mfwahl

via chicago is piss easy - just D A and G over and over

there are subtleties which one shouldn't over look. The move from D to A is sick. A little hammer off here and there and what not. I can't tab if you don't know what I'm talking about but the idea is to suggest a Dmaj7 before (while?) getting to A

Cut your hair

i love the engineer demos for cordouroy cutoff girl

me too. Very funky.

no no i was just too lazy to make another link when it would already come up anyway. The wonders of marijuana.

awesome i will start

Signature

Sounds like a good idea. Don't know the picking pattern, sorry.

Good - there's hope for me yet.

 

Did you try any of the instructional DVDs/books, or just perservere on your own?

I just read a few things on the internet. But for advice from the pros I went to Steve Kimock and Gordon Stone. Kimock has an online discussion forum which he is involved and he answered a lot of my questions. http://www.online-discussion.com/SteveKimock/ He is the reason I got into lap steel in the first place. Gordon Stone I talked to on the phone but I can't give out his cell phone number.

I'd say just play. If you're any good at guitar, your hands and ears already have a special relationship. From there, it just takes time and patience.

volume pedal + reverb = awesome.

 

Now I just have to figure out how to effectively block the unwanted strings and I'll be set

This for me came as a complete mystery. I sucked at lap steel but my band made me play it live and one day it just sounded so much cleaner. The whole instrument is a mystery to me but it sounds great.

Thanks!

whats the F# min/D# look like? And for B would u play the bar chord at 7th fret?

F#min/D# (B9/D#): xx1222

B: x2444x ("At Least That's What I Play")

Here's your answer:

F#min F#min/F F#min/E B(or F#min/D#)

Also:

it doesn't seem to mean anything part:

It's not so much a G#min as a B with a walkdown: B B/A B/G# B/F#

With the harmonica, especially diatonic, it's not too important to know theory. The best thing would be to learn songs. A book with tab would be the best and then, as you get better, figuring out songs by ear would be the best place to go.

I thought the "new" version of Sunken Treasure was in E (Drop D capo 2)...?

It is. There's a great tab of it on here. Thanks again to whoever tabbed that out. It is like sugar with sugar on top.

hmm, so how many harmonicas do i need to play most harmonica riffs..... generally speaking

It's by key. It's good to have a C, G, D, A at least. If you're deadset on using a harmonica for a song and you don't have the right harmonica, you can always change the key of the song using a capo or music theory.

would that D harmonica also work for she's a jar?

Prolly not. You'd want a G but if you only have a D, stretch your vocal cords and play D, F#m,G

It could work though as long as there are no C's in the harmonica line because there is no C on a D harmonica

I tried and tried to figure this song out and my success was pretty limited. As I understand, Jeff is using a baritone 12 string, and I certainly don't have one of those. So in my trials this is what I got: Asus (x02200) and then hammer up to and A (x02220) and then A/Dsus(??) (x02230). I'm pretty sure those chords are all in there. When the lyrics start: (E) It's a random painted highway and a muzzle of bees (back to the A chords). At one point I thought I heard this chord (x04232) which I'll call (A/F#). So..

(E)The sun gets passed, tree to tree (A/F#) silently back to me (A chords).

 

I hope some of my rambling helps. What a great song.

Nothing to add to the song, but for music theory's sake:

x02200 = Asus2

x02230 = Asus4

x04232 = D/A

I'm not even verifying these chords; don't have a guitar with me, but those are the correct names for those voicings.

I'm not an expert on this, but I set up my friends stuff to do our demos. He owns and operates it when the whole band records. He has a soundcard that has four inputs and four outputs. He uses Cubase as the program to record onto. Then he has another program Wavelab to mix everything down to burn onto a cd. As far as how much disk space you'll need to do any of this I have no clue because we push his computer way beyond its capacity and it still has a huge hard drive. I've done recording on better computer systems and the biggest difference I noticed was a really good mixer, but our setup works fine without one. On my band's pages in my signature are songs that were all recorded with this setup. Check em out. I think they sound alright. We've made a good amount of grift money off of the tracks so they must sound pretty good. They're free on these pages. I don't grift on the infernets, yet.

For a laugh I picked up a harmonica and figured I'd play around with it. Does anyone know where I can find a "tab" to the mouth harp sections of Sunken Treasure from Jeff's solo shows? Its a blast to goof off with, but I am ready to settle down and try to learn some stuff. Do mouth harps even have "tabs"?

 

Thanks!

--MattZ

There is a form of tablature (A number [hole] and an arrow [direction]) but I haven't looked for nor seen it on the various internets.

Check out www.johnscofield.com and look at his gear. He has pictures of his pedal boards on his site. He uses a few different looping pedals, including the Boomerang, the Boss Loop Station, and the Line6 delay.

I guess that would make a difference - I find I bend a lot, and with 11s anything below the 5th fret is a major challenge (hence 10's on the Tele).

 

Have you ever tried flatwounds?

Yeah. I would use them for strictly jazz if I had another guitar for rock. I used to play strictly jazz gigs in classy places, then noise rock shows in smoky bars. Now I'm doing mostly original material and I have morphed the two styles so I'm trying to find a balance. Right now the wound 12's are working great. I feel comfortable with them and I can still tear into them when I want to. It would be funny to see a guy with flat wounds rolling around on the floor with a feedbacking guitar, but for now doing that with a jazz hollowbody has to be surreal enough.

Check www.analogman.com for anything about effects. He knows his shit and customizes them to sound better if you have the cash. He has done a bunch of stuff for Trey Anastasio and Jack White and other good guitarists. He has a bunch of true bypass loops and stuff there

This is cool. I've never heard of this before.

I don't have an effects loop.

 

Why don't you think a line 6 is good option? I'm seriously considering picking one up. I've read that they have a true bypass. It seems like a pretty solid pedal.

I would burn down the line 6 factory if I could. I'm currently saving up vacation time.

All I know is every line 6 effect I've used sounds so cheap and fake. It really sounds like an effect, rather than an enhancement. When you see a movie and it has special effects, you know that it's not real but good special effects make it so that you can forget about that and enjoy the movie. Bad special effects make you cringe (I'm talking about me here). Same thing with guitar effects.

12's on the electric? Dang...

Yeah, the 12's on the electric -- I started out on acoustic, always used 12's or 13's. And I played mostly jazz, so when I got an electric (a hollowbody) I stuck with the 12's. They're actually called jazz light which makes me feel like a pussy. But they have great tone, I don't bend much, and they're comfortable. SRV and scofield use(d) much heavier like 14-16 area. I don't know how because they both bend a lot.

Tweedy uses D'addario phosphor bronze 13 gauge on his acoustic. You can check out specifics on D'addario's website. He totally sold out. I use D'addario phosphor bronze 12 gauge on my acoustic, D'addario Nickel Wound 12 gauge on my electric and random ass strings on my lap steel. Whenever I can't find D'addario Dean Markley is what I use, same thing: phosphor bronze on acoustic, nickel wound on electric