mfwahl
-
Content Count
2,553 -
Joined
-
Last visited
Posts posted by mfwahl
-
-
To search the archives, you have to go to archive.viachicago.org first and then search normally.
Venus Strop The Train
http://archive.viachicago.org/index.php?showtopic=11999&hl=
Thanks, you rock.
-
Does anybody have chords/tab for this one. It was on the old board but got lost in transfer. Actually if anyone has any of the outtakes from YHF like Not for the Season or Alone that would be super. Thanks.
Also, on Magazine called sunset, I haven't figured out the bass-heavy bridge (I'm a future fallout standing...) yet. Not that I've spent a lot of time on this but if anyone has the work done that would be nice.
-
I knew this would happen. As soon I made the post, I was bound to get it. The missing chord is D7! So....
F#m Em A
On a big wheeled wagon
E
I'm bragging
G D D7
I'm always in love
E
It's a drag I snag
G D D7
I'm always in love
E
I'm worried
G D G D G D
I'm always in love
Bravo: the D7 is the missing chord. But there is another missing chord. The first g in the last line there ("I'm always in love) is minor.
-
Gibson J 45 Rosewood
Nashville Tele
Epiphone Sheraton II
I have a Line 6 modeling amp because i'm too much into school debt to shell out the bucks for tube technology. I've just been using the effects built into the amp 9 (chorus, delay, tremolo). I know virtually nothing about effects. does anybody have any advice on some essential effects, what they do, and how i can incorporate them into my playing. i try to play wilco style stuff but am also trying to develop some traditional twangy tele stuff. i've also tried to get a vintage warm jazz tone from the semi-hollowbody but have been unsuccessful. if anybody has an opinion on that, i would appreciate it. sorry for rambling on but i'm pretty stoked about getting some info to help me get better
I don't think that there are any essential effects. You should never buy or use any unless it will fill a void, if you feel you are missing something. It should feel natural. Otherwise it is not music, just masturbation. But you will find you'll want some sort of distortion, probably overdrive. TS808 is pretty much the standard. I use a chorus pedal for a lot of different things but that is because I love sounds with rates. If I could afford a Leslie speaker I would probably dump the chorus pedal. I've found that a volume pedal for me is very helpful. I bought it for use with my lap steel, but entering a song with a volume swell gives a real professional touch to your music if used maturely. Also it is nice to adjust your volume hands free. I personally think every musician playing an electrified instrument should use one in a live setting. It makes everything easier. I've gone so far as to adjust volume subtley during my solos note by note so I have more control over what I'm doing. But that's after I spent ten years concentrating on controlling my dynamics with just my hands.
Nothing is essential. If you can't play well out of an acoustic guitar yet you don't need anything else. I started out making four track tapes with an acoustic guitar. When I discovered I needed different sounds to make layered guitar parts stand out I began preparing my guitar my putting things (paper clips, paper, yarn, coins, etc.) directly on the strings to get the sound I wanted. I would recommend thinking like this when it comes to effects because once I started playing professionally and had to be electrified, I had a better understanding about the purpose of effects and what it does to your sound. Maybe I'm a purist but I think effects should earn my respect before I touch them. I would never buy a pedal unless I absolutely needed it.
As for the jazz tone, I'm gonna sound like a purist again but most of that is in the fingers. Listen to people who play with that tone you want and emulate it. You should be able to get a warm jazz tone out of a cigar box with a rubber band on it. For some quick fixes, don't use a pick. Use the pad of your thumb. Wes Montgomery was the master of this and you should be able to find some literature on his technique. If not, I can explain it. Also, you're gonna need tubes. I played in a group who provided a lot of equipment because of busy rehearsal schedules and had to use a Line 6 amp. I thought the effects on it were absolutely useless (sounded so generic and cheesy) and it was the first time I didn't use a tube amp and I felt like a 12 year old in mom's garage playing with toys. Not for the big boys. I would suggest getting a pedal that has a tube in it. Most of these seriously improve your tone (make it mellow, warm, round) and give you the option of tube distortion, which the TS808 that I mentioned before is made to emulate.
So after all that rambling, get a Tube Driver. I forget who makes it but the other guitarist in my band uses one because he is always using different amps so it gives him some guarantee of sounding good through no matter what amp.
Hope this helps and hope I didn't come off as pompous but this is what I do with my life and I could talk about this stuff forever.
-
so what is a "y pedal," and would you have to have a split jack coming out of the guitar to go to both the pedal(s) and PA? (soundhole pickup and end pin jack?)
Can't confirm what Tweedy does but this is what everybody else is talking about:
Not two different outputs (soundhole, endpin) just one output but the signal is split. Therefore you have a clean sound which doesn't change. Then on the effects are added as a separate signal (So that the reverb can smoothly come in with the help of an expression/volume pedal). So the clean signal is always there. Different than just putting your signal through the effects. With the split signal if you turn on your effect only the wet signal is effected. The dry mix always remains dry.
-
Guitars:
-Yamaha Acoustic w/ Dean Markley Pro-Mag Single Coil Pickup
-Epiphone Joe Pass Emperor II (perfect for jazz. If you like Nels' feedback amp dives, try it with a hollowbody.
Warning: Only do this is you are insane. You'll love it).
-Cheap P.O.S. lap steel
-->Boss TU-2 Tuner (Just like Jeff and Nels Ohmygod! I'm gay)
-->Dunlop Crybaby Wah (still the best)
-->Boss OC-2 Octave Pedal (The discontinued one with no options but great sound)
-->Boss Chorus Ensemble (I think this is the best pedal ever if you are willing to experiment with sounds, great range of stuff from Leslie to Tremolo to super cheesy smooth jazz chorus)
--> Morley VOL Volume pedal (The original first model from the 70's. Sounds incredibly smooth. Ten times better than Ernie Ball)
--> Crate Vintage Club Amp 3x10 (discontinued [they used to make these in cream color], loud as fuck, great dirty channel, all-tube, warm as hell)
I use a Stevens Steel (people say there is better stuff but I'm so used to the wieght and shape) to slide, smack, throw, shove everywhere on all of my equipment to make sounds from doves cooing to ogres marching.
The most important thing about gear is to know it well. Where to tap your pick on your pickups to get the right sound you want, how to shove your elbow into the side of the guitar so when it spins around you will get the right pitch of feedback. And most imprtantly how far you can take your stuff without demolishing it. Make sure the kind of fake blood you spit is suitable for your guitar's finish
-
Ashes of American Flags
P-p-please
-
Anyone have a good tab of Outtasite (Outtamind)?
Yes. And I'm not sharing.
Yes. And I'm not sharing.Actually I've seen this song tabbed pretty well on the internet before. It might have been through 911tabs.com
If it does suck I'll ype ne p oon or ou. t o u s f y
-
i believe its just B, F#m, E with a little hammer on between F#m and E
You should check out the webcasts that they've done for KCRW. They did one for YHF and for AGIB. They can be found at www.kcrw.com. When you watch them you can see more of what they are doing. For me the biggest thing is seeing what frets they put capos on. That usually solves most problems. I haven't watched these webcasts in a while but I remember I Am Trying to Break Your Heart as going something like this:
Capo 2nd fret:
Chords relative to capo: Really sound like B F#m E
A Em D
The hammer-on is done on the D chord first string: 0^2
Sometimes he doesn't do the hammer-on and just plays a Dsus2: --0230
When he does this he usually plays it melodically sounding the second and first strings seperately.
Like I said, I haven't watched this recently or played it recently but this is how i remember it.
Mike
What gear are you using
in Solid State Technology
Posted
Trey much?