ginandcigarettes

'I'll Be Your Mirror' by the Velvet Underground. 'I Will Follow You into the Dark' by Death Cab for Cutie. 'There is a Light That Never Goes Out' by the Smiths Love is the province of twenty-somethings.

SB definitely fits. Glad to have you on board.

Okay, I quit one of my bands and now I

Thanks for the thanks! No problem. I just whipped this up using PowerTab. I used PowerTab for the notes and clef and stuff, then exported it to a bitmap where I cleaned it up and added the LH and section notations using MS Paint. I have some other transcription that I did in PowerTab, but I mostly find it too unwieldy for a lot of things. That reminds me; I think the bottom note of the first beat of every measure is also played with the left hand. So, in section 'A', the F# in beat 1 is played with the left hand (the D is played with the right), and in section 'B', the G in beat 1 is

Here you go: The 'A' section is the Intro lick -- just repeat as necessary. When you get to the verse, use the 'A' section over the D and G chords. Use the 'B' section over the G minor chord. Also, I put in some notation on suggested hand usage. Namely, the 4th and 5th notes of each measure are played with the left hand, and the rest of it is played with the right. Now, it's possible to play the entire thing with the right hand, but I think this is the way that Jay Bennett played it when he played it live. This is from memory as I don't have a piano or the CD in front of me, so

Jff's right. All of those amps can pump out the volume in a way that will totally annoy neighbors. You can turn them down to avoid annoying neighbors, but you can do that to your current amp, too. Of course, you won't get that cranked amp sound, but to do that, you have to crank the amp, which, even at five watts will blow the doors off your apartment.* Here's a solution that all of the tone-snobs will hate but I think is ideal: Get an amp modeler. Really. You can get a Korg Ampworks off of Ebay for $40. The effects are lame (except for the compression), but you get a dozen or so a

No prob. I've never really used a module either, but the keyboardist in my band does (how can I have this many keyboards and not play them in either of my bands?). It's just as simple as connecting the keyboard to the module with MIDI cables and then connecting the module to your amp. That looks pretty cool. I don't know what it is, but you can always fish around combo-organ.com until you find something that looks like it: http://www.combo-organ.com/

Yeah, the nord would be a really good all-in-one solution. There was a discussion earlier (like years earlier) about buying a decent piano and organ for under $1000, but it looks like it mostly focused on piano. There was a bit of discussion on hammond clones, too, though it might run out of your price range. You might look at getting a hammond module (just the sounds, no keyboard) and buying an inexpensive, MIDI-capable keyboard with some other miscellaneous sounds to control it. Search ebay for organ modules and you can snag one for not too much. Voce makes a really good one. Also, I

I'm kind of skeptical when it comes to a lot of stuff thrown around about amps and watts (Why would tube watts measure something different that solid state watts? Is it that you are perceiving the distortion and compression of a tube amp as sound intensity? Why do people think that watts measure sound pressure level? Why do people spend hundreds of dollars on bigger amps when an EQ would help just as much? Why do people think that the Vox AC30 is a class A amp and not a class A/B? Why do manufacturers encourage voodoo? Oh wait, I know the answer to that one.). Still, it's really no mat

I've never played an outdoor gig and my usual live problem is that the light on stage is right behind me and my fretboard is covered in pitch-black shadow, so I don't know if this'll work: you might try building a cardboard shield to go over the display and cover it in shadow. I'm thinking something coming off the keyboard at a 30-45 degree angle with little side thingees. Um, that's not very descriptive, sorry. You will definitely find more helpful answer than mine from the folks at the Keyboard Corner, Keyboard Magazine's forum. Good luck!

Huh. Looking over my three year old tab, I realized that I excluded a chord in the ending: Second part: [open A string] [E Em F F#m G Gm] [D F#m G Bm D#dim7 Em Bb C D] The D#dim7 between the Bm and the Em really makes that transition.

