jhc

The A/B/Y teminology means the single guitar input can be split into two separate outputs (A or B ) or both (Y). (these can also be used the reverse way, for example to hook up guitar A and guitar B into a single output into the amp)

You can buy small tube combo amps for a few hundred dollars - that will help a lot with your jazz tone I think. Which (if any) effects are essential will depend on the kind of music you want to play - you can do a lot with a clean guitar, but if you want to play AGIB material for instance, you'll need some effects. Overdrive is probably the most useful.. there are a few ways to go about this - clean amp, overdrive pedal - amp with switchable clean/dirty channels - single channel tube amp and a boost pedal to push it into overdrive Other things to think about... - reverb: will give mor

I'd like Walken - thanks.

There's a tab on this site if you search for it (it's under the other name for the song - "Cars Can't Escape")

http://www.gumbopages.com/music/wilco/song....outta.mind.txt

So maybe something like guitar -> a/b/y pedal (set to Y) a -> direct to PA b -> Holy Grail (max reverb) -> volume pedal (usually set to off) -> PA so when he steps on the volume pedal he gets the heavy reverb mixed on top of his dry signal?

Gotcha, thanks. For a while I was playing this on guitar with an ebow and a slide to try and replicate it, but it too unwieldly

I'm not familiar with those effects - how do they work? (I also realize that my original post should have said octave shift, not octave shit )

Well for the price it better Actually, I'm not positive since I've never used one, but I do know he controls the delay with 3 volume pedals with his electric setup. If you listen to the recording of Spiders acoustic at the Calgars Music Fetival, there's a similar effect at the end of the song that sounds more than just heavy reverb. It could also be comething more complicated...

I dont think the Holy Grail has an input for an expression pedal. I'd bet it's the Moog analog delay.

No idea about what kind of keyboard patch is used, but I've alway assumed that Bennet (?) was using a pitch wheel to get that quick octave shit.

It looked Pat had another amp near him - this half-stack was on the other side of the stage from him

Excellent - thanks. Do you know what it's used for? Is it just a backup?

Looking at the Walken quicktime video last night, I noticed on stage there was another half-stack between Jeff's Vox and Nels' Marshall. Couldn't really make out the logo - at first I thought it said Mesa, but on a closer look it looked like 5 letters. Like "Meyer" or something. Anyone know who that belongs to (it's not Pat's, you could see his amp over on stage left)

Thanks to MeDave for pulling up the old archived topics - lots of info out there on what Wilco is using, so I thought we should have a thread on what resident VC musicians are using. My basic setup is Les Paul or Telecaster (neck humbucker) into a Traynor YVC40WR combo. Pedals can include any of the following Ernie Ball volume peal Buss TU2 tuner Vox V847 Wah Boss SD1 overdrive Lovepedal Cot50 overdrive Prunes and Custard Deluxe Memory Man delay Danelectro mini tremolo Yamamha Magicstomp (for various reverbs, delays, or random effects) Obviously the Prunes and Custard is the most "Wilco-

BTW, please don't encode to MS Word

No problem! FWIW, if anyone wants a printable version with the chords in the right place I put one here: http://s43.yousendit.com/d.aspx?id=1S10WGC...C60JXYON96PC794

round 2... WALKEN (Wilco, 2005) G C G G I

bobbob1313, I think you're just right (Except the third time he says "Yeah I think you're just right") Cool - thanks.

Well, it will be a work in progress. First step, lyrics: WALKEN (Wilco, 2005) I

Duh, just noticed that in the thread subtitle - sorry.

Do you think you can just post it here? I'd love to see it too....

This is the Tweedy solo version, right? The "full band" version at http://www.gumbopages.com/music/wilco/song...ays.in.love.txt is pretty right on.

edited for clarity - if you're playing this with a capo, skip this. If you're not playing with a capo (eg playing in F) this might be useful. The trick to getting it to sound like the live versions is to play the F chord as a C-shape barre chord, barring the 5th fret. You only have to play the top 4 strings, so getting the shape isn't hard (actually no different than the top 4 strings of a Dmin7 using the A minor barre chape, which is probably a more familiar shape) So the riff relative to the capo would look like this... sliding up to the chord initially. e--s5-5--5-5-5-- B--s6-6--6-6-

I was working on this one today - that looks pretty similar to what I was doing. One difference, instead of the s13---s15----17 I was bending the crap out of the high e string. I also spent some time figuring out the chords - didnt realize someone had already done a great job with it.