------------------------6------| A--2----/4----/6-----9-----------6-----------4------| E---------------------------------------------------| That descendin

Wait, did I say ring finger? I meant middle finger. Mute and pick with the middle finger.

I have a feeling that Jay (RIP) played with the capo on five strings in California Stars live, but photographic evidence is sketchy. I'm guessing because you can do some really great drone-y banjo stuff like he does using that technique. But this is not a technique of mine on which anyone has commented. I get a couple of compliments on my ability to James Burton chicken pick (which, by definition, suggests that I didn't come up with the technique), which involves picking and muting and picking with the ring finger. I think people notice this because it's so unusual in the LA indie-rock scene

Things can change

There was a topic a while back that had some decent discussion of compressors: http://forums.viachicago.org/topic/42529-time-for-more-pedals/ For what it's worth, I tend to like the DynaComp over the CS3, but I have a really specific sound in mind when I want compression (I like obtrusive). It might not be the sound you are after.

I realized that there's another way to play the funky chords that might be easier for some folks: | Dbm7b5 | Cmaj7 | e---0----|---0---| B---0----|---0---| G---0----|---0---| D---2----|---2---| A---4----|---3---| E--------|-------|

Thanks!

I think I tabbed this in the heady days of 2007 when I was trying to get over an ex who was threatening to ruin Wilco for me. I had to wait for SBS before that happened. Anyhoo, here is my go (luckily I save everything): [G] [C] [Cm] [G]I won’t ever cry for you[C] And [Cm]you won’t ever shed tears for [G]me There’s [G]nothing up my sleeve[C] That [Cm]you haven’t already seen[G] [G] It’s not that I don’t care[C] at all [Em] We lost [D]touch so long[C] ago [b7] It may be our anni[Em]versary but I [A7] I wouldn’t really know[D7] [D7sus4] [D7] Your [Em]phone won’t eve

Any of the workstations will get you a lot of good sounds (Yamaha Motif, Korg Triton, Kurzweil PC3X, whatever the hell Roland makes). I tend to like Yamaha and to a lesser extent Kurzweil for pianos. None of their hammond organs will fool anyone if it was solo'ed in a track, but they can all do a decent enough job in-the-mix. I think all of these workstations will also have a sequencer, but that's really not what "Won't get fooled again" is (unless you just wanted to have the keyboard play the part for you). I think it's two sine waves (one an octave higher) with a tremolo effect (probably