Hmmm... I guess I don't know enough about the Rx Overdriver. Is volume loss a common problem with that pedal? Even with its volume knob dimed? I thought it was supposed to be a boost pedal in itself. Also, I forgot to ask this, sorry, what is your pedal chain and where do you put the boost? The AC15 doesn't have a lot of headroom (which is why they made an AC30) and if it has a Celestion Blue (rated at 15 watts) it'll get some speaker breakup pretty soon as it's getting pushed right at its rating. Still, you should have a enough headroom to play relatively clean and loud unless you'

What type of amp are you running? I hate to say it (especially without knowing more), but you might just need a bigger amp. If you've tried a bunch of boosts and they're all making you sound overdriven, then the problem is probably that you don't have enough headroom on the amp. That is, it's not the boost that's overdriving but the preamp of your amplifier or, alternately, you're getting some speaker distortion from slamming it with too much output (I replaced the speaker in my amp with one rated for a lower wattage specifically to get this effect, however). Still, I've got a mint 2

No problem. Yeah, I tabbed this before I saw a video like the one you linked to, so the positions don't seem exactly right. From the video above it looks like the first time the riff comes around he's down at the first position like I tabbed. Subsequent times, he's up around the 7th (12th) fret like GtrPlyr suggested and moves the neck (again, drop-D, capo 5): a--------------------------|--------------------------|--------------------------|----------------------------| E-----7--------5-----------|-----3-----2-----0--------|--------------------------|----------------------------| C---

There was a big discussion about this around a couple of years ago: At Least That's What I Tabbed And this was my go that came out of it (I can't figure out why the beat markers jump to the next line). All of it is dropped-D, capo 5: Intro: 1..+.....+.....+.....+.....2..+.....+.....+.....+.......3..+.....+.....+.....+.....4..+.....+.....+.....+...... a--------------------------|----------------------------|--------------------------|--------------------------| E--0--------0--------0-----|--0--0-----0----------------|--------------------------|-----------------------0--| C--0--------0-

Just to be clear, ii-V-I in C is Dm-G-C. To understand this in terms of the circle of fifths, look at the circle above. If you followed the roots of the chords D G C, you start on the D and you would see that you are cycling down one degree (counter clockwise) on the circle until you arrive at C. Look at the progression C Am Dm G. If you played this, it would sound like dozens of songs from the 50's. Now look at the circle of fifths. The progressions starts on the tonic (the note at the top of the circle) and jumps over to A. Then you cycle back one degree at a time until you arriv

Hmmm... I don't really know of any open mics in Hollywood (though I'm sure there are places). I think Molly Malone's on Fairfax and 6th has an open mic on Monday nights: http://www.myspace.com/mollymalonesmusic That's in my backyard, so let me know if you plan to do one of these and there's an at least 30% chance I'll make it out. The Kibitz Room in Canter's Deli on Fairfax (also in my backyard) has an open mic on Sunday nights: http://www.cantersdeli.com/kibitzroom/ The Dresden Room on Vermont in Los Feliz (not in my backyard, but Los feliz is rad) has an open mic on Tuesdays: http://los

I'm always up for some Wilco-related jamming with anyone in the Los Angeles/ Orange County area.

I think it's interesting that Mikael said of the new album, "It's a no pressure situation." Isn't that almost exactly what John said in IAMTBYH during the making of Yankee Hotel Foxtrot? Is that foreshadowing?

Levy's also makes some neat floral-y ones. Levy's Guitar Straps But if you're looking for the real deal, and you're willing to pay for it, go to ebay and search for an Ace guitar strap. You might be able to snag a cheap one. Ace Guitar Straps on eBay The prices for these are going up as people realize how cool they are. The good thing is that as prices go up, imitators will start to flourish; so if you're not into paying $70 for a strap, there'll be a cheap knock-off soon enough.

I'll second Groo. I was in a band where the other guitarist made a partscaster into a 12-string. I think he got a 12-string neck from Warmoth. It didn't sound as cool as his Rickenbacker, but it did the trick. Overall, this is probably a more expensive option in money and time than just trawling ebay for a dano 12-string, but you might be interested in the challenge if you like working on guitars. By the way, if you're worried about string tension, tune down a whole step.

I've not heard the track in question, and I hate when people respond to something without really knowing what they're talking about, and I hate hypocrisy, but I also really love hating myself so here goes: it might be that the chord right before the mystery chord is the problem. In the generally accepted tab version of Hummingbird, the chord before the mystery chord (transposed to the right key) would be an Aaug and the mystery chord would be a D.* Since, I've not heard this version, I have no idea if I'm right, but this might get you moving in the right direction. * or, depending on t

Nothing Up My Pants? Yeah.

I wonder if jumpering is the same as just splitting your guitar's singal with an ABY box into each of the two channels. This doesn't sound quite right since you would suffer some loss in tone from the splitting, and the whole point seems to be to get awesome tone. If it's more than that, then it might require an amp tech, since working on an amp is NOT the place to learn about electronics. Regarding the second point, you would need a power brake between the head and the speaker: Power Brake/ Attenuator Just a simple potentiometer (knob) won't do the trick. A power brake will allow you